ࡱ> Z]Yc $bjbj BSQbQbdd8,dT7.7070707070707$m9#<T7T7i7""".7".7""24{C_ d`37707t3<l $<(44&<4p0""-T7T7!f7<dB :  GROSSMONT COLLEGE Official Course Outline HUMANITIES 135 BLUES AS LITERATURE, HISTORY AND CULTURE 1. Course Number Course Title Semester Units Semester Hours HUM 135 Blues as Literature, 3 3 hours lecture: 48-54 hours History and Culture 96-108 outside-of-class hours 144-162 total hours 2. Course Prerequisites None. Corequisites None Recommended Preparation None 3. Catalog Description An examination of blues music and its influence on American culture. Blues will be explored in musical, literary, historical and socio-political contexts in order to understand the factors that gave rise to the art form. Particular emphasis will be on the rich and expressive African-American culture and its profound contribution to the American identity. 4. Course Objectives The student will: a. Recognize the historical developments in blues style. b. Analyze blues elements as they occur in musical, literary and visual arts forms. c. Interpret the human experience from the perspective of the makers of blues. d. Compare and contrast blues to other forms of creative expression. e. Assess the character of experience that gave rise to the blues art form. f. Appraise the contribution of blues to humanitys creative works. g. Evaluate the American identity in the context of blues. 5. Instructional Facilities Standard classroom that allows for live musical performances without disturbing other classes. 6. Special Materials Required of Student None. 7. Course Content a. African-American history and folklore. (1) Oral traditions. (2) Sacred traditions. b. Slave music. (1) Work chants. (2) Spirituals. (3) Influence on later blues. HUMANITIES 135 BLUES AS LITERATURE, HISTORY AND CULTURE Page 2 7. Course Content (continued) c. The Mississippi Delta. (1) Structural development of blues music. (2) Influence of poverty. (3) Influence of racism. d. Black migration to Chicago, New York, Detroit, and other American urban centers. e. Influence of blues on American folk music and rural music (e.g., country, bluegrass). f. Jazz blues fusion (e.g. Nina Simone, Billie Holiday). g. Influence of blues on rock and roll (e.g. Chuck Berry, Elvis Presley, British Invasion). h. Classical musics association with blues forms (e.g. Duke Ellington, Count Basie, Art Tatum). i. Rap / protest song. j. Blues as literature (e.g. Ralph Ellison, Alice Walker, Toni Morrison, Robert Hayden, James Baldwin). k. Blues and the Harlem Renaissance (e.g. Langston Hughes, Countee Cullen, Zora Neale Hurston). 8. Method of Instruction a. Audio presentations. b. Film presentations. c. Lecture. d. Guest lectures and performances. e. Group projects. f. Class discussions. g. Field experiences. 9. Methods of Evaluating Student Performance Quizzes on assigned material, including music listening. Short essay questions (e.g., comparing one or more blues musician, author, artist, blues-themed film, etc.). Midterm and final exams, both of which have objective (e.g., multiple-choice, matching, short-answer) and written components (e.g., comparing one or more blues musician, author, artist, blues-themed film, etc.). Term paper(s) (e.g., researching a dramatization of the blues experience in literature and film or a figure from, or aspect of, African-American culture, and writing a research paper with source citations). Oral reports (e.g., researching, individually or collaboratively, the life of a particular blues musician, and presenting a report to the class, giving source citations). Special projects (e.g., individual or collaborative creative projects such as writing a blues lyric or performing a blues composition; attendance at a campus or local concert or presentation, followed by a written essay response either as part of the course requirements, or as extra credit). 10. Outside Class Assignments Students will be required to read the text and any supplemental material (e.g., assigned texts and handouts will be the source of class discussion, essay writing, and/or testing via written or oral means). Listening to assigned music is required for first-hand appreciation of the lyrical and musical aspects of blues (e.g., Robert Johnson, Muddy Waters, Bessie Smith). Assigned writing and research are standard (e.g., an approved topic on African-American culture or on a particular blues musician will be researched and written about for a term paper, including source citations). Other writing assignments on approved topics may take the form of periodic short- answer questions, journals, and/or critical analyses. Field trips may be part of the class experience (e.g., a trip to a museum might be the source of a written essay response, including citations of the art and curation, as well as outside information on the artist(s), type of art(s), etc.). Students may be required to view film and listen to blues music outside of class. HUMANITIES 135 BLUES AS LITERATURE, HISTORY AND CULTURE Page 3 11. Texts Required Text(s) one of the following or comparable: Baraka, Amiri (Leroi Jones).Blues People: Negro Music in White America. New York: Perennial/Harper-Collins, 2002. Douglass, Frederick, and Ira Dworkin.Narrative of the Life of Frederick Douglass, an American Slave. New York: Penguin Classics, 2014. (3) Ellison, Ralph.Invisible Man. New York: Random House, 2002. (4) Equiana, Olaudah.The Interesting Narrative. New York: Penguin Books, 2004. (5) Morrison, Toni.Beloved. New York: Vintage International, 2004. (6) Palmer, Robert.Deep Blues. Harmondsworth, Middlesex, England: Penguin Books, 1982. (7) Clifton, Lucille.Blessing the Boats: New and Selected Poems 1988-2000[3rd edition]. Rochester, New York: BOA Editions, Ltd., 2000. (8) Major, Clarence.Configurations: New and Selected Poems 1958-1998. Port Townsend, WA: Copper Canyon Press. 1998. (9) Equiano, Olaudah.The Interesting Narrative of the Life of Olaudah Equiano: or, Gustavus Vassa, the African. Eversley, Shelly editor and Reid-Pharr, Robert introduction. New York: Modern Library Random House, 2004. (10) Wheatley, Phillis.Complete Writings. Carretta, Vincent contributor. New York: Penguin Classics, 2001. (11) Shakur, Tupac. The Rose That Grew from Concrete. NY: MTV, 2009. (12) Davis, Francis.History of the Blues: The Roots, the Music, the People. Cambridge, MA: Da Capo Press, 2003 (13) Haley, Alex.The Autobiography of Malcolm X. New York: Penguin, 2001. (14) Neale Hurston, Zora.Their Eyes Were Watching God. New York: HarperCollins, 2006. (15) Walker, Alice.The Color Purple. Boston: Houghton Mifflin Harcourt, 2006 (16) Hayden, Robert. Collected Poems. New York: Norton 2014. (17) Clapton, Eric. Clapton: The Autobiography. New York: Broadway Books/Random House, 2007. b. Supplementary texts and workbooks: Addendum: Student Learning Outcomes Students in humanities classes are expected to read at or beyond college level, write in the expository style, and demonstrate critical thinking skills in the humanities. Evaluations may consist of, but are not limited to: Reading comprehension and analysis Expository writing, and Critical thinking skills demonstrated through oral and/or written communication, and assigned research and/or projects in the humanities. 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