MUS 127b/ETHN 179b – Quiz 6

MUS 127b/ETHN 179b – Quiz 6
short answer questions related to the lecture, reading, and listening material
Responses can be concise, but they should be well conceived and well written. Take
time to do all of the reading first, then think through the questions and outline your
responses, all before beginning to write. Each response should be comprised of at
least several complete sentences in your own words. You can summarize or
paraphrase but should not quote material directly from the reading (or from any other
published or unpublished source). Quiz submissions will be screened by TurnItIn
software to detect possible plagiarism issues.
Please submit your responses as a single document in PDF format in the “Quiz
Submissions” folder under the “Content” tab on our TED website.
Responses are due no later than Monday May 25 @5pm.
1. In your own words, describe the disagreements that emerge during the joint
interview with Wynton Marsalis and Herbie Hancock, especially with regards to the
value of pop music.
2. How might their disagreements reflect the larger issues surrounding questions of
appropriation and inequities in the music industry, and concerns over stylistic and
cultural blending and perceived “authenticity”?
3. Why do you think Wynton’s views of jazz were so influential in the 1980s and into
the 1990s? What criticisms did his early stewardship of Jazz at Lincoln Center
provoke?
4. What effect did exalting past traditions of jazz have on living jazz artists in the
1980s and 90s? (i.e., What was jazz’s “Frankenstein Monster”?)
5. According to data from the Survey of Public Participation in the Arts (SPPA)
reviewed in class, who listens to jazz?
6. What challenges have jazz musicians who do not fit the “mold” (i.e., who are not
male and hetero, or who are non-white and non-African American) faced in the jazz
community and in the jazz industry? How might we continue to address these
problems?
7. How does John Szwed describe European Improvised Music? What is the
“paradox” (or, in Paul Rinzler’s terminology, the “dynamic tension”) that he identifies
in the music?