In last month's issue I spoke about my teaching assignments as a Fulbright scholar, and noted differences and similarities in teaching students at the university level at UMCS in Lublin, Poland and at California State Univerrsity, Fullerton in California.

Issues sorrounding pedagogy, delivery, course preparation, student expectation, and general knowledge of African American culture and American identity were all mentioned in the November Newsletter. I also introduced the unique opportunity to teach about American identity framed within the context of discussing African American music.

What I have discovered in this regard is quite interesting and therefore will be the focus of this issues's article.

First, you may want to read what students here have to say regarding what I call our "film night." The article you are about to read, titled Clubbing, was written by one of the student writers of the first American Studies' Newsletter. (click Film Night.)

It is widely known among academicians that teaching general education courses can be useful in assessing one's teaching abilities.

If a student whose major educational pursuit is not that of the professor's, yet does well by displaying a keen comprehension of the course content through writing and examinations, then the professor has done well. Albeit also due to the student's intellectual aptitude, the professor should nevertheless accept some of the credit for his ability to effectively convey principles and ideas of a subject that is for a student's general education requirement and not for his major. Similarly, as a musicologist, I am teaching musicological aspects of African American music to American Studies students - - in Poland! Notwithstanding the fact that disciplines in the Humanities and Social Sciences are those that offer students a wide variety of courses, it is also common to learn about human behavior and society by examining the implications of disciplines within the fine arts. Like many of my American students, Polish students are drawn to African American culture through music and other performing arts.

Teaching African American music to American Studies and Englsh Literature majors at UMCS has been quite beneficial to the students and me. For students, it gives them a more humanistic view of American identity by exploring the symbiosis of African American culture and music by learning and articulating text and soundscapes using musicological methodology. For me as their professor, it deepens my desire to find the most effective ways to better explain African American music to non-musicians using music terminology and social and cutural traditions.

American Studies Dept. Newsletter, MCUS/UMCS

Guest on Radio Centrum

On December 21, I appeared again as a guest on Centrum Radio at UMCS. On this day's program I addressed the topic of vocal dramatization. Some specific songs used to illustrate this important vocal tradition in African American music included "Try a Little Tenderness" (1966) by Otis Redding, "Do Right Woman - Do Right Man" and "Natural Woman" (1967) by Aretha Franklin, "(Mama) He Treats Your Daughter Mean" (1953) by Ruth Brown, "Baby Get Lost" (ca. 1948) by Dinah Washington, and "Fine and Mellow" (1935) by Billie Holiday.

I discussed the idea that the existence of a decorated string of emotions that are enhanced by vocalities suited to the text and/ or context is one of the most interesting and distinguishing features heard in melodies sung in the tradition of African American music. The word “decorated” makes reference to the many vocal embellishments that color, if you will, the melody. Furthermore, these vocalities are applied to specific lyrics and parts of the phrase to evoke an even fuller meaning of the text and/or context.

Previously, (see November issue) I discussed the musical character of soul music of the 1960s.

Gazeta Interview as a Fulbright Scholar

One of Poland's well known newspapers, named Gazeta, was very interested in my thoughts about the country, and teaching experiences at UMCS. Published on Thursday, December 15th in the Lublin section (inserted in the main paper), the article is the result of an interview by one of the Gazeta reporters that posed questions such as, "What prompted me to come to Poland?", "Do I find a connection between Polish and African American culture?", "What is my musical background?", :What are some inspirational ideas used for my original compositions?", and "Would I consider visiting Poland in the Future?"

Students of the American Studies Department at UMCS published their first fully-student-written and managed newsletter called USmAniax (meaning their infatuation with America). Titles of published articles included "What's With the Flip-Flops?," "Interview with Professor Stan L. Breckenridge," "London - A Fresh Start or a Dramatic Finish," "USA from a European Point of View," and "The Major Problems of the American Civilization in Shrek."

Guest Lecture in Zamosc

On December 9th I gave a general lecture demonstration of African American music styles at a University in a small town called Zamosc. I felt honored and was graciously received by students who are generally not exposed to the breadth of diverse opportunities found at universities in Krakow, Lublin, Poznan, and Waszawa.

Concert at Chatka Zaka

On December 6, 2005 I gave a concert of various African American music styles to the student body at UMCS. Some American songs that are also popular in Poland performed that evening included "Summertime," "Mona Lisa," "Maple Leaf Rag," "It Don't Mean a Thing if it Ain't Got That Swing," "Take Five," and some original works such as "Waterfall," "Rhythm and Some Blues," and "Everybody Likes My Mother."

The theater was filled to capacity with students and faculty of UMCS. The audience enthusiastically sang along when prompted or whenever the moment struck them. Although my impression of Polish students is that they are shy and reserved, when asked to sing along that was not the case on this very cold Tuesday evening. They sang and/or clapped with much boldness.

In addition to playing favorite songs and original pieces, I also engaged the audience in sing-alongs and I demonstrated some musical characteristics that make African American music distinct from other musics.

It will be a memorable evening for me for many years as this was my first concert performed in front of a Polish audience. My enthusiasm for performing was met with two encores and a standing-ovation, where I obligingly and eargerly played a few requested selections.

The audience was welcoming and responsive, and I felt extremely appreciated!