Jazz, the uniquely American music and art form, is one of America's great contributions to world culture. Now you can learn the basics of jazz and its history in eight lectures that are as free-flowing and original as jazz itself. These musically rich lectures follow the story of jazz in its many shapes, including ragtime; the blues; the swing music of the big band era; boogie-woogie; big band blues; and more modern jazz forms like bebop, cool, modal, free, and fusion. Along the way, Professor Messenger reveals intriguing insights into the development of jazz that will have you listening to this musical genre with a heightened appreciation for its history. You'll learn how the "cakewalks" of slave culture gave birth to a dance craze at the 19th century's end; how Scott Joplin became the writer of the most memorable rags ever, including "Maple Leaf Rag"; how the invention of the microphone brought smaller-voiced singers into the limelight; how boogie-woogie, a precursor of rock 'n' roll, found widespread success in the 1940s until its ubiquity forced it out of fashion; and much more. True to its name, jazz has defied definition, category, and stagnation. And these lectures - in toe-tapping, finger-snapping ways - will feed your intellectual curiosity and appreciation.
Elements of Jazz: From Cakewalks to Fusion
01: Plantation Beginnings
In this introductory lecture we discuss the birth of jazz: where and how it came into existence. This distant music has had profound effect on the music of today, and specifically on Mick Jagger. The lecture concludes with the origin of minstrel shows.
02: The Rise and Fall of Ragtime
The emergence of ragtime in the 1890s can be compared to the emergence of rock 'n' roll in the 1950s. Ragtime has many variations; it's not restricted to the piano. Are certain melodies prone to being "ragged?" America's greatest ragtime composer strenuously resisted the genre he would later come to love.
03: The Jazz Age
In general, jazz is syncopated music with more improvisation than there is in ragtime. Understand the difference between modern and traditional jazz. A technological advance made a huge impact on the development of jazz from its very beginnings.
04: Blues
We've all heard the blues, perhaps even hummed along. Ever wonder why it has such profound effect on its listeners? This vital style is at the core of all jazz performance. Whenever jazz becomes complex to the point of inaccessibility, jazz musicians inevitably return to the blues.
05: The Swing Era
Swing was for the youth of the Depression what jazz was for the previous generation and what ragtime was for the generation that preceded that one. In its time, swing seemed modern, rebellious, and tailored for a younger generation. In this genre, bands swing together as if they were one instrument, antiphonal section playing and arranged background riffs behind improvised solos.
06: Boogie, Big Band Blues, and Bop
We cover the distinctions between boogie-woogie and ragtime, and find out why each was commercialized to death. Also, see the relationship of early rock 'n' roll to boogie-woogie. Find out what effect electricity had on boogie-woogie. Following the chronological trend of this music, we look at 1940s modern jazz. With the emergence of bop, we see things get more complex.
07: Modern Jazz
During the 20th century, all the arts broke away from established rules to explore new territory. Modern jazz used extended chords and frequent chord changes, among other things. We discuss the "Cool School" of the early 1950s, modal jazz, free jazz, fusion, and funky jazz. Which of these schools was most influenced by rock?
08: The ABC's of Jazz Improvisation
How can 10 musicians get together, have no idea what any of the others will play, start at the same time, and make wonderful music? This lecture explains how this is done. And, with our explanation, we discover that the musicians are perhaps not as free as they appear. Bill Messenger and friends demonstrate jazz improvisation on our sound stage.
Overview Course No. 728
About
Professor Bill Messenger studied musical composition, on scholarship, at The Peabody Institute of Johns Hopkins University under Louis Cheslock. He attended a master’s class in 1963 with Nadia Boulanger, the teacher of Roy Harris, Virgil Thompson, and Aaron Copland. Professor Messenger has two master’s degrees, both from Johns Hopkins University. He has done additional graduate work in musicology at the University of Maryland.
Professor Messenger has taught composition, music history, and music theory at Goucher College in Baltimore and a number of community colleges. He regularly lectures on American music at The Peabody Institute and Towson State University Elderhostels.
Professor Messenger is the author of several books, including The Power of Music: A Complete Music Activities Program for Older Adults, which has been called "a landmark in music activities."
His musical career includes studio work on many early rock 'n' roll recordings. He has accompanied many nationally known performers during his years in the music business, including Lou Rawls and Cass Elliot, and he worked as an opener for Bill Haley and the Comets. He was also a pianist with the acrobatic rock'n'roll group, The Rockin’ Maniacs. As a jazz pianist, he has played in ragtime ensembles, swing bands, Dixieland bands, and modern jazz groups. In 1983 he was voted Baltimore’s best piano player by Baltimore magazine.
