Category: Music

Please write a short research write up for any of the jazz musician or band contemporary. Including their background, and how he/she have contribute in the music industry with gender. Then please follow the guideline for the final project by choosing live performance, recording project or exhibit. Two separate file for the two assignment. Thank you!

Instructions:
Summary: create a zine related to the topic listed below. A zine is a self-published magazine that has roots in the punk scene and various other underground and independent arts scenes. They provide a way to connect musicians with fans and other like-minded individuals and provide a forum to discuss important cultural and political issues, share resources, and critique larger social and political systems. Your zine can include use of first person where relevant and does not need to maintain an academic tone throughout.

Creating Your Zine

You can design your zine using computer art, graphics, hand drawn images and illustrations that are scanned to be included, and/or collages of images you have collected from other sources. Your zine should be thoughtful, engaging, and interesting to look at.

Topic: Gender, Branding and Pop
a. This topic will require you to critically discuss the Lifecycle Model described by Kristin Lieb (other document) . Your zine might focus on one artist throughout or a handful to illustrate the different phases. Remember that the Lifecycle Model applies to female pop stars (not rappers or rock bands), and that not all female pop artists navigated the Lifecycle Model.
▪ Keep in mind that an artist with only one or two albums will not have moved past the Temptress phase and therefore will not provide enough material to warrant an entire Zine that revolves around them.
b. Artist: Beyoncé
c. You will need a page following your Letter that explains the Lifecycle Model for the reader.
d. Your spotlight might focus on the artist’s good girl debut and perhaps even transition to temptress, leaving the other phases to be explored on subsequent pages
e. Within this topic, you might include a page that considers the issue of age in Lifecycle (whether that’s the issue of debuting at a young age or the issuing of ageing out).
f. You might include a page that describes the brand of the artist in your spotlight and whether it’s been successful or not
▪ Remember, branding is not a phase in the LM. It is the messages and narratives you take away from engaging with the artist
g. You might include a page on voice policing that explores the tension women face to sexualize themselves (ie. to become a temptress) and the criticism that inevitably follows, using specific examples
remember to include specific music examples to illustrate your points, citing lyrics wherever necessary.
Requirements and Elements of the Zine:
1. Requirements:

i. Your zine should be 9 pages, including the front cover and bibliography.
ii. Your zine should consist of no less than 2000 words, excluding the bibliography. Please do not exceed 2500 words.
iii. Each page should be approximately the size of a slide or word doc page. Do not divide these into two.
iv. Your zine should not include video
v. It should be in a casual tone – no thesis, body paragraphs or conclusion

2. Your zine should consist of the following elements:

i. Front cover – Include a title, your name, and course code

ii. Letter from the Editor
▪ This should serve as an introduction to your zine. Think of this as an informal way to let the reader know what to expect in the pages that follow
▪ Your letter should immediately follow the front cover and be approximately 300 words

iii. Artist Spotlight
▪ Choose an artist who relates to your topic and describe how their music/career relate to the topic of your zine.
• This should not be a biography
• The artist should be discussed in a critical manner in relation to your topic of choice
▪ Approximately 500-700 words
▪ The spotlight can come anywhere between your Letter and Closing Remarks.
▪ Your entire zine does not have to revolve around this artist. This page is an opportunity to discuss one woman related to your topic in a meaningful manner. Feel free to incorporate other women we have discussed in class on the other pages of your zine. Example: Brittany spears, Madonna, Miley Cyrus, Selena Gomez, Rihanna

iv. The next 4 pages may draw upon the following elements.
▪ Top 3/5/10 list
• Ie. Top 3 videos confronting respectability, heteronormativity, or the Jezebel trope etc.
▪ Statistics related to your theme
▪ ▪ FAQs
• For Gender and Branding, for example, a FAQ page following your Letter introducing the reader to the concept of the Lifecycle Model would be useful.
• A FAQ page could also outline what respectability, or the Jezebel trope are, for example.
▪ Advice Column (ie. how not to police women, or how to create a successful brand)
▪ Historical timelines related to your theme (ie. important women or performances related to your topic)
▪ Music Review (Album or Concert)
• Must relate to topic
▪ Critiques of sexist, racist or homophobic reviews or interviews (ie.
critique a review that polices a particular artist)
• Alternatively, write a satirical review of a male artist that ‘flips the scriipt,’ drawing the attention the absurdity of the policing women face

*If you choose to include a Top 3/5/10 list, Timeline, or Statistics be sure to provide brief explanations for your choices. Simply listing a number of women musicians or statistics without explanation or context will receive ‘Needs Improvement’ on the rubric.*

v. Closing Remarks
▪ Approximately 300 – 400 words
▪ This should effectively summarize your zine
▪ Do not introduce new ideas or artists who have not been discussed elsewhere in the zine.

vi. The 9th page (following closing remarks) should be a bibliography
▪ The bibliography should be formatted using MLA citation style
▪ The bibliography should contain a minimum of 5 sources, two of which must be academic/peer reviewed. You may exceed the required number of sources.
Sources to be used are titled:
Gender_Branding_and_the_Modern_Music_Industry_The_…_—-_(4_THE_LIFECYCLE_FOR_FEMALE_POPULAR_MUSIC_STARS)
3. Journal of Popular Music Studies
4. Women and Music: A Journal of Gender and Culture
5. International Journal of Cultural Studies
6. Celebrity Studies
7. Popular Music and Society
▪ Avoid using MA Theses or PhD Dissertations for your academic sources
▪ Use of unreliable websites such as Wikipedia is strictly prohibited
▪ Required Readings will not count towards the 5 sources
▪ Lecture material should be cited
▪ Because we will not be distributing the zines, you do not need to worry about citing images

Two Final Notes Regarding the Content and Pages:

1. Please do not include videos or links in your zine. Links are only permitted for citation purposes.

2. When constructing your zine be sure to provide variety in the pages. You should not have multiple Top 5 lists or FAQ pages, for example.

Tips for Editing Your Zine:
i. When editing your zine pay attention to how your creative choices effect the readability of the zine
ii. The text should not be obscured by images
iii. Ensure the text clearly stands out from the background and is an appropriate size
iv. Be strategic with your image choices. They should relate to the topic and no clutter the page.

Marking Scheme:
An ‘Outstanding’ zine will be creative, thoughtful, organized, and demonstrate a deep understanding of the theme presented. Consider the following questions while you create your zine.
• Do you communicate and integrate ideas appropriate to the topic?
• Do you include details (facts, examples, descriiptions) to support, develop and illustrate your ideas?
• Do you demonstrate a thoughtful engagement with the ideas, information, and issues presented during class?
• Do you have an effective opening and closing to your zine?
• Does the writing and various elements of the zine maintain focus on the topic you have chosen?
• Is your zine creative and interesting to look at?
• Have you cited appropriately, met the required number of academic sources, and utilized the correct MLA citation style?

Instructions:
Summary: create a zine related to the topic listed below. A zine is a self-published magazine that has roots in the punk scene and various other underground and independent arts scenes. They provide a way to connect musicians with fans and other like-minded individuals and provide a forum to discuss important cultural and political issues, share resources, and critique larger social and political systems. Your zine can include use of first person where relevant and does not need to maintain an academic tone throughout.

Creating Your Zine

You can design your zine using computer art, graphics, hand drawn images and illustrations that are scanned to be included, and/or collages of images you have collected from other sources. Your zine should be thoughtful, engaging, and interesting to look at.

Topic: Gender, Branding and Pop
a. This topic will require you to critically discuss the Lifecycle Model described by Kristin Lieb (other document) . Your zine might focus on one artist throughout or a handful to illustrate the different phases. Remember that the Lifecycle Model applies to female pop stars (not rappers or rock bands), and that not all female pop artists navigated the Lifecycle Model.
▪ Keep in mind that an artist with only one or two albums will not have moved past the Temptress phase and therefore will not provide enough material to warrant an entire Zine that revolves around them.
b. Artist: Beyoncé
c. You will need a page following your Letter that explains the Lifecycle Model for the reader.
d. Your spotlight might focus on the artist’s good girl debut and perhaps even transition to temptress, leaving the other phases to be explored on subsequent pages
e. Within this topic, you might include a page that considers the issue of age in Lifecycle (whether that’s the issue of debuting at a young age or the issuing of ageing out).
f. You might include a page that describes the brand of the artist in your spotlight and whether it’s been successful or not
▪ Remember, branding is not a phase in the LM. It is the messages and narratives you take away from engaging with the artist
g. You might include a page on voice policing that explores the tension women face to sexualize themselves (ie. to become a temptress) and the criticism that inevitably follows, using specific examples
remember to include specific music examples to illustrate your points, citing lyrics wherever necessary.
Requirements and Elements of the Zine:
1. Requirements:

i. Your zine should be 9 pages, including the front cover and bibliography.
ii. Your zine should consist of no less than 2000 words, excluding the bibliography. Please do not exceed 2500 words.
iii. Each page should be approximately the size of a slide or word doc page. Do not divide these into two.
iv. Your zine should not include video
v. It should be in a casual tone – no thesis, body paragraphs or conclusion

2. Your zine should consist of the following elements:

i. Front cover – Include a title, your name, and course code

ii. Letter from the Editor
▪ This should serve as an introduction to your zine. Think of this as an informal way to let the reader know what to expect in the pages that follow
▪ Your letter should immediately follow the front cover and be approximately 300 words

iii. Artist Spotlight
▪ Choose an artist who relates to your topic and describe how their music/career relate to the topic of your zine.
• This should not be a biography
• The artist should be discussed in a critical manner in relation to your topic of choice
▪ Approximately 500-700 words
▪ The spotlight can come anywhere between your Letter and Closing Remarks.
▪ Your entire zine does not have to revolve around this artist. This page is an opportunity to discuss one woman related to your topic in a meaningful manner. Feel free to incorporate other women we have discussed in class on the other pages of your zine. Example: Brittany spears, Madonna, Miley Cyrus, Selena Gomez, Rihanna

iv. The next 4 pages may draw upon the following elements.
▪ Top 3/5/10 list
• Ie. Top 3 videos confronting respectability, heteronormativity, or the Jezebel trope etc.
▪ Statistics related to your theme
▪ ▪ FAQs
• For Gender and Branding, for example, a FAQ page following your Letter introducing the reader to the concept of the Lifecycle Model would be useful.
• A FAQ page could also outline what respectability, or the Jezebel trope are, for example.
▪ Advice Column (ie. how not to police women, or how to create a successful brand)
▪ Historical timelines related to your theme (ie. important women or performances related to your topic)
▪ Music Review (Album or Concert)
• Must relate to topic
▪ Critiques of sexist, racist or homophobic reviews or interviews (ie.
critique a review that polices a particular artist)
• Alternatively, write a satirical review of a male artist that ‘flips the scriipt,’ drawing the attention the absurdity of the policing women face

*If you choose to include a Top 3/5/10 list, Timeline, or Statistics be sure to provide brief explanations for your choices. Simply listing a number of women musicians or statistics without explanation or context will receive ‘Needs Improvement’ on the rubric.*

v. Closing Remarks
▪ Approximately 300 – 400 words
▪ This should effectively summarize your zine
▪ Do not introduce new ideas or artists who have not been discussed elsewhere in the zine.

vi. The 9th page (following closing remarks) should be a bibliography
▪ The bibliography should be formatted using MLA citation style
▪ The bibliography should contain a minimum of 5 sources, two of which must be academic/peer reviewed. You may exceed the required number of sources.
Sources to be used are titled:
Gender_Branding_and_the_Modern_Music_Industry_The_…_—-_(4_THE_LIFECYCLE_FOR_FEMALE_POPULAR_MUSIC_STARS)
3. Journal of Popular Music Studies
4. Women and Music: A Journal of Gender and Culture
5. International Journal of Cultural Studies
6. Celebrity Studies
7. Popular Music and Society
▪ Avoid using MA Theses or PhD Dissertations for your academic sources
▪ Use of unreliable websites such as Wikipedia is strictly prohibited
▪ Required Readings will not count towards the 5 sources
▪ Lecture material should be cited
▪ Because we will not be distributing the zines, you do not need to worry about citing images

Two Final Notes Regarding the Content and Pages:

1. Please do not include videos or links in your zine. Links are only permitted for citation purposes.

2. When constructing your zine be sure to provide variety in the pages. You should not have multiple Top 5 lists or FAQ pages, for example.

Tips for Editing Your Zine:
i. When editing your zine pay attention to how your creative choices effect the readability of the zine
ii. The text should not be obscured by images
iii. Ensure the text clearly stands out from the background and is an appropriate size
iv. Be strategic with your image choices. They should relate to the topic and no clutter the page.

Marking Scheme:
An ‘Outstanding’ zine will be creative, thoughtful, organized, and demonstrate a deep understanding of the theme presented. Consider the following questions while you create your zine.
• Do you communicate and integrate ideas appropriate to the topic?
• Do you include details (facts, examples, descriiptions) to support, develop and illustrate your ideas?
• Do you demonstrate a thoughtful engagement with the ideas, information, and issues presented during class?
• Do you have an effective opening and closing to your zine?
• Does the writing and various elements of the zine maintain focus on the topic you have chosen?
• Is your zine creative and interesting to look at?
• Have you cited appropriately, met the required number of academic sources, and utilized the correct MLA citation style?

3 page essay
Important Info

The order was placed through a short procedure (customer skipped some order details).
Please clarify some paper details before starting to work on the order.

Type of paper and subject
Number of sources and formatting style
Type of service (writing, rewriting, etc)

Read the article on the Castrati then discuss the pros and cons of this period practice. Why was it so popular? What was the advantages or disadvantages of having male castrati singing lead roles?
Example of a current day male soprano:

Please refer to #1 or #2 Assignments for MUS 309 paper writing for stipulations and
suggestions for writing.
Your paper is a review-commentary rather than a formal scholarly paper. Please avoid filler and repetition of long titles, biographical or other information, unless needed. The emphasis is on content quality, including your awareness, observation, details, audience experience, venue, insights, comparisons, what you liked more, liked less and why, your interpretation, backing up your statements with some specific descriiptions/evidence, plus correct spelling of works’ titles, correct grammar and spelling, and citation of sources as needed. Avoid “filler” and repeating titles, including biographical information that is not necessary to communicate your ideas.

=======================================================
MUS 309 #5 Assignment: (3 ½ to 4 pages total, maximum).
Choose and write about 5 to a maximum of 6 selections (total) from the lists below related to class materials and experiences:
—————————
Percussionist Ignacio Corrales’ performance-Demo-interview involved special performance
techniques, possibilities of interpretation, sticks technique, and how an individual performer can cope with managing solo rehearsals and stage performance with the assistance of digital devices. Ignacio is self-sufficient as possible, but also performs with different ensemble combinations. If you attended Ignacio’s visit, you can write about that experience and about one (1) of his performances on video. If you didn’t attend his demo visit, write about two (2) of Ignacio’s youtube performances. If you heard his recital you may choose to write about a piece, again.

Bagajes Perdidos (Lost Baggage) by Sergio Fidemraizer
performed by Ignacio Corrales, percussionist

Le Livre des Claviers II. by Philippe Manoury.
Played by Ignacio Corrales and Khesner Oliveira, Approx. 8 min.

Aphasia by Mark Applebaum (for vocalist or actor: performing sign language
with taped sounds. Performed by Ignacio Corrales, percussionist. Percussionists may perform avant-garde theatrical works requiring acting, singing, miming, variously communicating with audience and with other performers.
A page of the music notation/score with info. is seen here:
https://web.stanford.edu/~applemk/portfolio-works-aphasia.html
Ignacio Coralles’s performance:

——————————

Point / Cloud is David Crowell’s new album. He got a great review in UK’s The Guardian
titled, “David Crowell: Point/Cloud review – minimalism that sparkles with joy.”
https://www.theguardian.com/music/2024/apr/26/david-crowell-point-cloud-review-better-company-records The Point/Cloud album includes performances with Sandbox Percussion, Dan Lippel, Mak Grgic, and Stony Brook alum Iva Casian Lakos.
WNYC Studios “New Sounds” also wrote about David’s Verses for a Liminal Space
composed for Sandbox percussion:
https://www.wnycstudios.org/podcasts/newsounds/episodes/4877-new-releases-april-2024
Music: Verses for a Liminal Space is on David Crowell’s Point/Cloud album (on PLAYLIST, below).

Music VIDEO: Point / Cloud (ii) https://vimeo.com/929622502 (under 4 min.)
Performed by guitar wiz Dan Lippel,
Music and Video by David Crowell, Produced and mixed by David Crowell

WRITE your impression of either the
Music VIDEO of Point / Cloud (ii) above or write about (1) PLAYLIST selection (mention the title). If you like, choose 2 works from the PLAYLIST and write about only 3 works from the MISC. Selections that follow this.
PLAYLIST Point / Cloud https://www.youtube.com/playlist?list=OLAK5uy_m_hbP1zns7koP868on9tbDt1Doan0wfeM
—————————————————

MISC. SELECTIONS: Choose any 3 or maximum 4 to write about:

DakhaBrakha experimented with Ukrainian folk music, and added rhythms of the surrounding world to their music, creating bright, unique and unforgettable image of DakhaBrakha. Accompanied by traditional instrumentation from different countries, the band’s powerful and uncompromising vocal delivery creates a trans-national sound. At the crossroads of folklore and theatre their musical spectrum is intimate, experimental and riotous, plumbing the depths of contemporary roots and rhythms, inspiring cultural and artistic liberation.
DakhaBrakha – Baby (Live on KEXP) with folk chanting

BBC DakhaBrakha “Hutsul Witches: Ukrainian psychedelic folk”
They’re celebrating western Carpathian Mountain people, the Hutsul culture
of western Ukraine. https://en.wikipedia.org/wiki/Hutsuls
Гуцульские ведьмы : Украинский психоделический фолк
Dakhabrakha Glastonbury festival, UK 2022

DakhaBrakha in “The Voice of Water” (from Ukrainian: “Голос води”)
a project from band Onuka including The Maneken/producer Eugene Filatov, with Katya Chilly,
and DakhaBrakha. There are art installation sound and motion devices in the water and
the water itself is an art object aurally, visually, that inspires artistic, musical expression.

Some water instruments are here: https://voice.morshynska.ua/instruments
DakhaBrakha singing a poem text by contemporary avant-garde poet, novelist, poet, novelist, essayist, musician, translator, and social activist Serhiy Zhadan who is in the video. Zhadan is an internationally acclaimed writer, with 12 books of poetry and 7 novels, multimedia productions, plays, many songs, commentaries and is winner of more than a dozen literary awards. His poem “The Bird” (to be learned by heart)” is in English at:
https://www.kovcheh.ua/en/reader/serhij-zhadan-ptah
SONG-poem: https://www.youtube.com/watch?v=KlSa8J8rOlw

Water drumming – Vanuatu, South Pacific Ocean archipelago

Hermeto Pascoal – Música da Lagoa (Sinfonia do Alto Ribeira, 1985 )
Pascoal, a musician from Northeastern Brazil, gained notariety when he performed in three compositions that he wrote for Miles David on a 1971 album. He often makes music with unconventional objects such as teapots, children’s toys, and animals, as well as keyboards, button accordions, melodica, saxophones, guitars, flutes, voices, various brass and folkloric instruments] He uses nature as a basis for his compositions such as this one, performed in his home region of Lagoa in Brazil.

Kalush orchestra/band featuring Maryna Krut – A Dozen

The Maneken is a band founded by composer, DJ and sound producer
Eugene Filatov in 2008. The band’s sound has varied from dance electronic and disco to pop-rock and classic funk. As a sound producer, Eugene Filatov collaborates with Nata Zhizhchenko on the music for the band ONUKA. Additionally, he is a film composer and a member of the European Film Academy.
The Maneken Keep Moving
https://www.youtube.com/user/themaneken
DakhaBrakha – Yanky / ДахаБраха – Янки / 2017

DakhaBrakha ♫ Live at Glastonbury – Janki (Yanky) another venue

DakhaBrakha – accordion, voices with bird and animal sounds, nature.
NPR interview, performance

Dakhabrakha – Vesna (Springtime) | Live @ Sziget Festival 2017/Spring Cosmo

About Béla Bartók’s DUOS for 2 violins – Classical style violin with folk tunes in 20th c. composer’s musical language of techniques, variations, interpretations. Bartók first focused on folk tunes of Hungary, then expanded his explorations to Romania, Bulgaria, Slovakia, Serbia, and to Turkish and Arabic countries. He asked people to perform songs for him, which he then wrote down. He shared this interest in folk music with his contemporary Zoltán Kodály, who advised Bartók.
ABOUT: https://en.wikipedia.org/wiki/B%C3%A9la_Bart%C3%B3k

Béla Bartók – 44 Duos for Two Violins, Sz. 98 (1931) Duos 1-43 performed by Gyorgy Pauk and Kazuki Sawa. Duo 44 performed by Itzhak Perlman and Pinchas Zukerman.

EXCERPTS
A Rutén Nóta (Ruthenian Song) – 6:50
Dal (A Rhythm Song) – 16:04
Szunyogtánc (Mosquito Dance) – 19:16
“Ugyan Édes Komámasszony…” (Teasing Song) – 22:15
Rutén Kolomejka (Ruthenian Kolomejka) – 31:38
Pizzicato – 41:52
“Erdélyi” Tánc (Transylvanian Dance) – 42:53

Zydeco and French creole music. Louisiana Cajun, French Acadian
Louisiana Creole people and Cajun people: What’s the Difference? Race, Ethnicity, History…
and Creole people that live in the modern American state of Louisiana, and why and how they both came to be:

Cajun accordion known as a squeezebox, is single-row diatonic button accordion used for playing Cajun music. Zydeco and creole musicians play the Cajun accordion with a
zydeco and creole music sound, respectively.
https://en.wikipedia.org/wiki/Cajun_accordion

Song: Jole Blon | Doug Kershaw, fiddle and Mark O’Connor accompanying on fiddle with
his band in performing the Cajun folk music classic “Cajun anthem” Jolie Blonde (or Blon, etc.)

Cajun ‘’national anthem’’, recorded in 1929, is a cajun classic. With many spelling and variations,
Jole Blon is about “a pretty girlfriend” who had left the singer and moved back in with her family, and is also now in the arms of another man. The singer concludes that there are plenty of other women around. The fiddle-based melody dates to before the 1900s.

FIDDLING
Dewey Balfa – Jai Ete Au Bal (I was at the dance)- playing Fiddlesticks

Classical Shirley Givens plays Fiddlesticks with her son Kevin Wimmer Cajun music.
Violinist Shirley Givens, Juilliard pedagogue, plays traditional Old Time Fiddlesticks with her son, Cajun fiddler Kevin Wimmer.

Shirley Givens and violinist Tao play Bartok duets:

Cajun musician Nathan Abshire – Jolie Blond –with Accordion: “like a Blues…
…dispelling the bad times for the good times”

La jolie blonde Richard Belton – nearly bellowing, nasal style

The Best “Boil ’em Cabbage Down” ever! – Mark O’Connor/Wynton Marsalis at the
Jazz Festival in Marciac, France – 2010. For more information on Mark O’Connor with Wynton improv. spinning out with the tune. Mark O’Connor “fiddlin’ “ —

Wynton Marsalis & Eric Clapton play – Corrine, Corrina (1920s country blues song)
It reentered the folk-like acoustical tradition in the American folk music revival of the 1960s when Bob Dylan began playing a version he titled “Corrina, Corrina”. Although his blues-based version contains lyrics and song structure from “Corrine Corrina”, his melody is lifted from a different 1937 song. Playing the Blues at Jazz-Lincoln Center.
with Taj Mahal, an American blues musician who plays the guitar, piano, banjo, harmonium, Bo Chatmon, Mitchell Parish,J. Mayo Williams.

Metallica – Enter Sandman (Official Music Video)
American heavy metal band: with roots in blues rock, psychedelic rock and acid rock, heavy metal bands developed a thick, monumental sound characterized by distorted guitars, extended guitar solos, emphatic beats and loudness. The band was formed in 1981 in Los Angeles.
Fast tempos, instrumentals and aggressive musicianship made them one of the founding “big four” bands of thrash metal, alongside Megadeth, Anthrax and Slayer. Former lead guitarist Dave Mustaine formed Megadeth after being fired from Metallica.

Squarepusher
Thomas Russell Jenkinson, aka Squarepusher, a classically trained English electronic musician, record producer, bassist, multi-instrumentalist and DJ. Influenced by house music, IDM-intelligent dance music, hardcore, acid house and techno.
Squarepusher – Terminal Slam (Official Video)

Squarepusher – Beep Street

Jean John (Žan Tetičkovič, drummer,) plays – Beep Street (Squarepusher)
at “The Octopus” studio. Tetičkovič is a classically trained composer, arranger, producer, mixer, orchestral and choral conductor, drummer and band leader.

AJ’s Footsteps – by Žan Tetičkovič / Jean John Trio
featuring Emmet Cohen, piano, Russell Hall, bass, Žan Tetičkovič, drummer.
Live at the Kennedy Center for Performing Arts, Washington D.C., 2019

A Love Lane Nocturne – by Žan Tetičkovič / Jean John Trio
featuring Emmet Cohen, piano, Russell Hall, bass, Žan Tetičkovič, drummer.
Live at the Kennedy Center for Performing Arts, Washington D.C., 2019

Choose a genre of music to describe. For example, blues, jazz, rock… Like how the music came about and what it did afterwards.

Compose the lyrics for a song.
Label all of the formal parts of your song’s lyrics (verse/chorus/bridge/etc.)
Ensure that your lyrics would work for a melody. That is, make sure your verses have approximately the same number of syllables per line as all of the other verses.
A complete songs lyrics can be quite long. If you have fewer than 250 words, you may not be composing an entire song’s lyrics, be prepared to explain your brevity.
+ An approximately 150 word description of what composing a song lyric was like for you(like a personal reflection). You can also mention a part about not being a song writer.

Answer 2 of the 3 questions below. Write a minimum of 750 words per question. Format your essay using 12-point, Times New Roman font, double spaced. Provide a simple bibliography at the end of your source material, which can be from the class text or other academic and well-researched sources. Use parenthetical citation and quotations when necessary.
Describe the career of Miles Davis in the 1960s and later, and identify how he influenced jazz-rock fusion of the 1970s, both in terms of musical style as well as musicians he hired who eventually went on to develop careers of their own.
Pick a living jazz artist recording and performing today. Listen to some recordings and discuss their career. In what ways are they connected to previous styles of jazz? In what ways have they departed? Consider the instrumentation, rhythm, harmony, tempo, etc. Which styles of jazz (cool, hard bop, bebop, etc.) could they have evolved from?
Is jazz, most broadly conceived, increasing or declining in either importance or popularity? Cite cultural trends to support your view. Part of your answer may depend on what you consider to be jazz. Another important consideration may be record sales: They measure popularity, but do they measure importance?

Answer 2 of the 3 questions below. Write a minimum of 750 words per question. Format your essay using 12-point, Times New Roman font, double spaced. Provide a simple bibliography at the end of your source material, which can be from the class text or other academic and well-researched sources. Use parenthetical citation and quotations when necessary.
1- Describe the career of Miles Davis in the 1960s and later, and identify how he influenced jazz-rock fusion of the 1970s, both in terms of musical style as well as musicians he hired who eventually went on to develop careers of their own.
2- Pick a living jazz artist recording and performing today. Listen to some recordings and discuss their career. In what ways are they connected to previous styles of jazz? In what ways have they departed? Consider the instrumentation, rhythm, harmony, tempo, etc. Which styles of jazz (cool, hard bop, bebop, etc.) could they have evolved from?
3- Is jazz, most broadly conceived, increasing or declining in either importance or popularity? Cite cultural trends to support your view. Part of your answer may depend on what you consider to be jazz. Another important consideration may be record sales: They measure popularity, but do they measure importance?