1.(03.10) Read the epitaphs of Mr. and Mrs. Purkapile from the Spoon River Anthology and answer the question that follows.Mrs. Purkapile HE ran away and was gone for a year. When he came home he told me the silly story Of being kidnapped by pirates on Lake Michigan And kept in chains so he could not write me. I pretended to believe it, though I knew very well What he was doing, and that he met The milliner, Mrs. Williams, now and then When she went to the city to buy goods, as she said. But a promise is a promise And marriage is marriage, And out of respect for my own character I refused to be drawn into a divorce By the scheme of a husband who had merely grown tired Of his marital vow and duty.Mr. Purkapile SHE loved me. Oh! how she loved me I never had a chance to escape From the day she first saw me. But then after we were married I thought She might prove her mortality and let me out, Or she might divorce me. But few die, none resign. Then I ran away and was gone a year on a lark. But she never complained. She said all would be well That I would return. And I did return. I told her that while taking a row in a boat I had been captured near Van Buren Street By pirates on Lake Michigan, And kept in chains, so I could not write her. She cried and kissed me, and said it was cruel, Outrageous, inhuman! I then concluded our marriage Was a divine dispensation And could not be dissolved, Except by death. I was right.Which best describes Mr. Purkapile's attitude toward his wife? (10 points)Maddened—he wanted a divorce, and she would not agree to it.Tender—he was glad to be greeted by her kisses upon his return.Controlling—he expected her to wait for him while he was gone.Dedicated—he vowed to survive his ordeal and return to her.2.(03.10) Read the epitaphs of Mr. and Mrs. Purkapile from the Spoon River Anthology and answer the question that follows.Mrs. Purkapile HE ran away and was gone for a year. When he came home he told me the silly story Of being kidnapped by pirates on Lake Michigan And kept in chains so he could not write me. I pretended to believe it, though I knew very well What he was doing, and that he met The milliner, Mrs. Williams, now and then When she went to the city to buy goods, as she said. But a promise is a promise And marriage is marriage, And out of respect for my own character I refused to be drawn into a divorce By the scheme of a husband who had merely grown tired Of his marital vow and duty.Mr. Purkapile SHE loved me. Oh! how she loved me I never had a chance to escape From the day she first saw me. But then after we were married I thought She might prove her mortality and let me out, Or she might divorce me. But few die, none resign. Then I ran away and was gone a year on a lark. But she never complained. She said all would be well That I would return. And I did return. I told her that while taking a row in a boat I had been captured near Van Buren Street By pirates on Lake Michigan, And kept in chains, so I could not write her. She cried and kissed me, and said it was cruel, Outrageous, inhuman! I then concluded our marriage Was a divine dispensation And could not be dissolved, Except by death. I was right.Which of these lines from the epitaph directly names Mr. Purkapile's attempt to end the marriage? (10 points)SHE loved me./Oh! how she loved me I never had a chance to escapeI then concluded our marriage/Was a divine dispensationShe might prove her mortality and let me outThen I ran away and was gone a year on a lark.3.(03.10) Read the epitaphs of Mr. and Mrs. Purkapile from the Spoon River Anthology and answer the question that follows.Mrs. Purkapile HE ran away and was gone for a year. When he came home he told me the silly story Of being kidnapped by pirates on Lake Michigan And kept in chains so he could not write me. I pretended to believe it, though I knew very well What he was doing, and that he met The milliner, Mrs. Williams, now and then When she went to the city to buy goods, as she said. But a promise is a promise And marriage is marriage, And out of respect for my own character I refused to be drawn into a divorce By the scheme of a husband who had merely grown tired Of his marital vow and duty.Mr. Purkapile SHE loved me. Oh! how she loved me I never had a chance to escape From the day she first saw me. But then after we were married I thought She might prove her mortality and let me out, Or she might divorce me. But few die, none resign. Then I ran away and was gone a year on a lark. But she never complained. She said all would be well That I would return. And I did return. I told her that while taking a row in a boat I had been captured near Van Buren Street By pirates on Lake Michigan, And kept in chains, so I could not write her. She cried and kissed me, and said it was cruel, Outrageous, inhuman! I then concluded our marriage Was a divine dispensation And could not be dissolved, Except by death. I was right.How is Mrs. Purkapile like her Spoon River neighbor, Mr. McGee?Answer in at least three complete sentences using supporting details from the epitaphs. (15 points)4.(03.10) Which of these lines from "The Story of an Hour" describes the change in Mrs. Mallard after her initial realization of her husband's death? (10 points)Her pulses beat fast, and the coursing blood warmed and relaxed every inch of her body.But now there was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky.Into this she sank, pressed down by a physical exhaustion that haunted her body and seemed to reach into her soul.She wept at once, with sudden, wild abandonment, in her sister's arms.5.(03.10) The following line from "The Story of an Hour" describes Mrs. Mallard: "She did not stop to ask if it were or were not a monstrous joy that held her."Why might she consider her joy monstrous? (10 points)Because it was brought about by tragedyBecause she had not planned for itBecause she was afraid to be happyBecause it made her sister angry6.(03.10) Benjamin Franklin said, "Be assured, a Woman's Power, as well as Happiness, has no other Foundation but her Husband's Esteem and Love."Based on her thinking before learning of her husband's death, how would Mrs. Mallard in "The Story of an Hour" have responded to Franklin's idea?Use evidence from the story to support your conclusion. (15 points)7.(03.10) In "A Jury of Her Peers" there is a moment when, "the eyes of the two women [Mrs. Hale and Mrs. Peters] met—this time clung together in a look of dawning comprehension, of growing horror."Which line from the story explains this reaction? (10 points)"They wonder whether she was going to quilt it or just knot it!""A person gets discouraged—and loses heart.""Asking for an apron, and her little shawl. Worryin' about her fruit.""Somebody wrung its neck," said she, in a voice that was slow and deep.8.(03.10) Which of these best describes Mrs. Wright in "A Jury of Her Peers?" (10 points)She hated to see things half done.She had eyes that looked as if they could see a long way into things.She was real sweet and pretty, but kind of timid and—fluttery.She used to wear pretty clothes and be lively.9.(03.10) Throughout "A Jury of Her Peers" Mrs. Hale mentions that the Wright's home, "never seemed a very cheerful place." What evidence from the story lets the reader know Mrs. Hale's impression of the Wright's home is accurate? (15 points)10.(03.10) Use evidence from the Spoon River Anthology epitaphs and "The Story of an Hour" to explain how literature of the time reflected some women's feelings of being trapped and oppressed by their husbands. (20 points)

1-Let's Discuss!ImprovisationMany jazz enthusiasts would identify improvisation as the most essential feature of jazz. Do you agree? What are the characteristics and qualities of an improvised performance that distinguish it from written music? How does improvisation in jazz differ from improvisation in other kinds of music with which you are familiar?2-Let's Discuss!Ragtime, the blues, blues form, and 32-bar song formWritten for the piano, the rag was one of the most influential styles of music on early jazz. The left-hand accompaniment pattern of the rag was adopted in early stride-style jazz piano. Scott Joplin is one of the most famous rag composers.Listen to The Entertainer. This piece has several sections. Listen specifically from 00:00 to 02:16, and consider the following questions:3-Let's Discuss!Early JazzAmong the great New Orleans jazz musicians who recorded in the 1920s were Joe "King" Oliver, Jelly Roll Morton, Sidney Bechet, and Louis Armstrong. King Oliver's piece Dippermouth Blues, in particular, exhibits the characteristic collective improvisation that defines the New Orleans style.Louis Armstrong was the first great jazz solo improviser, and he has one of the most distinctive solo styles. West End Blues provides an opportunity to get better acquainted with Armstrong's solo style.Listen to West End Blues by Louis Armstrong and Hit Hot Five, another example of the New Orleans polyphony. The melody of this piece is played collectively by the three horns at 00:15 to 00:50 after an amazing trumpet introduction of Louis Armstrong (00:00 to 00:13).Consider the following Questions:Who has the lead voice during the melody? How many soloists are there after the melody? Briefly describe the soloists and their style of play.What makes this piece different from the other New Orleans style groups, for example, Dippermouth Blues by King Oliver's Creole Jazz Band?What is more predominant in this piece, the collective improvising or the featured soloist?Describe Armstrong's singing from 01:26 to 01:58. Does it sound improvised or written?Now describe the piano solo that follows from 02:00 to 02:33. Does it sound improvised or written?Describe the rhythm section in this piece. How do they support the soloists?4-Let's Discuss!Swing and Duke EllingtonThe recording for this Discussion Topic is Ko-Ko performed by Duke Ellington and His Orchestra. Notable soloists in Ellington's orchestra include Cootie Williams on trumpet, Johnny Hodges on alto sax, Ben Webster on tenor sax, and Jimmy Blanton on bass, as well as Duke Ellington himself on piano.Listen to Ko-Ko performed by Duke Ellington's Orchestra, and consider the following questions:How many soloists are featured in this piece?Which instruments are featured as soloists? Does each soloist play for an entire chorus or more? Note: the length of a chorus may be found between 00:13 to 00:31, which is the first chorus of the piece that features the melody.How many bars are in a chorus? Joe Nanton's trombone and plunger solo begins at 00:32. What is Nanton's style of play often called? Describe the sound of the accompanying trombone section during his solo. How do these supporting accompaniments give harmonic and rhythmic support to Nanton's solo?Describe Blanton's bass solo. How many choruses does he play? Describe in detail how the band accompanies him during his bass solo. Does the band play continuously during his solo? Which bars of this chorus does the accompanying band play?5-Let's Discuss!SwingBenny Goodman was the "King of Swing," credited with popularizing swing jazz for the broader American population. He was one of the few white bandleaders regarded as "hot" by black jazz musicians. He was also the first white bandleader to cross the "color line" and hire black musicians. In this discussion topic we'll hear the Benny Goodman Orchestra performing live at Carnegie Hall—a momentous occasion in itself.Listen to Swingtime in the Rockies performed by The Benny Goodman Orchestra, and consider the following questions:Identify the form of this piece. The first chorus, which contains the melody, begins at the beginning and ends at 00:28. Use letters to designate the sections of this chorus.Which section of the band plays the melody? Does this change? Does a different section of the band play any part of the melody during this first chorus?The melody of this piece is a good demonstration of call-and-response. Which section is calling and which section responding during this first chorus? Listen to how the reeds and the brass play off each other.Listen to the second chorus. How is the second chorus different from the first?Now listen to the entire piece. Is the melody played at the end of the piece? How does the piece end?6-Let's Discuss!BebopIn this discussion topic we hear Thelonious Monk's jazz standard Straight, No Chaser.Monk somehow manages to place his personal stamp on each of his compositions, providing strong support for the view that his work transcends the bebop genre.Listen to Straight No Chaser. Notice the many distinctive melodic, harmonic, and rhythmic "quirks" that help us to recognize Monk, and consider the following questions:The order of solos in this piece is: Blakey (Intro), Monk, Shihab, and Jackson. Provide counter numbers for the beginning and end of Monk and Jackson solos.Compare and contrast the solo styles, and describe them. Listen to how they phrase or create musical lines over the chord changes. Try to include some detail.What is your impression of this piece? How do these bebop soloists differ from the swing soloists that you have heard?7-Let's Discuss!Cool JazzListen to Paul Desmond's Take Five performed by the Dave Brubeck Quartet, and consider the following questions:The order of solos in this piece is: Desmond, Morello. Listen to the recording and provide counter numbers for the beginning and end of the two solos. Describe their solo styles. Provide detail of how they phrase or create musical lines over the two-chord vamp.A vamp is a chord or a short series of chords that are repeated. The vamp in this piece is one 5/4 bar length and is played between the piano and bass. What is your impression of this piece? How does the 5/4 meter of this piece sound different from the 4/4 meter of most other pieces you have heard?How would you compare/contrast the solo style of Desmond with that of Charlie Parker? How would you compare/contrast Morello's solo style with that of drummer Max Roach and his solo in Ko-Ko? How do these cool soloists differ from their bebop and earlier swing counterparts?8-Let's Discuss!Hard BopMiles Davis' mid-50s quintet, along with groups led by Art Blakey, Horace Silver, and Sonny Rollins, was one of the early standard bearers of hard bop. In this discussion, we listen to Miles Davis' version of Cole Porter's Love For Sale. Joining Miles on the front line is tenor saxophonist John Coltrane, who came to prominence at this time in association with Davis, and alto saxophonist Cannonball Adderley. On Love For Sale, Miles takes a Cole Porter ballad and plays it up-tempo, continuing to establish a "straight-ahead" style of hard bop that remains influential in contemporary jazz today.Listen to Love For Sale, and consider the following questions:The order of solos in this piece is: Davis, Adderley, Coltrane, Evans. Regarding the solos of Adderley and Coltrane: Listen to the recording and provide counter numbers for the beginning and end of these two solos. Compare and contrast the solo styles, and describe them. Listen to how they phrase or create musical lines over the chord changes. Try to include some detail.How would you compare/contrast the solo style of Adderley with that of bebop alto saxophonist Charlie Parker?How would you compare/contrast the solo style of Coltrane with that of swing tenor saxophonist Lester Young?Now listen to how Bill Evans phrases during his solo that begins at 07:41 and ends at 10:11. Describe his style. What makes Evans different from other pianists you've heard?9-Let's Discuss!John ColtraneJohn Coltrane is another giant of jazz. We'll hear one of excellent works as leader from 1957 to 1964. Coltrane underwent an evolution in his creative style over these years, both as composer and performer. Yet, there is an aspect of Coltrane's performance artistry that remains distinctly identifiable throughout his career. Remarkably, his music would evolve further in the last three years of his life (1964-1967) into the realm of free jazz.Listen to Coltrane's My Favorite Things, and consider the following questions:The order of solos in this piece is: Coltrane (melody), Tyner, Coltrane. Regarding the solos of Coltrane and Tyner: Listen to the recording and provide counter numbers for the beginning and end of these two solos. Note: Tyner plays the A section and then "vamps" with the pedal point in the bass before he begins to solo. A vamp is when one or two chords are repeated, usually with a pedal point. Describe their solo styles. Listen to how they phrase or create musical lines over the chord changes. Try to include some detail.Do Tyner and Coltrane solo on the chord changes of the melody? What are the modal characteristics of the solo sections of this piece?Coltrane worked with many influential pianists such as Monk, Flanagan, and Evans. What makes McCoy different from these other pianists?Tyner makes use of quartal harmony and repeating patterns. Quartal harmony is chords constructed in 4ths rather than 3rds. Describe how this sounds.Describe the rhythmic feel of drummer Elvin Jones and bassist Davis during Coltrane's solo. Would you describe the style of these soloists as bop, hard bop, modal, elements of all or something else? Explain in detail using what you've learned from the course lessons about these particular styles.10-Let's Discuss!Free Jazz and the Avant-GardeListen to Herbie Hancock's Maiden Voyage performed by Herbie Hancock, and consider the following questions:There is an introduction to this piece, how many bars is it? The melody (or head) begins at 00:16 and ends at 01:20. What is the form? How many bars is it? Hint: this piece is a modal take on a form you know well.How is the melody played by Coleman and Hubbard? How does this group arrange the melody?Describe the pulse and repeated rhythm that is played by the piano, bass and drums during the melody.Coleman begins his solo at 01:20. How many choruses does he take? How many choruses does Hubbard solo? How many choruses does Hancock solo?Briefly describe how the accompaniment of Hancock/Carter/Williams changes over course of George Coleman's solo. How are they different from other rhythm sections that you have heard? How does this piece end?11-Let's Discuss!Jazz-Rock FusionSpain, a mix of jazz-rock fusion and Latin jazz, is a famous piece by Chick Corea's Return to Forever. Let's listen and consider the following questions: The order of solos in this piece is: Farrell, Corea, Clarke. Regarding the solos of Farrell and Corea: Listen to the recording and provide counter numbers for the beginning and end of these two solos. Compare and contrast the solo styles, and describe them. Listen to how they phrase or create musical lines over the chord changes. Try to include some detail.How would you compare/contrast the flute solo style of Farrell with that of a hard bop alto saxophonist such as Cannonball Adderley? Does it sound like he has elements of a hard bop style?How would you compare/contrast the electric piano style of Corea in this piece with his piano solo style in Steps - What Was?Describe the Latin feel of the bass/ drums and percussion during the solos.12-Let's Discuss!Postmodernism vs. NeoclassicismThe music of Anthony Braxton, Roscoe Mitchell, David Murray, and John Zorn is arguably representative of a variety of postmodern approaches to jazz. How does this postmodern approach distinguish itself from the neoclassical approach exemplified in the music of Wynton Marsalis? Along the philosophical spectrum of jazz, where do you stand? Which points made by either of these two philosophic camps do you support? Which points do you oppose?13-Let's Discuss!Latin JazzListen to Royal "T". This piece by Tito Puente is a good example of his Afro-Cuban approach to composing and percussion. See the "Latin Jazz" and "Tito Puente" pages in this lesson to help you describe the style of Royal "T" and the style of Puente's group, and consider the following questions: The order of solos in this piece is: Burtis/Velasco trading eights, Burtis, Rodriguez/Lujan trading eights. Listen to the recording and provide counter numbers for the beginning and end of these solos. Describe their solo styles.Compare the style of this piece to that of Dizzy Gillespie's Manteca.The melody (or head) begins at 00:00 and ends at 01:28. How many sections does the melody have? Use letters and counter numbers to designate the sections.Describe the Afro-Cuban aspects to the melody? What is "traditional" about the style of the soloists? What is "fresh" and new about their style of soloing? What style of jazz do these soloists most sound like: Latin and/or hard bop?