Approved by Faculty Senate March 30, 2009
COURSE SYLLABUS: MUS 112 - Musical Culture of the Mississippi River
(Sample)
Professor: Richard Hammergren
Course Description: This course highlights the influences of the various cultural and ethnic groups along the Mississippi River, and how these influences manifest themselves in musical art forms in the 20th Century. No prerequisites. Offered occasionally.
This course meets the requirements for University Studies Arts and Science Core: Humanities
University Studies Outcomes:
Outcome 1: Identify and understand specific elements and assumptions of a particular humanities discipline (music).
Relevant Activities:
a. Learn elements of music including melody, harmony, rhythm, formal structure and texture characteristics, and be able to identify these elements in the music being studied.
b. Investigate river music recordings pertinent to the course and report on their musical content.
Activity (a) will be reinforced throughout the semester, as classroom discussion focuses on bringing musical elements into critiques of music being heard in guided listening examples.
Outcome 2: Understand how historical context, cultural values, and gender influence perceptions and interpretations.
Relevant Activities:
a. Understand historical placement of important musical contributions of river music to American culture. Identify recognizable styles.
b. Identify culture groups that have influenced music of the river: African-American, Native American, (Chippewa and Ojibwe), Mexican-American, Spanish-American, Laotian Hmong, Scandinavian, German, French, Cajun.
c. Identify specific gender influences in river music, and discuss how they have influenced musical perception: Babes in Toyland, Ann Peebles, Fontella Bass, Irma Thomas. (Activities b and c will address particular people behind the art.)
Outcome 3: Understand the role of critical analysis (e.g. aesthetic, historical, literary, philosophical, rhetorical) in interpreting and evaluating expressions of human experience.
Relevant Activities:
a. Discuss aesthetics as it applies to music of the river. Be able to use musical terms in describing the experience.
b. Analyze specific literary contributions in the music and discuss their relevance to the music and culture (poetry, song texts, chants, hymnody).
c. Learn to apply a critical ear to music in general, and music of the river specifically.
Course materials
Wald, Elijah and John Junkerman: River of Song (1st edition) 1998 (required)
Seeger, Anthony: River Of Song CD Series Smithsonian Folkways 1998 (required) Smithsonian Folkways catalog at: www.folkways.si.edu - source material for CD/DVD reviews
Course Outline
CLASS DAY 1: Introduction to musical elements of melody, harmony, rhythm, form and texture with musical examples. OUTCOME #1
Text: Preface, Introduction, Acknowledgements and Intro to Part One (p. 9 - 22).
CLASS DAY 2: More examples of musical elements. OUTCOME #1
Text: Begin part one: Americans, Old and New: The Powwow Lives On: Artist, Chippewa Nation (p. 23) At the headwaters of the Mississippi, an Ojibwe drumming group performs at a powwow dance, wild rice is harvested and a soloist sings quiet courting songs. Also covered: "The Vision of Tailfeather Woman,” (p. 32), the Indian version of how the Powwow Dance originated. OUTCOMES #1, #2, #3
CD Example: Section One: The headwaters (track #1) "Powwow Song" by Chippewa Nation.
CLASS DAY 3: North Country Fiddles: Artist, The Skal Club Spelmanslag (p. 37)
In a snowbound log house, a group revives the musical tradition of their Scandinavian forebears from fiddle tunes to comic "Scandihoovian" vaudeville routines.
CD Example: Section One: The headwaters (track #5) "Red-Headed Swede" by The Skal Club Spelmanslag. OUTCOMES #1, #2
CLASS DAY 4: Rockin' the World: Artist, Babes in Toyland (p. 45)
Minneapolis has been a hotbed of alternative rock for two decades but, for sheer, abrasive energy, few groups can compare to the trio of young women who’s punk onslaught has spawned admirers and imitators around the world. (Also covered "Soul Asylum": The Birth of a Twin Cities Rock Band (p. 55) - includes CD Example: Section One: The headwaters (track #4) " I Did My Best" by Soul Asylum. OUTCOMES #1, #2
CD Example: Section One: The headwaters (track #2) "22" by Babes in Toyland.
CLASS DAY 5: Folk Songs in the City: Artist, John Koerner (p. 56)
One of the most original performers of the 1960's folk scene, Koerner continues to mine the American tradition for gems, then reshape them according to his own quirky sensibility. (Also covered "Everybody's Going For the Money" (p. 65), a study of lyric structure. OUTCOMES #1, #3
CD Example: Section One: The headwaters (track #3) "Sail Away Ladies" by John Koerner.
CLASS DAY 6: Singing the Message: Artist, Sounds of Blackness (p. 67)
From their origins at a local college, to the top of the gospel charts, the 30-member ensemble explores the breadth and continuity of the African-American experience. OUTCOME #2
CD Example: Section One: The headwaters (track # 7) "I'll Open My Mouth to the Lord/ I'll Be Ready" by Sounds of Blackness.
CLASS DAY 7: Strangers in a Strange Land: Artist, Wang Chong Lor and Students (p. 76) On flutes, Jew's harp, and a traditional mouth organ, Laotian hmong immigrants play melodies that tell lonesome, tonal stories. OUTCOMES #1, #2, #3
CD Example: Section One: The headwaters (track #6) "The Singing Leaf" by Wang Chong Lor.
CLASS DAY 8: The Old Dutchman Polka: Artist, Karl Hartwich (p. 82)
The "dutchman" style of Polka is beer-drinking, good-time dance music, developed by German immigrants in rural Minnesota and Wisconsin. OUTCOMES #1, #2
CD Example: Section One: The headwaters (track # 8) "Kim Marie" by Karl Hartwich.
CLASS DAY 9: Mexican Roots, American Branches: Artist, La Otra Mitad (p. 90)
In a barroom in Moline, Illinois, a Mexican band plays everything from turn-of-the-century "corridos” to modern Latino-rap fusions. OUTCOMES #1, #2
CD Example: Section One: The Headwaters (track #10) "La Unica Estrella" by La Otra Mitad.
CLASS DAY 10: Davenport Jazz: Artists, Manny and Dude Lopez (p. 97)
Across the river from Moline, at the annual Box Fest, a mariachi trumpeter has gone on to lead a popular jazz band along with his singing, drumming son. (Also covered "Bix Beiderbecke and the Birth of Midwestern Jazz," p. 100), the discovery of a musical prodigy. OUTCOMES #1, #2
CD Example: Section One: The headwaters (track #9) "Jazz Me Blues" by The Manny Lopez Quintet.
CLASS DAY 11: Exam #1
CLASS DAY 12: Text: begin part two: The Midwestern Crossroads (p. 106 - 109)
Prairie Home Bohemian: Artist, Greg Brown (p. 110) In Iowa City, a leading light of the folk revival sings his funky, homegrown acoustic music, mixing jazz and blues with a sound born in his Iowa youth. (Also covered "Flat Stuff" p. 117), a song analysis. OUTCOMES #1, #3
CD Example: Section Two: The Midwestern Crossroads (track #11) "Flat Stuff" by Greg Brown.
CLASS DAY 13: Riverboats, Fiddles and Banjos: Artist, John Hartford (p. 119)
The writer of "Gentle On My Mind" alternates his performing career with a side job as a Mississippi riverboat pilot, and is a fan of river lore and history. OUTCOMES #1, #3
CD Example: Section Two: The Midwestern Crossroads (track #12) "Miss Ferris" by John Hartford.
CLASS DAY 14: Good Old Family Music: Western Illinois Bluegrass Days (p. 126)
At a bluegrass festival in rural Illinois, old-time players play a country music Nashville has forgotten, while a popular Missouri bluegrass band tears up the main stage. (Also covered "John Hartford on the Mississippi's Role in the Origin of Bluegrass,” p. 139) and St Louis Blues (p. 140), with commentary. OUTCOMES #1, #2
CD Example: Section Two: The Midwestern Crossroads (track #13) "Born to Be With You" by The Bob Lewis Family.
CLASS DAY 15: Poetry and the Drum: Artists Eugene Redmond and Sylvester "Sunshine" Lee (p. 142) In East St. Louis, two local artists are trying to infuse black youth with pride in their African heritage through a mix of drumming and evocative poetry. (Also covered "River of Bones and Flesh and Blood," p. 150), poetry in song; an analysis. OUTCOMES #1, #2, #3
CD Example: Section Two: The Midwestern Crossroads (track #14) "Milestone" by Eugene Redmond and Sylvester "Sunshine" Lee.
CLASS DAY 16: Rhythm and Blues Man: Artist, Oliver Sain (p.152)
The man many consider the "heart" of St. Louis R&B is still going strong, holding the scene together and making music that mixes the best of old and new. OUTCOMES #1, #2
CD Example: Section Two: The Midwestern Crossroads (track #16) "Stop Breaking Down" by Oliver Sain.
CLASS DAY 17: Saturday Night and Sunday Morning: Artist, Fontella Bass (p. 161)
Fontella Bass was one of St. Louis's biggest R&B stars, but she has returned to her roots, singing the gospel music she learned from her mother and grandmother. OUTCOMES #1, #3
CD Example: Section Two: The Midwestern Crossroads (track #15) "I'm So Grateful" by Fontella and Martha Bass.
CLASS DAY 18: Loud Music in a Small Town: Artist, The Bottle Rockets (p. 169)
In Festus, Missouri, the Bottle Rockets play a hard-edged music that walks the line between Honky-Tonk Country and Alternative Rock. OUTCOMES #1, #3
CD Example: Section Two: The Midwestern Crossroads (track #17) "Get Down, River" by The Bottle Rockets.
CLASS DAY 19: Old French New Year: Artist, The Ste. Genevieve Guignolee Singers (p. 174 ) In the first town west of the Mississippi, the descendants, of French settlers, keep alive a medieval New Year's tradition. OUTCOMES #1, #2
CD Example: Section Two: The Midwestern Crossroads (track #18) "La Guignolee" by the Ste. Genevieve Guignolee Singers.
CLASS DAY 20: That Old-Time Religion: Artist, The Boundless Love Quartet (p. 180)
Southern gospel is still going strong in the churches of western Kentucky, and in the tiny town of La Center, a multi-generational quartet carries on the tradition. OUTCOMES #1, #2
CD Example: Section Three: The Southern Fusion (track #1) "The Sweetest Song I Know" by The Boundless Love Quartet.
CLASS DAY 21: Exam #2 - Midterm
CLASS DAY 22: Text: Begin part three: The Southern Fusion (p. 186 - 191) We Wanna Boogie: Artist, Sonny Burgess (p. 192). In an Arkansas roadhouse, one of the original Sun Records Rockabillies recalls the birth of Rock 'n' Roll. OUTCOMES #1, #3
CD Example: Section Three: The Southern Fusion (track #2) "T for Texas (Blue Yodel #1) by Sonny Burgess.
CLASS DAY 23: Beale Street Talking: Artist, Rufus Thomas (p. 200)
The dancer, singer, radio personality and all-around show business powerhouse of the Memphis's black music world, reminisces about the glory days of Beale Street. OUTCOMES #1, #2
CD Example: NONE - Informal class discussion - Q & A - related web info.
CLASS DAY 24: Memphis Soul Stew: Artists, The Memphis Horns, with Ann Peebles (p. 207) In a Memphis recording studio, the world's most recorded horn section get together to talk about the Golden Age of Southern Soul music. OUTCOMES #1, #2, #3
CD Example: Section Three: The Southern Fusion (track #3) "St Louis Blues" by Ann Peebles and the Memphis Horns.
CLASS DAY 25: Down Home in Mississippi: Artist, Big Jack Johnson (p. 217)
In Clarksdale, one of the rawest and hottest bluesman in the Delta, talks about his musical roots, then takes us out to a back-country "juke joint." (Also covered: Delta Legend, Robert Lockwood, Jr., p. 224 - 227 and: Midnight Ramble: Levon Helm, p. 228 - 229), conversations and experiences of two legendary bluesmen. OUTCOMES #1, #2, #3
CD Examples: Section Three: The Southern Fusion (track # 4, 5, 6 and 7) #4 "Going Back to Memphis" by Levon Helm and James Cotton; #5 "Take a Little Walk With Me" by Robert Lockwood, Jr.; #6 "Catfish" by Big Jack Johnson; #7 "Shake Your Money Maker" by Big Jack Johnson and the Jelly Roll Kings.
CLASS DAY 26: A Blues King Comes Home: Artist, Little Milton (p. 231)
In Greenville, we see a more uptown approach to the blues as soul-bluesman, Little Milton, comes back to the street where he got his start. also covered: Delta Radio, p. 236 - 241), radio's contribution. OUTCOMES #1, #2
CD Example: Section Three: The Southern Fusion (track #8) "Grits Ain't Groceries (All Around the World)" by Little Milton.
CLASS DAY 27: United in Praise: Artist, The Mississippi Mass Choir (p. 242)
From a small church in Vicksburg, we travel to Jackson with a member of the most popular gospel choir in America. OUTCOMES #1, #2
CD Example: Section Three: The Southern Fusion (track #9) "We Praise Your Holy Name" by The Mississippi Mass Choir.
CLASS DAY 28: Exam #3
CLASS DAY 29: Text: Begin part four: Louisiana, Where Music Is King (p. 252-257)
North Louisiana Twang: Artist, Kenny Bill Stinson (p. 258). In northern Louisiana, country and blues come together in a potent blend, and a quirky breed of songwriter is born. OUTCOMES #1, #2
CD Example: Section Four: Louisiana, Where Music Is King (track #10) "Taters and Gravy and Chicken-Fried Steak" by Kenny Bill Stinson.
CLASS DAY 30: The Singing Governor Turns Ninety-Eight: Artist, Jimmie Davis and Friends (p. 262). The two-time governor of Louisiana celebrates his birthday with Merle Haggard and the stars of the "Louisiana Hayride." OUTCOMES #1, #2
CD Example: NONE - Informal class discussion, Q&A - related Web info.
CLASS DAY 31: The Cajun Hank Williams: Artist, D.L. Menard (p. 266)
In the Bayou Country, the greatest songwriter in Cajun music hosts a party in his backyard, and talks about his forty years as a" local legend." OUTCOMES #1, #2
CD Example: Section Four: Louisiana, Where Music Is King (track #11) "La Porte D'en Arriere" by D.L Menard.
CLASS DAY 32: Zydeco Cowboy: Artist, Geno Delafose (p. 281)
At a dance hall in Opelousas, or at his horse ranch outside Eunice, Geno Delafose carries on the Black French tradition with rollicking style. (Also covered; Accordions Large and Small p. 288), understanding the workings of an accordion. OUTCOMES #1, #2
CD Example: Section Four: Louisiana, Where Music Is King (track #12) "Bon Chien" by Geno Delafose.
CLASS DAY 33: The Streets of the French Quarter: Artists, David and Roselyn (p. 293)
David and Roselyn have been singing on the streets of New Orleans for over 20 years, lending their multi-instrumental skills to everything from jazz to disco songs. OUTCOMES #1, #2, #3
CD Example: Section Four: Louisiana, Where Music Is King (track #13) "Marie Lavaux" by David and Roselyn.