MUS 303M (Introduction to Music in World Cultures) Fall 2016 Harris Syllabus 1 Introduction to Music in World Cultures Course Number: MUS 303M/ MES 310 Unique IDs: 21280, 21285, 21290, 21295, 21300, 21305, 41740, 41745, 41750, 41755, 41760, 41765 Class Meetings: Tuesday & Thursdays 9:30 am 10:45 am in MRH 2.608 Course Instructor: Myranda Harris Teaching Assistants: Laura Jorgenson, Cary Peñate Discussion Sections: Mondays & Wednesdays in MRH 4.126 Unique ID Discussion Section Unique ID Discussion Section 21280/ 41740 Mondays 5:00-6:00p 21295/ 41755 Wednesdays 6:00-7:00p 21285/ 41745 Wednesdays 5:00-6:00p 21300/ 41765 Wednesdays 7:00-8:00p 21290/ 41750 Mondays 6:00-7:00p 21305/ 41760 Mondays 7:00-8:00p Course Description: What is music? What role does it play in people s lives? What do people do with music? Throughout the semester, we will revisit these questions several times as we challenge our understandings by considering various music practices around the globe from sonic, aesthetic, social, and cultural perspectives. As the course progresses, we will develop our understanding of the role music plays in the lives of various peoples and communities. And we ll expand our awareness of the diversities, similarities, overlaps, and exchanges that exist between various music cultures in today s global music society. We will be doing a lot of music listening this semester with the aim of developing our listening skills and learning to discuss music from the perspectives of well-informed listeners. As the course is open to students of all majors, enrolled participants may have little or no background or formal training in music. Please do not be intimidated by the amount of listening-based exercises in this class. We will develop our understanding of music terminology together, and there will be plenty of opportunities for you practice applying these skills. Course Objectives: By the end of the semester, you will: 1. Use critical listening skills to identify and discuss the sonic features and aesthetical elements of various music practices in an informed and culturally sensitive manner. 2. Examine and discuss music as a meaningful practice that addresses multiple social and cultural issues, fulfills multiple roles, and carries multiple meanings in the lives of people and communities around the world. 3. Research and write about music (at a university level with appropriate citations) by applying your understanding of ethnographic research methods and ethnomusicological perspectives (and also by actively using the variety of resources available to students through UT libraries). 4. Expand your awareness and become an active participant in the variety of local music opportunities available to you by attending/ participating in at least two music performances or rehearsals this semester (a list of opportunities will be updated online throughout the semester, or see me if you have an idea).
MUS 303M (Introduction to Music in World Cultures) Fall 2016 Harris Syllabus 2 Course Flags: This course fulfills both a Writing Flag and a Global Cultures Flag. Writing Flag courses are intended to provide students with experience writing in an academic discipline. To meet writing requirements, you will work on a final paper research project, constituting at least 40% of your final grade, in several stages throughout the semester. Global Cultures Flag courses are designed to increase your familiarity with the practices, beliefs, and histories of cultural groups outside the United States. To fulfill the global studies requirement, we will focus on social, cultural, and musical practices and histories in areas of the Middle East (Turkey, Egypt), Eastern Europe, and North and West Africa. Additionally, we will explore music practices in India, Indonesia, and the Americas. Course Materials: Readings/ Listening Examples: There is no textbook that needs to be purchased for this course. All readings and listening examples will be posted on Canvas (http://canvas.utexas.edu/) or accessible through the UT Libraries (http://www.lib.utexas.edu/). Internet Access: Students will need Internet access on a daily basis to access Canvas (http://canvas.utexas.edu/) and/ or email to keep up with announcements, to access readings and listening examples, and to complete weekly assignments. I-clicker: Students will need to purchase an I-clicker (available at University Co-op) and register it at www.iclicker.com as soon as possible. We will begin in-class I-clicker exercises beginning September 6 (the third week of class), and these exercises will count toward your attendance and participation grades. You will need to bring your I-clicker to lecture each day. Course Requirements: Attendance & Informed Participation in Lecture and Online Discussion (10% of final grade) The success of this course depends on your informed participation in activities and discussions online and during class. By informed, I mean that you have a responsibility to your fellow colleagues to prepare for this course: (1) by completing the weekly Canvas Modules before the deadlines posted on Canvas, (2) by thoughtfully engaging with the weekly readings (taking notes on main points and marking passages that you find interesting or unclear), and (3) by preparing so that you can apply concepts and main ideas from the readings to case studies covered in class. There will be a number of informed participation assessments scheduled throughout the semester some online via Canvas, some using your I-clicker during class, and some requiring other forms of participation in lecture. If you do not participate with your I-clicker or complete participation exercises during lecture, you will be counted absent for the day. Also check Canvas regularly for announcements about online discussion questions. Attendance & Participation in Weekly Discussion Sections (10% of final grade) Each week you will attend a discussion section led by your TA (either Monday or Wednesday evenings, depending on the section you are enrolled). Discussion sections are an opportunity for you to engage with course material in a more intimate setting. The discussion sections are not a repeat of lecture material. You will be introduced to new concepts and examples in these sections, and it is imperative you make every effort to attend the discussion sections each week. Attendance will be monitored by your TA, and (as in the lectures) attendance is based on informed participation in the discussions. More information will be provided in a separate syllabus created by your TA. Discussion sections begin meeting the week of August 29. There are no Monday sections on Labor Day (September 5), and no Wednesday sections the week of Thanksgiving (November 23).
MUS 303M (Introduction to Music in World Cultures) Fall 2016 Harris Syllabus 3 Weekly Canvas Modules (10% of final grade) There are fifteen Canvas Modules that you will complete this semester. These modules are intended to prepare you for lectures and to encourage you to engage more deeply with course material. Each module contains an introductory overview of the lecture topics, links to assigned readings, discussion and links to case study examples, and weekly assignments/ quizzes to help you develop your understanding of music concepts and issues covered in class. The modules must be completed in chronological order; Canvas will not allow you to progress to the next part of the module without completing prerequisite exercises. Canvas modules are due by 9am on Thursday of each week, beginning September 1. (Note: The Canvas module for week 1 has an extended due date.) Late submissions will not receive credit. My suggestions for using Canvas: Prepare by looking through the weekly modules and complete the assigned readings (links provided in the modules) prior to Tuesday s lecture each week. This should only take 1 2 hours. You will retain course material better if you review the case study examples soon after we discuss them in lecture. The music examples we discuss in class will be posted in weekly Canvas modules. Schedule a few short (10-15 minute) sessions of active listening each week to review the examples on your own. Complete the exercises in the Canvas modules by 9am on Thursday each week. Late submissions will not receive credit, so plan accordingly for this weekly deadline. You cannot progress to the next module until you complete all elements of the previous week s module. Check Canvas regularly for additional online participation assignments. Periodically, I will post online discussion questions intended to facilitate deeper engagement with course material and to spark debate between you and your fellow colleagues. These participation assignments will typically take you no more than thirty minutes to complete, and they contribute toward your participation grade. Two reflection papers on music events outside of class (8% of final grade) To become more aware of the musical opportunities available to you, you will be required to attend or participate in at least two different music performances or rehearsals that would typically be situated outside of your musical radar. An updated list of approved opportunities at UT and around Austin will be maintained on Canvas throughout the semester; or, if you have your own ideas, please communicate with me or your TA. After you participate in each music event, you will submit a 2-page reflection paper (double-spaced, 12-point Times New Roman font) on your experience. The reflection essays (each worth 4%) must be submitted no later than 2 class periods after you attend the event, and you must staple a program and/ or admission ticket or receipt to the essay. The first essay is due by October 27, and the second is due by November 22. Additional guidelines and a grading rubric will be provided. Practice Midterm (3% of final grade) Prior to the midterm, you will complete in discussion sections a practice exam that focuses on listening examples. The practice exam is designed so that you can identify weaknesses in your understanding of the listening material and in your study methods prior to the midterm on October 6. You will complete the practice midterm in sections on either Wednesday 9/21 or Monday 9/26. In-class exams (14% of final grade) You will be tested over course material via two in-class exams (a midterm and a final) this semester, each worth 7% of your final grade. I will provide a study guide one week prior to the exams (see dates below). The exams will be formatted as a combination of multiple choice, short answer response, matching, and short essay question. There will be a listening portion on both exams in which you will identify sonic features and/ or music styles that we have gone over in class and in discussion sections. If you feel like you need additional help developing your listening skills, please meet with me or your TA.
MUS 303M (Introduction to Music in World Cultures) Fall 2016 Harris Syllabus 4 Take-home Short Essay Exam (4% of final grade) Prior to the final exam, you will be asked to complete a take-home short essay exam. This short essay exam is designed to help you apply and synthesize your knowledge of the issues and musics we ve covered in class (and to further prepare you for the comprehensive final). In addition to relating our discussion of social and cultural issues to the musics we ve studied, there will be a large listening component in which you will identify music styles and explain the sonic features that allowed you to identify the music. You may consult your class notes, class readings, and other scholarly materials for this exam. You may also work with other students to complete this assignment, but each person is responsible for submitting his or her own take-home exam and ensuring his or her own understanding of the concepts we ve covered. The take-home short essay exam must be submitted via Canvas no later than 5:00pm on Tuesday, December 6 th. Music Ethnography Research Project and Final Paper The Music Ethnography project is a semester-long research project with several opportunities for feedback, peer review, and revisions before you submit your final paper on December 1. For this project, you will assume the role of an ethnomusicologist and explore a specific issue related to music in the lives of a specific group of people whom you will interview and interact with several times over the course of the semester. I encourage you to start thinking now about the issue you d like to explore in relation to music, the type of music you want to research, and the group of people you want to work with. You should devise a topic and research plan as soon as possible, but certainly by September 29 when your formal proposal must be submitted for feedback and approval. Your TA and I are available to discuss ideas. This project is divided into three stages, and you must complete all three stages of the project to receive credit for the final paper. First, you will submit a topic proposal and research plan (worth 6% of your final grade) for feedback and approval to your TA by September 29. Then, you will submit an initial introduction, outline, and bibliography (worth 10% of your final grade) for peer review and feedback from your TA by November 3. After making necessary revisions and receiving approval from your TA, you will submit by the start of lecture on December 1 a final paper (worth 25% of your final grade) of 1400 words, double-spaced, 12-point Times New Roman font, not counting an additional bibliography of at least 5 distinct sources in proper citation format. All three stages and revisions are required to fulfill the Writing Flag for this course. Detailed instructions with a grading rubric and further guidelines will be provided. Extra Credit Opportunities The instructor will announce extra credit opportunities throughout the semester. Examples of extra credit opportunities might be an additional reflection essay or leading an online discussion about a music experience outside of class. Students may complete no more than two extra credit exercises, and extra credit will be applied to the final grade only after all other assessments have been completed. Assessment Breakdown & Important Dates 10% Attendance & Informed Participation in Lecture ongoing 10% Attendance & Participation in Discussion Sections (13 total) ongoing 10% Weekly Canvas Modules (15 total) ongoing, due by 9a each Thursday 6% Music Ethnography Proposal and Research Plan Thursday, September 29 at 9:30a 3% Practice Midterm In sections Wednesday, September 21 and Monday, September 26 7% Midterm Exam Thursday, October 6 at 9:30a 4% Reflection Paper #1 Thursday, October 27, by 5p 10% Music Ethnography Initial Intro, Outline, and Bibliography Thursday, November 3 at 9:30a 4% Reflection Paper #2 Tuesday, November 22, by 5p 25% Music Ethnography Final Paper Thursday, December 1 at 9:30a 4% Take-home Short Essay Exam Tuesday, December 6, by 5p 7% Final Exam (subject to change) Thursday, December 8, 2 5p
MUS 303M (Introduction to Music in World Cultures) Fall 2016 Harris Syllabus 5 Grading Scale Your final grade in the course will be calculated according to the university s +/- system: A 93% or above B- 80 83.9% D+ 67 69.9% A- 90 92.9% C+ 77 79.9% D 64 66.9% B+ 87 89.9% C 74 76.9% D- 60 63.9% B 84 86.9% C- 70 73.9% F below 60% Grading Concerns: If you are concerned about your progress in the course this semester, please address your concerns with me during office hours or schedule an appointment. Electronics Policy Laptops & Tablets: You may use your laptops or tablets in class for taking notes. Using your devices for any other purpose (surfing the web, checking email, scouring social media, watching videos) is distracting for you and your peers. If we see several people abusing this policy on a consistent basis, we will be forced to ban electronic devices from the classroom. Hold yourself and your peers accountable to focus only on course material during lecture and discussion sections. Cell Phones: Cell phones (even for the purpose of texting) are not allowed in lecture or discussion sections. If you have an emergency and you need to text or call someone, please exit the classroom. You will be asked to leave class if you abuse this policy. UT Campus-Wide Policies Guidelines for Students with Disabilities Students with a documented disability requiring academic accommodations should contact Services for Students with Disabilities at 471-6259 (voice) or 232-2937 (Video Phone) as soon as possible to request an official letter outlining authorized accommodations. Students requiring assistance should inform their instructor in writing during the first week of class. Emergency Evacuation Policy Occupants of UT campus buildings are required to evacuate buildings when a fire alarm is activated. Alarm activation or announcement requires exiting and assembling outside. Familiarize yourself with all exit doors of each classroom and building you may occupy. Remember that the nearest exit door may not be the one you used when entering the building. Students requiring assistance in evacuation shall inform their instructor in writing during the first week of class. In the event of an evacuation, follow the instruction of faculty or class instructors. Do not re-enter a building unless given instructions by Austin Fire Department, The University of Texas at Austin Police Department, or Fire Prevention Services office. Policy on Academic Integrity and Plagiarism Students who violate University rules on academic integrity are subject to disciplinary penalties, including the possibility of failure in the course and/or dismissal from the University. Students are expected to uphold the University of Texas honor code. All suspected cases of cheating are reported to Student Judicial Services. If you have any question about what constitutes academic misconduct please visit the University of Texas Student Judicial Services website at http://deanofstudents.utexas.edu/sjs/academicintegrity.html. According to UT Student Judicial Services, plagiarism occurs if you represent as your own work any material that was obtained from another source, regardless how or where you acquired it. All suspected cases of plagiarism (intentional as well as unintentional) are reported to Student Judicial Services. Students may familiarize themselves with how to avoid plagiarism by viewing a UT libraries tutorial: http://www.lib.utexas.edu/services/instruction/learningmodules/plagiarism/index.html. Also, you will spend time in discussion sections learning how to properly cite the sources you use in your final papers so that you may avoid unintentional plagiarism
MUS 303M (Introduction to Music in World Cultures) Fall 2016 Harris Syllabus 6 Course Schedule: Fall 2016 (subject to change and adjustment as necessary) Note: All reading materials on Canvas, organized into modules. Links to the audio or video files for case studies will be posted in the Canvas modules after we go over them in lecture (unless otherwise noted). Lecture Topic Canvas Module 1 (due 9am Thursday, 9/1) Discussion Board (due 9a Thursday, 9/1) Discussion Sections Week 1 (8/25): Introduction Thursday 8/25: Overview of course and what ethnomusicologists do Issue: What is a music-culture? What is musical ethnography? Reading: Jeff Titon, The Four Components of a Music-Culture (12 pages) Reading: Titon & Reck, Doing Musical Ethnography (17 pages) Review: Music terminology handout Assignment 1: Music Culture & Music Ethnography Module 1 Quiz Post a 2-3 sentence summary of what you expect to get out of this class this semester. Post due by Thursday, 9/1. No discussion sections this week, but TA is available to meet to discuss questions about course materials and assignments. Week 2 (8/30 & 9/1): World Music, Globalization, & Western Consumption Lecture Topics Tuesday 8/30: Narratives on Globalization & World Music Issue: What types of narratives are used to describe the effects of globalization? How have these narratives been extended to world music? o Case Study: Ladysmith Black Mambazo & Paul Simon s Graceland o Case Study: Thomas Mapfumo & chimerenga in Zimbabwe Thursday 9/1: World Music, Authenticity, & Essentialism Issue: What notions about authenticity are associated with world music? How can we discuss world music without falling into the trap of essentialism? o Case Study: Bob Marley & the reggae movement o Case Study: mbanqanga in Johannesburg studios Canvas Module 2 (due 9am Thursday, 9/1) Discussion Section 1 (8/29 & 8/31) Reading: Steven Feld, Notes on World Beat (7 pages) Reading: Bob White, The Promise of World Music: Strategies for Non- Essentialist Listening, (20 pages) Assignment 2 Module 2 Quiz Overview/ Introduction Practice applying music terminology with additional music examples
MUS 303M (Introduction to Music in World Cultures) Fall 2016 Harris Syllabus 7 Week 3 (9/6 & 9/8): Colonialism & Music of Sub-Saharan Africa Lecture Topics Tuesday 9/6: Colonialist Engagement with Africa Issue: How has the West engaged with Africa s peoples, cultures, and resources? How might this engagement influence perceptions about Africa s musics? o Case Study: music of the Baaka/ Mbuti people Thursday 9/8: Background and Demonstration of West African music o Case Study & Interactive Class Exercise: Ewe agbekor music Canvas Module 3 (due 9am Thursday, 9/8) Discussion Section 2 (9/7 & 9/12) Reading: John Chernoff, excerpt from Introduction, pgs 8 15 (7 pages) Reading: John Chernoff, The Study of Music in Africa, pgs 27 37 (10 pages) Reading: David Locke, Africa/ Ewe, Mande, Dagbamba, Shona, BaAka, pgs 89 110 (15 pages excluding charts) Assignment 3: Research Interactions Commentary and Peer Review Module 3 Quiz Labor Day holiday: No Monday sections on 9/5 Discuss Doing Musical Ethnography from Canvas Module 1. Discuss interview techniques. Week 4 (9/13 & 9/15): Migration, Hybridity, & Music in the Caribbean Lecture Topic Tuesday 9/13: Afro-Cuban Music and Culture Issue: What concepts can we use to discuss the musical products created in the mixing of West African and Caribbean culture in Cuba? o Case Study: bata drumming and Santeria o Case Study: rumba in Cuba Thursday 9/15: Migration & Popular Music in Puerto Rico Issue: How do cultural symbols migrate from one area of the world to another? How are cultural elements interpreted (and re-interpreted) via this migration? o Case Study: reggaeton in Puerto Rico Canvas Module 4 (due 9am Thursday, 9/15) Discussion Section 3 (9/14 & 9/19) Reading: Brill Music of Latin America and the Caribbean: An Overview (15 pages) Reading: Jorge Giovannetti, Popular Music and Culture in Puerto Rico (10 pages) Assignment 4 Module 4 Quiz Meet at the Fine Arts Library (DFA 3.200).
MUS 303M (Introduction to Music in World Cultures) Fall 2016 Harris Syllabus 8 Week 5 (9/20 & 9/22): Music, Diaspora, & Transnational Connections Lecture Topic Tuesday 9/20: Transnationalism and Music in the Franco-Maghrebi Diaspora Issue: How do diasporic communities use music to connect across national boundaries? What are the origins of rai in North Africa, and how was rai adapted in France? o Case Study: rai in Algeria (Cheb Khaled Oran, Oran ) o Case Study: rai in France (Rachid Taha Ya Rayah ) o Case Study: international popularity (Cheb Mami & Sting Desert Rose ) Thursday 9/22: (tentative) Music in the Lebanese Diaspora Issue: How are music and cultural elements preserved, adopted, reinterpreted, and combined in diasporic communities? o Case Study: French-Lebanese fusion in Paris (ex: Ibrahim Maalouf) Canvas Module 5 9/22) Discussion Section 4 (9/21 & 9/26) Reading: Philip Bohlman Diaspora (10 pages) Reading: Tony Langlois Rai (Grove Music Online) Reading: Nasser Al-Taee Running with the Rebels, pgs 1 13 (13 pages) Assignment 5 Module 5 Quiz Practice midterm. Week 6 (9/27 & 9/29): Orientalism, Popular Music, & the South Asian Diaspora Lecture Topic Tuesday 9/27: Orientalism, India, and Popular Music in the West Issue: What is orientalism? How has orientalist engagement with Indian culture influenced music in the West? o Case Study: 1960s sitar explosion o Case Study: Indo-jazz (John Mclaughlin s Shakti) Thursday 9/29: Popular Music in the South Asian Diaspora Issue: How are music and cultural elements preserved, adopted, reinterpreted, and combined in diasporic communities? How have elements of Punjabi music and culture been preserved and re-interpreted in the South Asian diaspora? o Case Study: bhangra to bhangramuffin in Britain o Case Study: Punjabi-Mexican culture in California Canvas Module 6 9/29) Discussion Section 5 (9/28 & 10/3) Musical Ethnography Reading: Gerry Farrel Reflecting Surfaces: The Use of Elements from Indian Music in Popular Music and Jazz (16 pages) Reading: Timothy Taylor Apache Indian (13 pages) Assignment 6 Module 6 Quiz Midterm review. Submit proposal and research plan for musical ethnography at beginning of lecture on September 29.
MUS 303M (Introduction to Music in World Cultures) Fall 2016 Harris Syllabus 9 Week 7 (10/4 & 10/6): Introduction to Music in the Middle East Lecture Topic Tuesday 10/4: Background and Demonstration of Middle Eastern rhythms, modes, and instruments o Interactive class exercise w/ special guest musicians Thursday 10/6: Midterm Canvas Module 7 10/6) Discussion Section 6 (10/5 & 10/10) Reading: Racy Music in Middle Eastern Societies (11 pages) Reading: Scott Marcus Islam and Music: Is Music Haram? (6 pages) Assignment 7: Midterm review Module 7 Quiz Music, Islam, and the Call to Prayer Week 8 (10/11 & 10/13): Music, Ecstasy, & Religious Experience Lecture Topic Tuesday, 10/11: The Secular Ecstasy of tarab in Egypt Issue: How is emotion conveyed through music? through performance techniques? through audience response? o Case Study: Umm Kulthum ( Howa Saheeh ) Thursday, 10/13: Music and Religious Experience in Sufi Mysticism Issue: How can music reflect and/ or enhance religious experience? o Case Study: Mevlevi ayin o Case Study: Qawwali of South Asia Canvas Module 8 10/13) Discussion Section 7 (10/12 & 10/17) Reading: Virginia Danielson Umm Kulthum (from Garland) Reading: Neubauer and Doubleday Islamic Religious Music, II. Sufism and popular Islam (Grove Music Online) Reading: Regula Qureshi India, VI, 2(ii): Qavvālī (Grove Music Online) Assignment 8 Module 8 Quiz: Turkish and Arabic classical music concepts. Guided listening of fasil suite and application of Turkish/ Arabic music terminology & concepts.
MUS 303M (Introduction to Music in World Cultures) Fall 2016 Harris Syllabus 10 Week 9 (10/18 & 10/20) Modernism, Nationalism, and Music in Turkey Lecture Topic Tuesday, 10/18: Music, Nation, and Modernity in the Early Turkish Republic Issue: How was music used to establish an idea of Turkey as a modern nation-state with a unified ethnic and linguistic identity? o Case Study: TBA Thursday, 10/20: Music and Marginalization in the Early Turkish Nation Issue: How might movement toward nationalist marginalize certain groups of people? o Case Study: Kurdish in Turkey (Şavan Perwer Helepce ) o Case Study: Romani musicians in Turkey Canvas Module 9 10/20) Discussion Section 8 (10/19 & 10/24) Lecture Topic Reading: Metin, Ataturk and the Arts With Special Reference to Music and Theatre (9 pages) Reading: Ian Hancock History (10 pages) Reading: Ian Hancock Explaining Anti-Gypsyism (9 pages) Assignment 9 Module 9 Quiz Turkish Roman music and transnational markets Week 10 (10/25 & 10/27): TBA Tuesday, 10/25: TBA, Guest lecture by Laura Jorgenson Thursday, 10/27: TBA Canvas Module 10 10/27) Discussion Section 9 (10/26 & 10/31) Reflection Paper #1 Reading: Anderson Sutton Asia/ Indonesia, pgs 299 311, 338 40 (15 pages) Assignment 10: Comparative critical listening (Javanese vs. Balinese) Module 10 Quiz Discuss musical ethnography outlines. In-class analysis of musical ethnography (TBA) First reflection paper on music experience outside of class due by 5p on Thursday, October 27.
MUS 303M (Introduction to Music in World Cultures) Fall 2016 Harris Syllabus 11 Week 11 (11/1 & 11/3): Gamelan Music and Ethnofusion in Indonesia Lecture Topic Tuesday 11/1: Introduction to Indonesian Gamelan Issue: How is gamelan music organized? How does the organization of gamelan music in Bali compare to that of Java? o Case Study: Balinese gamelan ( Ujan Mas ) o Case Study: Javanese gamelan ( Tropang Bang ) Canvas Module 11 11/3) Online Participation (due by 5p Monday, 11/7) Discussion Section 10 (11/2 & 11/7) Musical Ethnography Thursday 11/3: Musical Fusions in Indonesia Issue: How have Indonesian artists merged traditional music styles with contemporary forms and media? How does commercial viability play into popular music fusions in Indonesia? o Case Study: dangdut o Case Study: Techno-Hybrid music in Indonesia Reading: Lisa Gold excerpt from Music in Bali (TBA) Reading: Jeremy Wallach Engineering Techno-Hybrid Grooves in Two Indonesian Sound Studios (15 pages) Assignment 11: Critical listening and analysis of lancaran structure Module 11 Quiz Compose your own Javanese gamelan piece in lancaran structure using an online sequencer (http://onlinesequencer.net) and post your composition to the discussion board. Fieldtrip to UT gamelan room Submit preliminary introduction, outline, and bibliography at the beginning of lecture on Thursday, 11/3. Week 12 (11/8 & 11/10): Classicization, Marginalization, & Music in South India Lecture Topic Tuesday 11/8: Nationalism and the Classical in India Issue: How were ideologies about classical music constructed in India? How are these ideologies tied to early 20 th c. nationalist movements? o Case Study: Karnataka Sangita Canvas Module 12 11/10) Discussion Section 11 (11/9 & 11/14) Thursday 11/10: Classical Music & Marginalization in South India Issue: How has the elevation of certain music practices as classical led to the marginalization of certain performers, practices, and instruments in South India? o Case Study: Devadāsīs and bharat natyam o Case Study: parai drummers and music of the Dalit caste o Case Study: percussionists in the Karnatak community Viewing: preview of Zoe Sherinian s documentary on parai drumming Reading: Allen & Viswanathan, Contextualizing South Indian Performance Socially and Historically (15 pages) Assignment 12 Module 12 Quiz Peer review of music ethnography intro/ outlines.
MUS 303M (Introduction to Music in World Cultures) Fall 2016 Harris Syllabus 12 Lecture Topic Week 13 (11/15 & 11/17): Rhythm & Fusion in India Tuesday 11/15: Demonstration of South Indian Tala & Rhythm Interactive class exercise: Karnatak tala and rhythmic improvisation Thursday 11/17: Indo-Fusion for Western Consumption Issue: How have musicians in India used fusion to create new forms of social (and economic) agency? o Case Study: review John McLaughlin & Shakti o Case Study: Karnatak fusion in Bangalore Canvas Module 13 11/17) Discussion Section 12 (11/16 & 11/21) Reading: Allen & Viswanathan, Key Concepts in Karṇāṭak Music (15 pages) Reading: Yoshitaka Terada, Fusion Music in South India (12 pages) Assignment 13: Analysis of fusion example Module 13 Quiz TBA Week 14 (11/22 & 11/24): Cosmopolitanism & Popular Music in South Asia Lecture Topic Tuesday, 11/22: Popular Music in India Issue: How has consumer cosmopolitanism manifested in India? How has popular music developed in urban areas of India over the past few decades in response to consumer cosmopolitan preferences? o Case Study: Bollywood o Case Study: Indipop Thursday 11/24: No class. Happy Thanksgiving! Canvas Module 14 11/24) Advice: Complete the module early this week so you can enjoy your Thanksgiving holiday! Reading: Bakan From Raga to Bollywood, pgs 143 146 (4 pages) Reading: Booth and Shope, Introduction Popular Music in India, from More Than Bollywood, pgs 1 20 (20 pages) Reading: review Bob White, The Promise of World Music, pgs 198 202 on consumer cosmopolitanism (5 pages) Assignment 14 Module 14 Quiz Discussion Sections No Wednesday section this week (Happy Thanksgiving!) Discussion Board (due by 9a Monday, 11/29) understanding of music evolved? Reflection Paper #2 Review your first discussion board post from week 1. In 3 5 sentences, reflect on how this course did or did not fulfill your initial expectations. How has your Submit your second reflection essay on a music event outside of class by 5p Tuesday, 11/22.
MUS 303M (Introduction to Music in World Cultures) Fall 2016 Harris Syllabus 13 Lecture Topic Week 15 (11/29 & 12/1): Wrap-up & Review Tuesday, 11/29: Wrap-up & Review Thursday, 12/1: Wrap-up & Review Canvas Module 15 (due by 5p Friday, 12/2) Discussion Section 13 (11/28 & 11/30) Musical Ethnography Note slightly extended due date (use the time to focus on your final paper). Assignment 15: Review issues, concepts, case studies Module 15 Quiz Review for final exam. Submit the Final Paper for your musical ethnography project (in a packet along with your previously submitted proposal and outline) at the beginning of lecture on Thursday, 12/1. Take-home Short Essay Exam due by 5p Tuesday, December 6. UT Scheduled Final Exam: December 8, 2p 5p, in room MRH 2.608.