MUS407: Music in World Cultures (3 credits)

Transcription

1 MUS407: Music in World Cultures (3 credits) COURSE DESCRIPTION We live in an amazing world of musical sound, a world in which modern technology makes the music of even remote communities available to us at the touch of a button. Music is much more than only sound, however, and this course examines different geo-cultural areas of the world by exploring the important link between music and the society that produces it. In this course, we will selectively look at music from the Pacific, Africa, America, Europe, and East Asia. We will also explore the musical history and traditions of Seville and, particularly, those traditions you can observe directly during your stay in Spain. Class visits and events you attend on your own will take you directly into the musical worlds of the city to experience those cultures of music first-hand. GENERAL OUTLINE OF THE COURSE Unit 1 - The Pacific: Knowing the music of the islands (or Don t leave home without it! ). During your semester abroad you will find that people want to know something about the place where you live. This unit examines Hawaiian music as we explore the vocabulary as-sociated with musical elements; the important musical concepts of texture, form, musical efficacy; cultural representation; and cultural change. We discuss music as a vehicle for maintaining traditions, as a political tool, as part of belief systems, and as cultural identity. We analyze a chant text in detail and develop a rubric for developing listening skills in music. Unit 2 Africa and the African-American diaspora: Culture moves. The study of music in African culture lays a foundation for understanding issues of how music is carried from place to place, how it is taught and maintained, how fundamental practices and aesthetics of a musical culture can be amazingly resilient, and the cultural dynamics between homeland and diaspora. We discuss musical transmission and the impor-tant influence of African American music on global popular musics, particularly the jazz and blues scene in Seville. Unit 3 Europe: Perpetuation of the art and reviving the folk. Introducing the concepts of art and regional/folk musics, this unit looks first at art music and the unique history of Seville as a city rich in opera, ballet, and symphonic music. Turning to the music performed by various regional folk groups in Spain and the important influences of North African music, we explore folk revivals and regional musics in Spain and examine how these traditions are perpetuated in contemporary Spanish life. Who perpetuates these different musical traditions and why? What is flamenco and what is its role in the social life of Andalusia?How can we better understand this globally recognized art form and learn to appreciate it within its cultural setting? Unit 4 East Asia: The Silk Road and Beyond Linking Europe and East Asia is the long history of goods and ideas carried along the Silk Road. From the ancient Chinese sheng that provided the impetus for the development of the European pipe organ to the dispersal of bowed fiddles from a Middle Eastern origin in both directions, music and musicians have been in contact for centuries. How do cultures take musical instruments and ideas and mold them in culturally specific ways to create indigenized sounds and

2 practices? How do contemporary global distribution networks reinforce the practices of musical exchange and what are the results? What examples of musical exchange do we see in Seville? COURSE OBJECTIVES & GOALS Students will: learn about musical systems, musical instruments, and aesthetics of select sociogeographical areas of the world develop the vocabulary necessary to understand articles, program notes, and CD notes concerning world musics and to communicate their observations about music and musical events; gain a background in ethnomusicological approaches to the study of culture learn to appreciate diversity as they explore the music, traditions, and values of different world societies develop an understanding of the multiple cultural, economic, political, scientific, and social issues that affect music and traditions of musical performance become sensitive to the issues of cultural representation, artistic exchange and ownership, musical/cultural transmission, and cultural hegemony develop cultural sensitivity and awareness STUDENT LEARNING OUTCOMES This course fulfills the Music Department s articulated learning outcome for increasing crosscultural appreciation and understanding of diverse musical traditions. Experiences in ethnomusicology develop attitudes and skills for engaging musical and cultural diversity. These experiences relate directly to the University's commitment to educating for a multicultural and diverse community and foster multiple intelligences in a cross-cultural setting. This course also fulfills the general Study Abroad Center Student Learning Outcomes through specific course requirements: SAC Course Outcomes 1. Students will demonstrate awareness of their cultural values and biases and how these impact their ability to work with others. 2. Students will demonstrate knowledge of diversity with a focus on the population or topic of interest in the Study Abroad program. 3. Students will communicate appropriately & effectively with diverse individuals & groups. Requirements of MUS407: Music in World Cultures Take classes with host institution students; strate cultural awareness in a written l autobiography and increasing engagement with and understanding of cultural dynamics through reflective journal entries. Attend musical events in Seville and, through event reports, demonstrate the ability to apply the ethnomusicological concepts and vocabulary presented in class to real life experiences. Participate actively in class discussions. Investigate a musical tradition of Seville and communicate your findings to the class in an oral presentation.

3 4. Students will demonstrate an increased capacity to analyze issues with an appreciation for disparate viewpoints. Distinguish and critically analyze the relevant issues embedded in both class films and live l events in the community. Evaluate musical representation and presentation through written event reports. Demonstrate ability to apply ideas from course readings and discussions to new musical experiences. PREREQUISITES This is an upper division course. No background in musical performance is required; the main requirement is that students be open to exploring new sounds, ideas, and worldviews. Open to junior and seniors; others with teacher consent. METHOD This course features a variety of learning experiences, including: lecture, discussions, active listening examples, PowerPoint presentations, concert attendance, and visits to relevant musical sites and events. ASSESSMENT & EXAMS Students will have weekly reading assignments and are expected to contribute actively to in-class discussions. An oral presentation will allow each student to share a Seville musical tradition of his/her choice with the class. In addition, there are threewritten assignments and a mid-term and final exam. Journaling is an important activity that will help you to reflect on your experiences abroad. The Midterm exam and the Final exam will cover the assigned readings and listening, class lectures and discussions, and observations from class visits and films. The exams incorporate multiple choice, short answer and essay questions as well as questions tied to listening examples. EVALUATION / GRADING SYSTEM 10% Participation (discussions, peer evaluations, reading notes) (SLO #2 and SLO #3) 10% Oral presentation(slo #3) 15% Written reports (autobiography 5% &2 event reports at 5% each)(slo #1 and SLO #2) 15% Journal (SLO #1) 25% Mid-term test (SLO #2 and SLO #4) 25% Final Exam (SLO #2 and SLO #4) The following grading system applies: 0-59 = F, = D, = C-, = C, = C+, = B-, = B, = B+, = A-, = A READING AND LISTENING RESOURCES All course readings are available in electronic format on Laulima. Notify the instructor immediately if you experience problems in accessing the readings. Please copy the files to your computer so that you are not reliant on web access in order to do your reading. You must bring your highlighted readings to class when due.

4 Required listening: Assigned listening examples are an important part of this course. Recordings are available through Dropbox.com; you will receive an invitation at the start of the semester to join the course dropbox. If you prefer, CDs will be available for you to copy at the first class meeting. (Please bring your laptop and 2 blank CDs.) VISITS / CONCERTS During the semester visits to two museums are scheduled as mandatory class activities.in addition, visitsto churches, folk festivals, flamenco bars, and other sites of musical interest are planned as informal group outings for all who wish to attend. Attendance at live musical events is an important part of this course and forms the basis for your assigned written reports. Seville offers many opportunities for musical experiences, and you will attend two concerts of your choice. Details about upcoming events, schedules, tickets, and contact info will be provided throughout the term. These events should be arranged according to your own schedule. Seville hosts musical activities throughout the year that include everything from classical music to local festivals, religious celebrations, world music artists, and global pop stars. Be prepared to share information with the class about upcoming concerts you see advertised. Costs will depend on your musical tastes, schedule, and budget, but please remember that inexpensive or free events are available and that observations of religious music also count for this activity. Spending an hour observing and talking to street musicians is also an inexpensive possibility. Make sure you know the exact meeting point for any class visits and how to get there; be aware that there might be necessary changes in the visit schedule, so check your for announcements.please don't be late to the meeting point as the class cannot wait for you to enter the museum at the reserved time or to begin a specially arranged tour. You may have to pay an additional entrance fee if you are late and may not be able to join the group if an event or concert has already started. Please dress appropriately for visits and concerts. Remember that churches are places of worship and respect. Concerts are a chance to get dressed up a bit, so go for it CLASS MEETING SCHEDULE Week 1)Presentation of the course; introduction to the class syllabus and material. Information on assignments and exams. Project date sign ups. Introduction to Ethnomusicology & Concepts in Ethnomusicology Tools for Understanding. Differing viewpoints. 2) Musical instrument classification. Introduction to the Pacific. Hawaii: Chant ( oli) and Musical instruments Reading notes due:moulin Chapter 1; Kahananui - pp Assignment due:musical AUTOBIOGRAPHY DUE. 3) Hula and song text analysis. VIDEO: Hula examples Hawaii:Contemporary musical styles. PROJECT TOPIC DUE. Reading notes due:stillman - pp

5 4)Africa: Music and politics: VIDEO: Mbira in Zimbabwe Music in the life cycle. Reading notes due:wachsman, C. - pp.1-6; Turin - pp and pp (Nettl, 5 th ed) 5) Africa: Musical Instruments. The African diaspora and African American musical heritage. Black America: Music and work. Music and worship. VIDEO: Diane White, gospel singer (clips) Reading notes due:titon -pp (Titon, 5 th ed) Assignment due: Event Report #1 6) The African diaspora: African America music and play/entertainment. VIDEO: Where the Blues Began (clips) EXAM REVIEW Reading notes due:titon - pp (Titon, 5 th ed) Submit journal. 7) MID-TERM EXAM: written and aural test. 8) Europe: Discovering Flamenco Field trip to the Museo del Baile Flamenco for performance and lesson. Assignment Due: Event Report #2. Reading Notes due: Wahabaugh Flamenco Music and Documentary 9)Europe:Discovering the history of Seville. Music in the Church and the Court Reading Notes due: Rees - Seville Cathedral's music in performance, Pacheco & Griffiths - Beyond Church and Court 10)Europe:Discovering the contemporary music ofseville.regional musics, jazz and popular music Reading Notes due: Reading on Spain from World Music. 11) Field trip to the musical instrument collection at the Museo De Artes Y Costumbres Asia:Music and the court in Japan. Japan: chamber music. VIDEO: Discovering the Music of Japan Reading notes due:fujie - pp (Titon, Short Ed) Assignment Due: Event Report #3 12)Asia:Japanese folk traditions. Japan: Chamber music. Reading notes due:fujie - pp (Titon, 4 th ed) and pp (Titon, Shorter Ed) Submit journal 13)Asia:Japanese music and the theater. Global exchange. Review for exam Reading: four articles on hula in Japan

6 14)FINAL EXAM Assignment Due:Event report #4 COURSE READINGS Fujie, Linda Japan, pp and (Titon et al, World Music, Short ed. Schirmer) Japan, pp (Titon et al, World Music, 4 th ed., Schirmer) Kahananui, Dorothy Music of Ancient Hawaii, pp Literary Licensing. Moulin, Jane Music in Pacific Island Cultures. Chapter 1: Polynesia. New York: Oxford University Press. Pacheco, Cristina Diego and John Griffiths Beyond Church and Court: City Musicians and Music in Renaissance Valladolid. Early Music 37/3 (Aug): Rees, Owen "Case study: Seville Cathedral's music in performance, " The Cambridge History of Musical Performance. Eds. Colin Lawson and Robin Stowell. Cambridge University Press, State Foundation on Culture and the Arts. n.d. Slack Key Guitar, pp. 1-3 and pp. 4-8 Stillman, Amy Hawaii, pp Garland Encyclopediaof World Music Titon, Jeff Black America, pp In Titon et al, World Music, 5 th ed. Schirmer. Turino, Sub-Saharan Africa, pp & In Nettl,Excursions in World Music, 5 th ed. Prentice-Hall. Wachsman, C Africa: Audience Participation, pp.1-6. MS. Wahabaugh, William Flamenco Music and Documentary. Ethnomusicology 41/1 o (Winter, 1997): Misc. Ethics & copyright, pp. 1-4 MS Four newspaper articles on Hula in Japan

7 MUS478Q: MUSICAL CULTURES (WI) (3 credits) Soundscapes of Seville We sat in an open-air courtyard and were mesmerized by the passion of one single flamenco dancer accompanied by the most exquisite guitar playing. It was just magical. (Anonymous travel blog, 2008). COURSE DESCRIPTION The purpose of this course is to show how the theories and methods of ethnomusicology and urban fieldwork can help to uncover the rich tapestry of musical practice that contributes to Seville s reputation as an especially vibrant musical city. This course offers an opportunity to study and explore the varied musics of Seville first hand from performances at the opera to concerts of early music or dance in the city s historic halls, the living music history of the city s cathedrals, the lives of street musicians, the contemporary sounds of music in Seville s nightclubs, the flamenco bars, the sounds of local festivals, and the perpetuation of music in the city s different ethnic communities. Class members will research topics of special personal interest, bringing the information and the sound images of these target genres back to the class so that we can add to our evolving picture and understanding of the musical life of the city. SETTING Together as a class we will attend musical events or sites of musical importance that integrate information from our readings and class sessions, including visits to the Museo del Baile Flamenco and Museo de Artes y Costumbres Populares. Depending on the schedule, we may also attend the flamenco festival Jueves Flamencos and other concerts that come up. In addition, field projects will take you directly into Seville s musical life to explore student-selected topics that examine a variety of approaches to the study of music. For example, you might choose to explore popular music, music in Seville s history, music and the related arts (such as literature, visual arts, theater, dance, or architecture), the music of different regions of Spain, music and tourism, musical transmission/education, globalization, the business of music, or other multidisciplinary concerns that relate to music and its performance. In preparing your field project, you will be asked to make musical observations, examine the venues used for musical performance, conduct informal interviews, consult museums and other resources in the city, explore on-line resources, and gather information about musical practice from both people and written documents. Those without strong Spanish language skills, or those working with musicians who may not be fluent in Spanish, will develop strategies for eliciting information about music, even when there are language barriers. Class readings will help you to apply the theoretical models of world music and urban ethnomusicology to the study of your chosen musical tradition. For example, research into flamenco might lead you to consider music and tourism, musical identities, or issues of gender and social class. Inquiry into the music of a particular ethnic group might draw on readings that discuss cultural perpetuation, diaspora, global flows and transnational links, or musical transmission/preservation. Weekly oral updates in class will allow you to learn from the research of your colleagues as the class strives to

8 understand Seville as a city of multiple musics. You will present the results of your fieldwork in a written research paper and in a summary oral presentation. READINGS An on-line reader includes journal articles and selected chapters from the following works: attached Reading List for detailed information) (see 1. Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press, Clayton, Martin, Trevor Herbert, and Richard Middleton, eds. The Cultural Study of Music: A Critical Introduction. New York: Routledge, Kotarba, Joseph A. and Phillip Vannini. Understanding Society through Popular Music. New York: Routledge, Moisala, Pirkko and Beverley Diamond, eds. Music and Gender. Urbana: University of Illinois Press, Taylor, Timothy. Global Pop: World Music, World Markets. New York: Routledge, Turino, Thomas. Music as Social Life: The Politics of Participation. Chicago: University of Chicago Press, STUDENT LEARNING OUTCOMES This course fulfills the Music Department articulated learning outcome for increasing crosscultural appreciation and understanding of diverse musical traditions. Experiences in ethnomusicology develop attitudes and skills for engaging musical and cultural diversity. These experiences relate directly to the University's commitment to educating for a multicultural and diverse community and foster multiple intelligences in a cross-cultural setting. This course also fulfills the general Study Abroad Center Student Learning Outcomes through specific course requirements: SAC Course Outcomes 1. Students will demonstrate awareness of their cultural values and biases and how these impact their ability to work with others. 2. Students will demonstrate knowledge of diversity with a focus on the population or topic of interest in the Study Abroad program. 3. Students will communicate appropriately & effectively with diverse individuals & groups. Requirements of MUS478I: Musical Cultures Take classes with host institution students; demonstrate cultural awareness and reflection through a musical autobiography and journal conduct interviews and musical observations find out about others and to discover what l baggage the researcher brings to the work. Identify and articulate a problem-oriented fieldwork topic concerning one of Seville s many musical traditions. Conduct bibliographic, online and field research. Participate actively in class discussions. Conduct a fieldwork project with a local music group/performer. Demonstrate understanding of the linkages between music and cultural identity.

9 4. Demonstrate an increased capacity to analyze issues with appreciation for disparate viewpoints. Identify and critically analyze the relevant issues surrounding a musical culture/performing group/genre/performer through excursions to various musical sites/events and interaction with local musicians. Apply ideas from course readings and discussions to new musical experin ences. SPECIFIC COURSE REQUIREMENTS 1. Short paper: A musical autobiography (3 pages) that reflects on the role of music in your life, provides a detailed look at the people and musical experiences that have molded your musical tastes, and considers how this formation of musical values both reflects the larger culture in which you grew up and impacts your understanding of other musics. (SLO #1) 2. Journal: This journal will contain a) musical observations/reactions to class listening and live music events, b) personal reflections on class visits to musical sites/events, c) in-class discussion summaries, and d) your field notes. A key goal in this journal is for you to demonstrate growth in dealing with disparate viewpoints and to show willingness to analyze the interactions surrounding such cultural encounter. (SLO #1 and SLO #3) 3. Oral reports: Weekly oral presentations that provide updates on your field project. (SLO #2 and SLO #3) 4. Readings & Discussion: Class discussion of assigned readings helps to illuminate important points and to explore ways in which these ideas may apply to your fieldwork. Class discussion is an opportunity for you to demonstrate that you can communicate appropriately and effectively with others while demonstrating your growing knowledge of musical diversity and ability to analyze issues that emerge in the readings. (SLO #3 and SLO #4) 5. Final class presentation: A formal presentation of your fieldwork research data and project results. This presentation will demonstrate the knowledge you have gained of a selected musical culture or genre and your ability to approach the music and the musicians who produce it with openness and objectivity. (SLO #1, SLO #2, SLO #3, SLO #4) 6. Research paper: A formal paper (approximately pages) in which you apply cultural analysis, reflection, and clarity in writing and organization to the information obtained in the course of your project. Because this project is based on fieldwork, your paper should demonstrate that you have gained the tools to approach new musical systems and are able to communicate appropriately and effectively with the people who produce them. (SLO #1, SLO #2, SLO #3, SLO #4). GRADING 1. Short paper: Musical Autobiography 5 % 2. Journal 15 % 3. Weekly oral reports on the field project 12 X 1 pt. each 12 %. 4. Discussions of readings/participation 12 X 1.5 pts. each 18 % 5. Final class presentation 20 %

10 6. Research paper 30 % Topic proposal & list of resources 4 points Peer-reviewed draft 10 points Final paper 16 points TOTAL 100 % This is a WI class in which we will use writing both as a way to generate ideas and as a way to communicate clearly and effectively with others. Journal entries are low stakes writing in which you are encouraged to consider writing as a tool to assist reflection and as a stimulus for creative thinking. In contrast, the final research paper is a formal academic paper, which should reflect your ability to: present a research question; develop a strong argument with convincing supportive data; summarize your findings in a clear and organized manner; and present the whole in a carefully-prepared piece of writing that exhibits proper grammar, punctuation, and citations. COURSE READINGS DRAWN FROM THE FOLLOWING Agawu, Kofi. Contesting Difference: A Critique of Africanist Ethnomusiocology. In The Cultural Study of Music, pp New York: Routledge, Appadurai, Arjun. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press, Bolman, Philip. Music and Culture: Historiographies of Disjuncture. In The Cultural Study of Music, pp New York: Routledge, Broughton, Simon, Mark Ellinham and Richard Trillo. Spain. In World Music: The Rough Guide, vol 1, pp London: The Rough Guides, Dawe, Kevin. The Cultural Study of Musical Instruments. In The Cultural Study of Music, pp New York: Routledge, Denny, W. Music and Musicians in Islamic Art. Asian Music 1985 (17:1): Finnegan, Ruth. Music, Experience, and the Anthropology of Emotion. In The Cultural Study of Music, pp New York: Routledge, 2003 Frith, Simon. Music and Everyday Life. In The Cultural Study of Music, pp New York: Routledge, 2003 Green, Lucy. Music Education, Cultural Capital, and Social Group Identity. In The Cultural Study of Music, pp New York: Routledge, Jackson, Jeffrey H. Making Jazz French. Durham: Duke University Press, Kotarba, Joseph A. and Phillip Vannini. Understanding Society through Popular Music. New York: Routledge, Laing, Dave. Music and the Market: The Economics of Music in the Modern World. In The Cultural Study of Music, pp New York: Routledge, La Rue, Hélène. Music, Literature and Etiquette: Musical Instruments and Social Identity from Castiglione to Austen. In Ethnicity, Identity and Music: the Musical Construction of Place, edited by Martin Stokes, pp Oxford: Berg, Martin, Peter J. Music and the Sociological Gaze: Art worlds and cultural production. Manchester: Manchester University Press, 2006 Moisala, Pirkko and Beverley Diamond, eds. Music and Gender. Urbana: University of Illinois Press, Myers, Margaret. Searching for Data about European Ladies Orchestra, In Music and Gender, pp Urbana: University of Illinois Press, 2000.

11 Reck, David et al. Discovering and Documenting a World of Music. In Worlds of Music, fourth edition. Belmont, CA: Schirmer, Sandstrom, Boden. Women Mix Engineers and the Power of Sound. Music and Gender, pp Urbana: University of Illinois Press, Silverman, Carol. Music and Power: Gender and Performance among Roma (gypsies) of Skopje, Macedonia. The World of Music 38(1): Slobin, Mark. The Destiny of Diaspora in Ethnomusicology. In The Cultural Study of Music, pp New York: Routledge, 2003 Stokes, Martin. Globalization and the Politics of World Music. In The Cultural Study of Music, pp New York: Routledge, Taylor, Timothy. Global Pop: World Music, World Markets. New York: Routledge, Turino, Thomas. Music as Social Life: The Politics of Participation. Chicago: The University of Chicago Press, Yoshihara, Mari. Musicians from a Different Shore: Asians and Asian American in Classical Music, pp Philadelphia: Temple University Press, CLASS SCHEDULE Week: 1. Presentation of the course; introduction to the class syllabus and material. Information on assignments and projects. Defining a good discussion and the roles of a discussion leader. Introduction to music as culture and in culture. Short reading in class: Agawu, pp Music in Everyday Life. Readings: Firth, pp ; Bolman, pp Assignment: Submit calendar items Due: s2-3 page musical autobiography. 3. Field trip to the Museo del Baile Flamenco Assignment: Following our visit, complete the journal entry recording your reactions to the site and to the experience. 4. Music and Politics - Music and Patronage. Readings: Turino, pp ; additional reading TBA 5. Musical Instruments as Object, Sound, and Iconography. Readings: Dawe, pp ; La Rue, pp Field trip to the Museo de Artes y Costumbres Populares Assignment: Following our visit, complete your journal writing on observations regarding musical instruments as history and depictions of music in social life. Denny, pp Readings: start readings for next week s discussion - Myers, pp ; Sandstrom, pp Gender, Class, and Culture in Music

12 Readings: Green, pp ; and Martin, pp [plus see previous week] 8. Individual writing conference with the professor. Due: Journals due (bring to conference) 9. Music and Place. Readings: Broughton, pp ; Denny, pp. and Silverman, pp Music Moves! Readings: Slobin, pp ; Jackson, pp and ; Yoshihara, pp Guest musician and speaker TBA. Assignment: Following the presentation, complete your journal writing on music and the theater. Due: Complete peer draft 12. Music and Globalization. Readings: Kortarba & Vannini, pp ; Stokes, pp ; Appadurai, TBA. Due: Submit journal. 13. Music and the Market. Readings: Laing, pp ; Taylor, pp FINAL PRESENTATIONS. Due: Final written paper