MUS 342/ANT 324L/ANS361/MUS 380 THE MUSICS OF INDIA SPRING OFFICE PHONE:

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1 MUS 342/ANT 324L/ANS361/MUS 380 THE MUSICS OF INDIA SPRING 2016 UNIQUE NO.: 21640/30390/30830/21875 COURSE TIME AND PLACE: T TH 11:00 12:30 in MRH INSTRUCTOR: STEPHEN SLAWEK OFFICE: MBE OFFICE HOURS: M 1:00 3:00 PM OFFICE PHONE: slawek@austin.utexas.edu This course will comprise a broad introduction to the musical traditions of India, with particular emphasis placed on the art music of North India, the system referred to as Hindustani sangita. We will study Hindustani sangita both as a system with its own principles of internal organization and as a tradition in interaction with other musical traditions in India, and with musics elsewhere in the world. In doing so, we will resort to models and theories drawn from the field of ethnomusicology to develop an understanding of Hindustani music as a constellation of culturally meaningful sounds. Course Objectives: The major goals in this course are that students 1. learn how sound is organized into musically meaningful structures in Indian culture, 2. learn about the relationships that exist between Hindustānī saṅgīta and other types of musical expression in India, 3. understand the history of Hindustānī saṅgīta, and how its development has been interconnected with political and religious events in South Asia. 4. acquire a basic understanding of the place of music and musicians in Indian culture, 5. acquire a basic aptitude for listening intelligently to performances of Indian art music. (By intelligent listening, it is implied that the listener knows what has happened and what will probably happen in any one performance. This will necessarily entail becoming familiar with a vocabulary of musical description [including indigenous theoretical terms, knowledge of musical instruments, genres, developmental processes within genres, stylistic schools et cetera].) 6. acquire a basic knowledge of available resource materials for furthering their knowledge of Indian music after leaving the course. COURSE REQUIREMENTS This course is being offered in accordance with University guidelines for courses intended to satisfy the undergraduate "writing flag" and global cultures flag requirements. Thus, the course will include a variety of assigned writing projects that, together, meet or exceed the guidelines for such courses.

2 2 Global Cultures: This course carries the Global Cultures flag. Global Cultures courses are designed to increase your familiarity with cultural groups outside the United States. You should therefore expect a substantial portion of your grade to come from assignments covering the practices, beliefs, and histories of at least one non-u.s. cultural group, past or present. Writing (MUS 342/ANS 361/ANT 324L): The undergraduate version of this course carries the Writing flag. Writing flag courses are designed to give students experience with writing in an academic discipline. In this class, you can expect to write regularly during the semester, complete substantial writing projects, and receive feedback from your instructor to help you improve your writing. You will also have the opportunity to revise one or more assignments, and to read and discuss your peers' work. You should therefore expect a substantial portion of your grade to come from your written work. The first writing assignment is a one- to two-page essay in which you describe the reasons you have enrolled in this course, the expectations you had about the course when you first enrolled, and any past experience you have had with Indian culture. This essay is due January 28. The purpose of this assignment is to let me have an idea of your basic writing skills, assess your grammar usage, etc. The second writing assignment is a project consisting of three components that will culminate in a paper to be written in an academic style (containing endnotes, internal citation, and references cited). First, you must select and define a topic, draft a one- or two-paragraph proposal, and obtain my approval of it no later than February 11. You should immediately begin the research necessary to produce a draft version of your paper, which will be due March 8. I will evaluate the draft and make suggestions for improvements. You will continue to expand upon the initial draft, will incorporate whatever changes I suggest, and then complete the final draft (8-10 pages) in time to meet the FINAL DUE DATE of April 21. The third writing assignment will be a short review essay of an appropriate article drawn from a scholarly journal. The essay should be a compact three pages in length. The review should provide a synopsis of the content of the article and should attempt, in the way of analysis, to characterize the author s point of view, assumptions, strength of argument, et cetera. DUE DATE: March 31 In addition to these more formal assignments, you will have two additional assignments of relatively short length. These will be presented in class to stimulate class discussion of writing style in relation to the course content.

3 3 MUS 380 students are to do the second and third of the above assignments, but can extend the article review to four pages. The research paper should be in the vicinity of pages of text. You are not required to submit a draft, just the final paper. Regular class attendance and participation is expected of all students. Four absences will not affect your grade (excused absences are also counted against the free four ). After that, each additional unexcused absence will lower your course grade one component of a letter grade (such as B+ to B) for each extra absence. Participation implies a willingness to engage in discussion, to question the questionable, to remain alert and engaged during information-loaded lectures, to listen closely to musical examples when they are being studied, and to provide feedback to the writing assignments of your peers. Assigned readings and listening are not so much for class preparation as for complementing and supplementing class lectures. Outside reading and listening should be considered of value in preparing for examinations (mid-term and final). Reading: Much of the reading for the course is available online through the University Libraries web pages. I will post pdf documents on Canvas of any assigned reading that is not available online. An especially important reference work is the extensive entry for India in Oxford Music Online. This resource is available online through UT Libraries. There has been literally an explosion in the scholarship on Indian music over the last forty-five years. It is impossible to cover everything that exists in an area as diverse as South Asia, so you are encouraged to do as much reading and exploration as possible outside the class. For those of you with little musical background, I suggest that you use Ravi Shankar's Learning Indian Music as an introductory primer for the course. This work provides a guided listening course consisting mainly of three hours of recorded performances illustrating the basics of North Indian music with an accompanying booklet of transcriptions. I will upload representative excerpts on Canvas. The most recent and comprehensive examination of the musical cultures of India is found in the "South Asia: The Indian Subcontinent" volume of the Garland Encyclopedia of World Music (GEWM). Several entries in this work are assigned at appropriate times below in the syllabus. The GEWM is available online through the UT Libraries. Listening An anthology drawn from musical examples played in class will be placed on Canvas so that you may study and review these at your own pace. It will take time to get the Canvas files up and running. Many comparable examples of the music we study are available on YouTube. Specific assignments will be given as the semester progresses. Quizzes and examinations will include listening sections to test your progress in the development of knowledgeable and close listening abilities. EXAMINATIONS: MIDTERM March 10 FINAL May 5

4 4 Grading system: review essay 10%; term paper 25%; mid-term exam 25%; final exam 25%; quizzes/class participation 15%. The University of Texas at Austin provides upon request appropriate academic accommodations for qualified students with disabilities. For more information, contact the Office of the Dean of Students at , TTY. TENTATIVE OUTLINE OF TOPICS (NOTE: The dates listed are approximate. I might run ahead or lag behind, but we will eventually cover most, if not all, of the subject matter listed below. Most reading assignments are accurate as listed; a few may require modification. Listening assignments will be made as the semester progresses) JANUARY WEEK 1 19 Introduction: syllabus; major issues in the ethnomusicology of South Asia; begin the cultural history of India 21 Musical cultures in relation to India s cultural history READ: Arnold, "Profile of South Asia and Its Music (GEWM) WEEK 2 26 Musicians in North Indian music: the transmission of a tradition READ: Slawek, "The Classical Master-Disciple Tradition" (GEWM) 28 The Sastraic tradition: What the experts had to say Raga: the basis of melody Aesthetic considerations: the classical canon and the practical reality raga bhava, rasa, raga times and the raga-mala tradition of painting READ: section on raga (in the India article) available online in Oxford Music Online. FEBRUARY WEEK 3 2 Fixed forms and improvisation in Hindustani music Alap, the improvisational form par excellence: its form and structure 4 The theory of tala READ: James Kippen, Hindustani Tala. (GEWM)

5 5 WEEK 4 9 Vocal genres I: Dhrupad, the Great Authenticator READ: Wade, "Hindustani Vocal Music," pp in the GEWM and pages 1-59 and in Dhrupad: Tradition and Performance in Indian Music, by Richard Widdess and Ritwik Sanyal (available online) 11 Visiting speaker Ben Krakauer: The Bauls of Bengal TOPIC PROPOSAL DUE ON THIS DATE WEEK 5 16 Vocal genres II: Khyal, Stretching the Limits of Imagination READ: Bonnie C. Wade, "Hindustani Vocal Music," pp in the GEWM. Excerpts from Bonnie Wade, Khyal: Creativity within North India s Classical Music Tradition, pp (pdf on Canvas) 18 Continuation of our study of khyal WEEK 6 23 Vocal Genres III: Thumri, Musica Erotica READ: Manuel "The Evolution of Modern Thumri." Ethnomusicology 30/3 (1986): (available through JSTOR) 25 Instruments and instrumental genres in Hindustani music The instrumental alap, jor-alap, jhala as a genre READ: Allyn Miner "Musical Instruments: Northern Area," pp (GEWM) MARCH WEEK 7 1 The historical development of traditions of gat Masitkhani gat; Razakhani gat; sitarkhani gat; the modern vilambit, madhya and drut gat; dhrupad ang; khyal ang; thumri ang; gayaki ang; dhun READ: Slawek, "Hindustani Instrumental Music," pp (GEWM) 3 The Social Organization of Musical Style in North Indian Music: Gharana READ: Neuman, chapter 5 (pdf on Canvas)

6 6 WEEK 8 8 The major vocal gharana-s: Gwalior, Agra, Patiala, Atrauli, Kirana READ: Neuman, chapter 6 (pdf on Canvas) ROUGH DRAFT OF RESEARCH PAPER DUE 10 MID-TERM EXAMINATION WEEK SPRING BREAK WEEK Instrumental gharānā-s: Maihar gharānā, Imdad Khan gharānā READ: Slawek, "Ravi Shankar as Mediator..." in Ethnomusicology and Modern Music History. (pdf on Canvas) WEEK The organization of the raga system: traditions of raga classification; comparison of Hindustani raga-ragang and the Karnataka melakarta system; begin a study of some major raga-s of Hindustani music The major raga-s of North Indian music, continued READ: Excerpts from The Raga Guide (pdf on Canvas) REVIEW ESSAY DUE MARCH 31 APRIL WEEK Music and religion: some examples of ritual music in India's culture The Brahmanic orthodoxy: Vedic chant Music of ecstatic devotion: kirtan and qawwali READ: Wayne Howard, "Vedic Chant," pp in GEWM; Slawek "Popular kirtan: Some Great Aspects of a Little Tradition" Ethnomusicology 32/2: (JSTOR) WEEK The classical music of South India: a comparative perspective READ: Karnatak Vocal and Instrumental Music (GEWM) 14 Continuation of our foray into Karnātaka sangīta.

7 7 WEEK A sampling of the so-called Little Traditions : Langa and Manganiyar music of Rajasthan; seasonal genres of Bhojpuri folk music in eastern Uttar Pradesh READ: Shalini Ayyagari, At Home in the Studio: The Sound of Manganiyar Music Going Popular, in More Than Bollywood: Studies in Indian Popular Music, edited by Gregory D. Booth and Bradley Shope, pp (pdf on Canvas). 21 The filmī gīt of Mumbai READ: Popular Music as Film Music, in Behind the Curtain: Making Music in Mumbai s Film Studios, by Gregory Booth, pp (available online). APRIL 22 A sitar concert of Hindustani instrumental music by yours truly is scheduled to take place in Bates Recital Hall at 7:30 PM. Gourisankar Karmakar will provide tabla accompaniment. WEEK Indian Music in the Modern World: change and adaptation READ: Silver, "Music Broadcasting, Recording and Archives," pp in GEWM RESEARCH PAPER DUE TODAY!! 28 Indian Music in the Modern World: the globalization of Indian music READ: Neuman, chapter 7 and Neuman, "The Ecology of Indian Music in North America ; Farrell, Indian Music and the West (excerpts); Farrell "Music and Internationalization," pp in GEWM; Silver, "Music Broadcasting, Recording and Archives," pp in GEWM. WEEK 16 3 Conclusion; Review and Catch Up 5 FINAL EXAMINATION

UGS 303 THE BEATLES AND BEYOND SPRING 2017

UGS 303 THE BEATLES AND BEYOND SPRING 2017 UNIQUE NO.: 63305, 63310, 63315 COURSE TIME AND PLACE: T TH 3:30 5:00 in CLA 1.106 INSTRUCTOR: STEPHEN SLAWEK TEACHING ASSISTANT: OFFICE: MBE 3.202 OFFICE HOURS: