University of Waterloo, Department of Music MUSIC 245 Music Traditions of the World Fall 2013 Tues & Thurs. 1:00-2:20pm, Room 1302 Instructor: Maisie Sum Office: CGUC 1113 Office Phone: 519-885-0220 x24219 Office Hours: Thursday 9:30-11:30am or by appointment Email: msum@uwaterloo.ca Course Description: Music is often thought of as universal, yet the way we understand, listen to, think about, make and use music differs across societies, not to mention within the same society depending on context. This course will look at connections and meanings music has to the life of people in various societies around the world. Beginning with the premise that to understand a people s music is to understand their aesthetic sensibility, we must open our ears, our minds and our imagination. Only by setting aside initial reactions and accepting a new challenge can we begin to understand and acquire a lens into how they see life in one of the most meaningful ways. Appreciation of non-western musics is a rewarding way towards achieving cross-cultural understanding, and in turn provides a mirror into our own sonic sensibilities and musical attitudes. A world music course is an impossible undertaking. Given the multitude of cultures known (and unknown) to us, where, when, how and with what does one begin? While a geographical map divides us neatly into our spaces, music, like the cultures to which they belong, travels among people and across borders. We need not look far at our neighbors and community to see the continuous fluidity, blending, and transformation of musical practices, meaning and uses through time; for example, hearing Mozart in a commercial for a luxury car, the addition of foreign instruments into Euro-American bands, accessibility and abundance of mediated music. A course such as this may be organized in a number of ways; that is, according to topics, musical parameters and so forth. I have, however, selected music cultures based on location. I should say that like the required selection of a few countries at the neglect of others, the music associated with each area also required necessary exclusion to accommodate the duration of the course. The course focuses on some of the music practiced in Asia and Africa. Classes where you learn some basic rhythmic and melodic patterns shall be enhanced with visits by practitioners of the music traditions when possible. These sessions, combined with readings, class discussions, listening, video viewing, aural recognition, transcription, analysis and field work aim to give firsthand experience of some of the diversity of humankind s music. Issues of a political, geographic, economic and sociological nature are examined in terms of their correlation to changes in musical practices; for example, performance structure and process, instrumentation and social contexts. Questions considered are: In what way have certain music traditions influenced contemporary music of the region and beyond? What is the impact of globalization (e.g., tourism and internet) on the value and practice of music traditions today?
World Music 245, Fall 2013 2 Summary of Goals: To provide a cross-cultural perspective of music traditions To expose you to music you may or may not have heard To have you interact with the music That you come away with an idea of the musical diversity and meaning in the world and within a single region of a country That you develop a new way of thinking about music That you cultivate the ability to stretch your ears in order to listen to and appreciate unfamiliar musics and cultures Learning Expectations and Responsibilities: Understand and learn concepts and terms discussed in class Actively participate in class discussions Engage yourself musically and identify specific features in listening examples Submit assignments on due date Course Work: 1. Attendance at all lectures: Participation in class discussion, listening and responding to recordings, and reading of assigned texts. (-1% for each class missed exceptions made for doctor s note or other official reason) 2. Two written assignments: a. Field essay: Write an essay based on your attendance at/participation in a music ensemble rehearsal or performance and interview with leader or member of ensemble. 500-1000 words Due Oct. 10 b. Close Listening: A transcription/analysis (using a creative notational style) of music from an oral tradition with 300-word summary. Due Oct. 31 3. Listening quiz: Identify assigned listening pieces and their basic musical structure. Nov. 12 4. Oral exam: After learning pieces in class. Practice them in assigned pairs, and perform them for me in my office (also in pairs) from memory during week of Nov. 18. 5. Two written exams: Music traditions of Asia in class on Oct. 17; Music traditions of Africa during exam period. Evaluation Procedure: Assignment 1: Field Essay 12.5% Oct. 10 Assignment 2: Close Listening 12.5% Oct. 31 Listening Quiz 12.5% Nov. 12 Oral Exam 12.5% Week of Nov. 18 Mid-term 20% Oct. 17 Final Exam 20% TBA Attendance, participation, attitude 10%
World Music 245, Fall 2013 3 Reading and Listening: Required Text: 1. Berliner, Paul. 1993[1981]. The Soul of Mbira: Music and Traditions of the Shona People of Zimbabwe. Chicago: University of Chicago Press. 2. Tenzer. 2011[1998]. Balinese Gamelan Music, Third Edition. Vermont: Tuttle Publishing. 3. Viswanathan, T. and Allen, Matthew Harp. 2004. Music in South India: The Karnatak Concert Tradition and Beyond. New York: Oxford University Press. Additional readings, from journals or books that you are not expected to buy, will be on reserve. For specifics, see the syllabus below. Recommended Text: 1. Crafts, Susan D., Cavicchi, Daniel, and Keil, Charles. 1996. My Music: Explorations of Music in Daily Life (Music/Culture Series). Middletown: Wesleyan University Press. 2. Bohlman, Philip V. 2002. World Music: A Very Short Introduction. Oxford: Oxford University Press. 3. Agawu, Kofi. 1995. African Rhythm: A Northern Ewe Perspective. Cambridge: Cambridge University Press. Books on Reserve at CGUC Library: Agawu, Kofi. African Rhythm, a Northern Ewe Perspective Berliner, Paul. The Soul of Mbira Chernoff, John. African Rhythm and African Sensibility Kapchan, Deborah. 2007. Traveling Spirit Masters: Moroccan Gnawa Trance and Music in the Global Marketplace Lindsay, Jennifer. Javanese Gamelan Nettl, Bruno. The Study of Ethnomusicology: 29 Issues and Concepts Tenzer, Michael. Balinese Gamelan Music, 3 rd Edition Tenzer, Michael. Gamelan Gong Kebyar: The Art of Twentieth Century Balinese Music Titon, Jeff, ed. Worlds of Music: An Introduction to the Music of the World s Peoples, 5 th Edition Viswanathan, T. and Allen, Matthew Harp. 2004. Music in South India: The Karnatak Concert Tradition and Beyond. New York: Oxford University Press. Also of interest, though not on reserve: these world music textbooks, often used in courses like this one, with individual chapters on diverse cultures. May, Elizabeth, ed. Musics of Many Cultures Nettl, Bruno, ed. Excursions in World Music
World Music 245, Fall 2013 4 Articles/Chapters on reserve and/or on LEARN: Agawu, Kofi. Representing African Music Locke, David. Africa: Ewe, Mande, Dagbamba, Shona, BaAka (in Titon) Maceda, Jose. Music in Southeast Asia: Tradition, Nationalism, Innovation Sum, M. Music of the Gnawa of Morocco: Evolving Spaces and Times (Selected chapters) Tenzer, M. Western Music in the Context of World Music (Chapter XVI in R. Morgan, ed.) Man and Music: Modern Times) Vetter, Roger. Flexibility in the Performance Practice of Central Javanese Music Ziporyn, Evan. Who Listens if You Care? Listening: CDs on reserve I. India Unit: Music in North India CD with text G. Ruckert, prod. Music in South India CD with text Viswanathan, Allen, prod. South Indian Rhythm Lessons field recording M. Tenzer, prod. II. Indonesia Unit: Bali: Gamelan and Kecak Nonesuch 9 79204-2 D. Lewiston, prod. Balinese Gamelan Music BMMCD101 M. Tenzer, prod. Field recordings M. Sum, prod Gamelan Semar Pegulingan of Binoh KICC 5155 H. Kyoji, prod. Gender Wayang of Sukawati Village KICC 5156 H. Kyoji, prod Javanese Gamelan Music in Bali KICC 5127 H. Kyoji, prod III. Africa unit African Rhythm CD with text K. Agawu, prod. Darga. Stop Baraka Hamid El Kasri H. El Kasri, prod. Master Drummers of Dagbon, Vol.1 Rounder 5016 J. Chernoff, prod. Master Drummers of Dagbon, Vol.2 Rounder 5046 J. Chernoff, prod. M allem Abdallah Gania. Nass Jedba Rhythms of Life, Songs of Wisdom SFW 40463 R. Vetter, prod. Zimbabwe: The Soul of Mbira Nonesuch 9 72054-2 P. Berliner, prod.
World Music 245, Fall 2013 5 Tentative Course Calendar: Week Date Topic 1 Sept. 10 Sept. 12 Preliminaries, how to think about music Cross-cultural comparison of basic concepts, introduction to transcription 2. a) Nettl, Bruno. The Study of Ethnomusicology: 29 Issues and Concepts, Ch. 1 (on reserve) 2 Sept. 17 Sept. 19 3 Sept. 24 Sept. 26 4 Oct. 1 Oct. 3 5 Oct. 8 Oct. 10 b) My Music (on reserve) Overview of music and musical thought in India; South India I: Introduction, Song South India II: Concepts in Karnatak Music, Karnatak Concert 1. Viswanathan and Allen: Ch. 1 2. Viswanathan and Allen: Ch. 2, 3 Viswanathan and Allen companion CD South India III: Contexts of Performance, Workshop South India IV: Regional and Modern Traditions 1. Viswanathan and Allen: Ch. 4 2. Viswanathan and Allen: Ch. 5 1. Viswanathan & Allen companion CD 2. a) Viswanathan & Allen companion CD b) Recordings from South India Class Overview of music and musical thought in SE Asia; Javanese Gamelan Balinese gamelan I: Introduction, History, Instruments 1. Maceda, J. Music in Southeast Asia (article on reserve) Vetter, R. Flexibility in the Performance Practice (article on reserve) Lindsay: Javanese Gamelan (browse all) 2. Tenzer: Ch. 1 3 1.a) TBA b) Javanese Gamelan 2.a) Balinese Music CD (book companion) all b) Music in Bali (King label CD) cuts 2,6,9 Balinese gamelan II: Principles of Music, Baris Dance Balinese gamelan III: Ensembles & Repertoire, Music in Society Assignment 1 due (field essay) 1. Tenzer: Ch. 4 5 2. Tenzer: Ch. 6, 7 1. Balinese Music CD (book companion) Baris cut 2. a) Gender Wayang of Sukawati (King label CD) cuts1-2 b) Gamelan Semar Pegulingan of Binoh (King label CD) cuts 2,6 c) Bali: Gamelan and Kecak CD cut 2 6 Oct. 15 Balinese gamelan IV: Changes and New Creations
World Music 245, Fall 2013 6 Oct. 17 7 Oct. 22 Oct. 24 8 Oct. 29 Oct. 31 9 Nov. 5 Nov. 7 10 Nov. 12 Nov. 14 11 Nov. 19 Nov. 21 Asia Exam 1. Tenzer: Ch. 8, 10 1. a) Buk Katah (video) b) ISI Ujian 2004 c) Genetic (video) Overview of Music in Africa; Shona I: Introduction, History & People Shona Mbira II: Instruments, Aesthetics, In Performance 1. Berliner: Ch. 1, 2 2. Berliner: Ch. 3 5 1. Rhythms of Life, Songs of Wisdom CD (cuts 6 9) 2. Soul of the Mbira CD (cuts 1 4) Shona Mbira III: Transmission, Repertoire Shona Mbira IV: Ritual Contexts & Changes Assignment 2 due (close listening) 1. Berliner: Ch. 6, 7 2. Berliner: Ch. 8, 9 1. Soul of Mbira CD (all) TBA Ghanaian Rhythm I 1. TBA 2. a) Agawu: Prologue, Ch. 1 (browse), 4, 5 (browse) (on reserve) b) Chernoff: Introduction, Ch. 1 (on reserve) 1. TBA 2. a) African Rhythm CD (cuts TBA) b) Drums of Dagbon Vol. 1 CD (cuts 5-8) Drums of Dagbon Vol. 2 CD (cuts 1-5) Ghanaian Rhythm II Listening Quiz Class cancelled (MS out of town) 1.a) Locke, David (in Titon): Ch. 3 (pp. 89 110) b) Agawu, K. Representing African Music (on reserve) 1. Cut from Titon companion CD (Locke s chapter) Overview of Music in Morocco; Gnawa music I: Introduction, Belief System, Instruments Gnawa music II: Social Structure, Identity, and Context 1. a) Sum: Ch. 1, 2, 4 pp.124 128 2. a) Sum: Ch. 3 b) Kapchan: TBA Listen/Watch:
World Music 245, Fall 2013 7 12 Nov. 26 Nov. 28 1. a) Andalusian music TBA b) Nass El Ghiwan c) Darga d) Hamadsha (video clip) e) Gnawa TBA 2. a) Hamid El Kasri b) Field recording Oral exams to be scheduled for this week Gnawa music III: Music Structure, Performance Contexts Recreational music, ceremonial music, and further reflections; contemporary African popular music 1. a) Sum: Ch. 4, 5, 6, 7, 8 (pages TBA) 2. a) Tenzer, M. Western Music in the Context of World Music (on reserve) b) Ziporyn, Evan. Who Listens if You Care? (on reserve) Listen/Watch: 1. a) Field recording b) Nass Jedba (M allem Abdallah Gania) *The above schedule may change from time-to-time to reflect the pace of the course and to better refine the course schedule. Changes to this schedule will be announced in class and by announcement on Waterloo LEARN. Late Work Assignments will not be accepted late. Academic Integrity In order to maintain a culture of academic integrity, members of the University of Waterloo community are expected to promote honesty, trust, fairness, respect and responsibility. See the UWaterloo Academic Integritity Webpage (https://uwaterloo.ca/academic-integrity/) and the Arts Academic Integrity Office Webpage (http://arts.uwaterloo.ca/currentundergraduates/academic-responsibility) and https://uwaterloo.ca/arts/currentundergraduates/student-support/ethical-behavior for more information. Discipline A student is expected to know what constitutes academic integrity to avoid committing academic offenses and to take responsibility for his/her actions. A student who is unsure whether an action constitutes an offense, or who needs help in learning how to avoid offenses (e.g., plagiarism, cheating) or about rules for group work/collaboration should seek guidance from the course professor, academic advisor, or the undergraduate associate dean. For information on categories of offenses and types of penalties, students should refer to Policy 71, Student Discipline (http://www.adm.uwaterloo.ca/infosec/policies/policy71.htm). For typical penalties check
Guidelines for the Assessment of Penalties (http://www.adm.uwaterloo.ca/infosec/guidelines/penaltyguidelines.htm). World Music 245, Fall 2013 8 Grievance A student who believes that a decision affecting some aspect of his/her university life has been unfair or unreasonable may have grounds for initiating a grievance. Read Policy 70, Student Petitions and Grievances, Section 4 (https://uwaterloo.ca/secretariat/policies-proceduresguidelines/policy-70). When in doubt please be certain to contact the department s administrative assistant who will provide further assistance. Appeals A decision made or penalty imposed under Policy 70, Student Petitions and Grievances (other than a petition) or Policy 71, Student Discipline may be appealed if there is a ground. A student who believes he/she has a ground for an appeal should refer to Policy 72, Student Appeals (http://www.adm.uwaterloo.ca/infosec/policies/policy72.htm). Access Ability Services - Accommodation for Students with Disabilities https://uwaterloo.ca/disability-services/ The University of Waterloo and Grebel share a commitment to support the participation and access to university programs, services, and facilities by persons with disabilities. Note for Students with Disabilities Contact the Office of AccessAbility Services at 519-888-4567 ext. 35082 or visit Needles Hall 1132. Book an appointment to meet with an advisor to discuss the available services and supports. The Office for Persons with Disabilities (OPD) collaborates with all academic departments to arrange appropriate accommodations for students with disabilities without compromising the academic integrity of the curriculum. If you require academic accommodations to lessen the impact of your disability, please register with the Office at the beginning of each academic term. Accommodation Due to Illness Including a statement in the course outline regarding your expectations in case of illness is strongly recommended. The following statement is suggested: From time to time students become ill or have ongoing medical conditions that prevent them from meeting academic obligations. The University is committed to assisting students who are ill and has established the following policy. Documentation Students in on-campus courses who are ill and unable to meet assignment due dates or write a term test or final examination should seek medical treatment and provide confirmation of the illness to the instructor(s) within 48 hours by submitting a completed uwaterloo Verification of Illness Form to support requests for accommodation due to
World Music 245, Fall 2013 9 illness. Students in Online Learning courses must also provide confirmation of the illness but submit it to the Centre for Extended Learning Office. The uwaterloo Verification of Illness Form is normally the only acceptable medical documentation and is available on line at: http://www.healthservices.uwaterloo.ca/health_services/verification.html Students who consult their physician or use the services of an off-campus walk-in clinic must provide this form to the attending physician for completion. Doctor s notes and forms created by the physician or clinic are normally not acceptable. Although not compelled to do so, instructors may accept medical documentation that contains the same information specified on the UW Verification of Illness Form. Health Services charges a $10 fee for completing the Verification of Illness Form, which is not covered by OHIP/UHIP. Fees for this service levied by off-campus practitioners are the student s responsibility.