OBJECTIVE: In lieu of a full-fledged independent research project in music history (this semester), you will read, discuss and report collectively on a topic within your textbook. The purpose of this project is to prepare you for independent research in more advanced music history courses.

In the course of this project you will do the following:

• Assemble a group of eight (8) students (three such groups) or one group of seven (7).
• Choose a topic from the list below.
• Read and discuss the topic as a group.
• Identify any necessary additional information and appropriate YouTube videos.
• Collectively prepare and deliver a brief (20-minute) class presentation on the topic.
• Submit a series of study questions to be posted on a course review sheet.

STEP 1: Assemble the Group

Groups must consist of eight members (three groups) or a lone group of seven (7) from the current section of MUH 3633.

Each group must pick a leader, who is the only person who communicates with the instructor about the presentation. Each group will be identified by its leader, and the graded items for the group will be submitted by (and returned to) the leader.

The group leader must submit a list of potential members to me via email, before a topic is assigned. The group leader may submit a single email with a list of potential members and three choices of topics.

A group may be formed initially with only seven members, but that group will be required to add the eighth member ASAP. Any individuals who remain unaffiliated after three groups have been formed may be assigned to work with an undersized group or other unaffiliated individuals in the fourth group. Be proactive, if you wish to work with specific classmates.

The group should consider itself a "committee of equals," with the labors of the assignment divided equally among all. Specifically, not every member of the group must participate in every task, but you should divide the work so that all members contribute equally. (See below on how you might divide the work.)

STEP 2: Choose a Topic

1. By mutual consent, the group should select at least three possible subjects from the list below (bottom of the page).
2. The group leader must then submit the three choices (listed in order of preference) to me via email, and wait for my approval before proceeding with the project.
3. NB. Only one group may report on a subject, so choices will be approved on a "first come" basis.
4. Choices will be approved within about 48 hours (or sooner), and those subjects will not be available to other groups. If all of your group's choices are taken, you will be assigned the remaining subject.

STEP 3: Read and Discuss Your Subject

1. As soon as possible, every member of the group should read the relevant pages in the textbook and and listen to the music example(s). The first time through, read for general information and "big ideas." What information is presented, or what argument is put forth, and how? Note especially any references to people, places, concepts, musical or non-musical terms, etc., with which you may not be familiar.
2. After your first time through the text, look up any unfamiliar terms, etc. You need not do extensive research on these new or unfamiliar terms, but you must know enough to understand the concepts when you re-read it. For basic music information, use:
   • The New Grove Dictionary of Music and Musicians (available as an electronic database that is part of "Oxford Music Online" on the UCF Library web site - see articles & databases).
   • Other music reference tools found in the REF ML100 area of the library.
   • Beware of just "surfing the web." While there may be useful and generally correct information on the web, look carefully at the source of any information that you bring from outside the text.
   • If you are unable to locate what you need in these or other basic sources, ask me. I will help you, but only if you can show me a list of the sources that you have already consulted. (Keep track of any research that you do.)
3. Re-read the text (or portions of it) as many times as necessary until you really understand it. Pay closer attention to the details as you become more familiar with the text. What information is most imporant, and what is less so? Which ideas must you present, and which are only interesting sidebars?
4. Read the supporting essays or other source materials in Alexander, To Stretch Our Ears. How does that material add to your understanding of the subject? Can (and should) any of that reading be included in your presentation?
5. When you have read and re-read the text and other resources to the point that you believe you truly understand it, you should discuss it with your group members. Do you all agree on the general ideas presented or not? If not, work out your differences before attempting to prepare your presentation and study questions.

STEP 4: Prepare an Oral Presentation and Study Questions on Your Subject(s)

1. Only when your group understands and agrees on the contents of your subject, should you prepare your presentation.
2. While everyone shares in the work (and the final grade), not everyone must participate in every stage of the preparation. Among the tasks that may be delegated to individuals are:
   • Specific additional research assignments.
   • Close analysis of the music examples.
   • Organizing the oral presentation (writing out a lesson plan).
   • Giving the oral presentation. (Hint. This is best restricted to no more than two speaking individuals and a third "tech" person.)
   • Creating PowerPoint Slides.
   • Typing and proofreading the study questions.
   • Anything else that you can think of.

   Reminder: You will all share a grade, so do double check and proofread the work of your group's members.

3. Remember the following important points about your oral presentation:
   • First, your presentation should be a summary (and expansion) on the contents of the text. You are not simply to read the text to the class. Rather, you are the expert guides to this history and its music.
   • Second, do not waste your time with excessive background materials , e.g., exact birthdates, early years, vague anecdotes, etc. Better will be quick references to important points of history, relevant musical terms, and how the music relates (or not) to other pieces and styles studied in the course.
   • Third, give a general introduction to the piece(s) in your topic, especially those with textbook listening guides (or items assigned for listening tests), noting the most important traits that define the sound of the piece (and the style it represents). You need not (and should not) simply play the entire work. Instead plan to play only a few of the most important excerpts.
4. Remember the following important points about your PowerPoint slides:
   • First, each slide is a type of shorthand to draw attention to the most important points in your subjects. Do not overload your slides with excessive information or text. Less is almost always better, with two less crowded slides in place of one overloaded slide.
   • Second, use images sparingly (1-2 per slide) and always large enough to be seen in the back of the room. You may acquire your pictures from any reputable source. NB. Wikipedia has numerous free images without copyright issues.
   • Third, create hyperlinks to only the "best" YouTubes, i.e. videos and recordings that match the textbook's Listening Guides [Performer, sound quality, etc.].Make sure that your links are still good shortly before class. You may wish to consult with me about which specific examples to use.
   • Fourth, in presenting your PowerPoint slides, do NOT simply read the slides to the class. Rather use the slides as "bullet points" that identify your main ideas and focus the class's attention.
   • Fifth, similarly, in presenting sound examples, do NOT simply play the whole piece without comment. [Doing so will resulty in an automatic downgrading of your group's work.] Rather, be able to point out the most important sound traits before playing excerpts. Be able to cue up specific points in the recording without extensive hunting. Finally, do NOT talk excessively while the recording is playing. Explain the example before playing.
5. The following rules and suggestions apply to your oral presentation:
   • The maximum time allowed for your presentation will be 20 minutes. If you exceed 25 minutes (half of a class meeting), your presentation will be stopped and the group's grade penalized.
   • You may present in any fashion you wish, but remember that complex arrangements, e.g., multiple readers, frequent switching of recordings, etc., will eat into your time. Keep your presentation simple (and practice at least 1-2 times to ensure accurate timings).
   • You may present information on people, music, etc., related to the topic, but not explicitly included in your text. Always remember, however, who and what are the most important subject(s) of your presentation. Failure to cover the chosen subject(s) adequately will result in a lower grade.
   • Again, not every member of your group must participate in the presentation, although everyone in the group must help with the preparation (and study questions).
6. Within 24 hours after your presentation, your group must submit (electronically) a brief series of review questions (similar to what is posted on the course web site), and you must also submit a copy of your PowerPoint presention.
7. You should have no fewer than 6-8 questions about materials from the textbook, and you must include at least one question for each Listening Guide/Item included in your selection. (See my review sheets for examples of how to phrase your questions.)

STEP 5: Submitting Your Presentation and Reviews Questions, and Grading Criteria

• DUE DATE (PRESENTATION): Reports will be given on Monday, 2 December 2019, and Wednesday, 4 December 2019 in an order to be determined. You will be notified at least one class in advance of the day your group is to present
• DUE DATE (STUDY QUESTIONS & POWERPOINT SLIDES): Your Review Questions and PowerPoint Presentation are to be submitted to me no more than 24 hours after your presentation. These items will then be posted for the entire class to use in studying for the Final Exam. NB., You must submit your questions in a WORD document as an electronic file in an email attachment. Your PowerPoint Presentation may be in any recent version of that program.
• This project will count for 5% of your course grade.
• Within the project itself, the grade will be determined and awarded by the following:
  • 50% on the oral presentation, including such basic matters as accuracy of information, as well as the clarity and logic of your organization.
  • 30% on the visual and sonic aspects of your presentation, including suitability and legibility of PowerPoint slides, and appropriateness of any sound examples. Music that is simply played without comment or prepartion and excessively long examples will be downgraded.
  • 20% on the quality of your written Review Questions, starting with grammar and spelling, as well as the accuracy of the information and the usefulness of the study questions.
• All members of the group will receive the same grade, unless at least two of the group (from the other five individuals) indicate that a group member did not contribute equally to the paper. Students who do not contribute will receive a deduction proportional to their contribution, as indicated by the rest of the group.

The following potential topics are all found in the course textbook, Crawford/Hamberlin An Introduction to America's Music,. Note carefully, the pages and music examples involved in each topic.

• "On Broadway: Popular Songs on the Stage" and "Back to Broadway: The Integrated Musical" - GROUP: E. Hueckel, J. Cowan, M. Delgado, C. Sanchez, C. Smith, S. Suarez-Solis, & G. Torres, using the following:
  • Crawford/Hamberlin (3rd ed.), Chapter 14, pp. 285-90 (middle of page), and 298-302
  • Listening Guides: LGs 14.1 & 14.4
  • Alexander, To Stretch Our Ears - # 98
• "George Gershwin" - GROUP: K. Gruwell, M. Emmanuelli, J. Griggs, C. Lang, J. Levy, M. Milkos, B. Saint-Clair, & K. Walker, using the following:
  • Crawford/Hamberlin (3rd ed.), Chapter 15, pp. 303-310 (middle of page)
  • Listening Guides: LG 15.1 & the following online recordings:
    • George Gershwin, Porgy and Bess, "Summertime"
    • George Gershwin, Porgy and Bess, "It Ain't necessarily So" [Starts at 1:55, ends at 5:20]
  • Alexander, To Stretch Our Ears - # 81
• "Musical Modernism" - GROUP: K. Lodge, G. Gauvin, E. Glavin, M. Gutkin, J. Henderson, C. Honda, J. Infantino, & A. Tobin, using the following:
  • Crawford/Hamberlin (3rd ed.), Chapter 15, pp. 312-317
  • Listening Guides: LG 15.2 & the following online recording:
    • Leo Ornstein, , "Wild Men's Dance" (Danse Sauvage) (1913)
    • Edgard Varèse, Ionisation (1929)
  • Alexander, To Stretch Our Ears - # 87
• "Black Concert Music in the Harlem and Chicago Renaissances" - GROUP: J. Toler, C. Almonte, T. Brodrecht, J. Derrenbacker, C. Everett-Cruz, C. Fuentes, M. Klavins, and A. Seen, using the following:
  • Crawford/Hamberlin (3rd ed.), Chapter 16, pp. 327-331 (text stops at p. 329)
  • Listening Guides: LG 16.2 & the following online recordings:
    • William Grant Still, Afro-American Symphony, I. Moderato Assai (1930)
    • Marian Anderson Sings at Lincoln Memorial (1939)
  • Alexander, To Stretch Our Ears - # 94