1. Listen to Louis Armstrong’s “Potato Head Blues” and create a “map” of its maj

1. Listen to Louis Armstrong’s “Potato Head Blues” and create a “map” of its major moments or changes, so that someone could use it as a guide while listening. Use the guide for “Jazz Me Blues” found in the Media Notes as a model. Chart at least five elements, such as when solos come in, when the ensemble plays together, what instruments are featured at different times, textures, etc.
2. Listen to “King Porter Stomp” and “In the Mood.” Describe the major aesthetic contours of each piece in 1-2 sentences each. Think about Ogren’s argument about the changes between Dixieland and Swing jazz. Do you agree with this? Why or why not? Use examples from one or both pieces to back up your claim. (5-7 sentences)
3. Listen to “In the Mood”. What about jazz might have symbolized the coming of modernity to the U.S. to listeners of the 1920s? What does the sound of the music capture? The surrounding culture? How might it have depicted the major changes moving through U.S. society? (4-5 sentences)
4. How does the black-white binary appear in the stories told in Forbidden City USA? Who spoke to this phenomenon and how did they navigate it? (3-5 sentences)
5. In what ways do the model minority or exotic stereotypes of Asian Americans appear in Forbidden City USA? In what ways did the performers in the film stereotype other races or ethnicities? What might this say about racial projects? (5-7 sentences)
6. How does the recognition of Asian American jazz artists speak to the distinction between genre and practice in Forbidden City USA? In what ways is jazz black? In what ways is jazz multiracial? (3-5 sentences)

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