jump to contentsacramento state - leadership begins here

 

 

sac state homeadmissionsabout sac stategiving a giftsite indexcontact us

site link 1 | site link 2 | site link 4 | site link 5 | site link 6 | site link 7 | site link 8 | site link 9 | site link 10

         College Name

         Department Name

Ethnic Studies 179: Black Music and Black Consciousness

Professor: Ricky K. Green††

Office:Amador 562A

Office Hours: MW 10-11:50††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††

Phone: 278-3359, greenr@csus.edu†††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††† ††††††††††††††††††††††††††††††††††††††††††††††††

†††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††

This course will provide students with an understanding of the essential role Black music assumes in the development of people of African descent throughout the Black Diaspora.Major topics include the historical development of Black music, the role of music in Black resistance and other forms of political behavior, the economic exploitation of Black music and the Black musician and the influence of globalization.

 

Learning Objectives

 

1.                      To provide students with a critical understanding of the essential role Black music assumes in the development of people of African descent throughout the Black Diaspora.

2.                      To provide students with a critical understanding of the essential role Black music assumes in the development of Black cultures throughout the Black Diaspora.

3.                      To provide students with a critical understanding of the role Black music plays in the development of Black political behavior including resistance to racial oppression and discrimination.

4.                      To provide students with a critical understanding of the economic exploitation of Black music and the Black musician.

 

Assignments and Grading

First quiz, Sept. 27th (25% ).

First paper, Oct. 25th (30% ).

Second paper, last day of finals week (35%).

Class attendance/participation (10%).

 

Grading Scale. A=100-93††††††††††††† B=87-84††††††††††††††† ††††††††††††††† C=77-74††††††††††††††† ††††††††††††††† D=65-60

†††††††††††††††††††††††††††† A-=92-90††††††††††††† B-=83-80†††††††††††††† C-=73-70†††††††††††††† F=59-

†††††††††††††††††††††††††††† B+=89-88†††††††††††† C+=79-78††††††††††††† D+=69-66

 

Required Texts:

The Power of Black Music, Samuel A. Floyd, (Oxford, 1995: Oxford University Press).

Blues Legacies and Black Feminism, Angela Davis, (New York 1999, Vintage Books).

Hip Hop Generation, Bitari Kitwana (Basic Civitas Books, 2003)

*Readings with asterisks are in reserve reading room

 

 

Assignments

 

Section One: Origins of African Music and its adaptation to the Black Diaspora

 

Weeks 1&2:African heritage and the concept††††††† Power of Black Music, 14-57

††††††††††††††††††††† of Soul††††††††††††††††††††††††††††††††††††††††††††† *Douglass, 57-58

††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††† *DuBois, 204-217

††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††† *Barrett, 1-39

†††††††††††††††††††††††††††††††††

Week 3:††††††† Music as Discourse††††††††††††††††††††††††††††

††††††††††††††††††††††Adaptation and reinterpretation††††††† †††††††††† Power of Black Music, 58-99

††††††††††††††††††††† Distinctiveness and inclusiveness†††

††††††††††††††††††††† †††

Week 4:†† †††† Music as catharsis

††††††††††††††††††††† Freedom and Spiritualism †††† ††††††††††† Power of Black Music,

††††††††† ††††††††††† Music as community††††††††††††† †††††††††††*Black Culture and Black

††††††††††††††††††††† Music as resistance††††††††††††††††††††††††††††† Consciousness,

*First exam, September 27th (25% )

 

Section Two: †††††††††† From Sacred to Secular: Spirituals, Gospel, Blues

 

Week 4&5: Spirituals and work gang songs††††††††† Blues People 17-31

††††††††† ††††††† ††† Building a cultural foundation †††††††††††Black Culture and Black

††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††††† Consciousness, 193-217

 

Week 6 ††††††† Jim Crow and Gospel†††††††††††††††††††††††† Blues Legacies and †††††††††††††††

††††††††††††††††††††† Music and religion†††††††††††††††††††††††††††† Black Feminism, 3-66

 

Week 7&8: Blues,††††††††††††††††††††††††† ††††††††††††††††††††††† Power of Black Music, 101-159

Blues Legacies and †††††††††††††

††††††††††††††††††††† †††††††††††††††††††††††††††††††††††††††††††††††††††††††††† Black Feminism, 66-197

*First Paper, October 25th, 5-6 pages (30% )

 

Section Three: Transitions: Unmasking and developing the Hidden Transcript

 

Weeks 9&10:††††††††††† ††††††††††† Jazz and other transitions††††††† Power of Black Music, 160-277

 

Weeks 11&12: †††††††† Soul, R&B, ††††††††††††††††††††††††††† †††††††††††

††††††††††††††††††††††††††††††††† ††††††††††††††††††††††† †††††††††††††††††††††† Hip Hop Generation

††††††††††††††††††††††††††††††††† ††††††††††††††††††††††† ††††††††††††††††††††††† Part I

 

Weeks 12-14:††††††††††† ††††††††††† new directions†††††††††††††††††††††††† Hip Hop Generation

††††††††††††††††††††††††††††††††† Reinventing resistance †††††††††† Part II, Race Rebels, 1-34

Week 15†††††††††††††††††† Keepiní it Real: Class††††††††††††

†††††† †††††††††††††††††††††††††† Conflict and Black Music †††††

*Final paper Analytical paper (6-7 pgs.), due last day of finals (35%)

 

 

 

Last updated: 09/12/2007