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Spring 2012 Syllabus Material Type: Notes; Professor: Buchanan; Class: Introduction to World Music; Subject: Music; University: University of Illinois - Urbana-Champaign; Term: Spring 2012;
Typology: Study notes
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Spring 2012
Instructor: Donna A. Buchanan, Associate Professor Course Number: MUSIC 133A Office Phone: 333-3533 M eeting Time: MW 12–1 p.m. Office Location: 4010 Music Building Class Location: MB auditorium Office Hours: Th 3:30–5 or by appointment E-mail: [email protected]
Teaching Assistants and Discussion Sections:
A Morris Th 9 1161 MB B Morris M 11 1144 MB C Knight W 11 1147 MB D W ellington Th 3 1144 MB
E W ellington W 3 1147 MB F Morris Th 12 1144 MB G Morris M 1 1144 MB H Knight W 10 1184 MB
I Knight F 1 1148 MB J W ellington W 2 1147 MB K Knight F 10 1147 MB L W ellington F 2 1147 MB
Teaching Assistant email addresses:
Hilary Morris [email protected] Matthew Knight [email protected] Jud W ellington [email protected]
Your TA may be reached via e-mail, by putting a written note in his/her campus mailbox (2nd floor MB), or in person during office hours.
An interdisciplinary, introductory survey exploring traditional, popular, and classical music styles originating in various parts of the world from an ethnomusicological and anthropological perspective. Throughout the semester, music— and sound in general— will be investigated and appreciated as a form of human expression whose significance is related to socio-cultural context. Primary course objectives are to provide an understanding of how music interacts with other socio-cultural domains, such as cosmology, ecology, social structure, visual art, language, economics, and politics; and to enhance your ability to listen to and comprehend the music of your own culture and that of other peoples. Through a series of case studies, we will focus on basic musical concepts, the musical characteristics of various geographic areas, and cross-cultural comparisons of music as related to particular topics or social issues. W hat can music tell us about the diversity of human life? About humanity itself? How and why music makes us human, what and how music “means,” and why music matters are fundamental questions that this course strives to answer.
Required Texts
Rice, Timothy. 2004. Music in Bulgaria: Experiencing Music, Expressing Culture. New York and Oxford: Oxford University Press. (Book/CD) Available at the Illini and other campus bookstores or your favorite on-line book vendor. Cost: New ca. $25.00; Used ca. $15.
Titon, Jeff Todd, ed. 2009. Worlds of Music: An Introduction to the Music of the World’s Peoples. Shorter, 3rd ed. Schirmer: Cengage Learning. This is an electronic textbook. Download the ToC and Chapter 1 (free of charge), Chapter 2 (North America/Native America), and Chapter 10 (The Arab World) at http://www.ichapters.com. Enter Titon in the search box; then click on the appropriate edition of the text and eChapters in the Digital Purchase Options at right. Follow the prompts
to purchase and download the required chapters. Chapters 2 and 10 cost $10.49 each. A hyperlink to the e-chapter site may be found at the course ICW.
Additional Readings are drawn from a variety of supplementary sources and may be found at the course website (see below). A bibliography of required readings is attached to the bottom of your syllabus.
Recorded Illustrations will be posted at the Music and Performing Arts Library’s Audio E-Reserves (see below).
On-Line Supplements:
Your grade will be determined by the following:
Read: UN 1993 (ICW); Diamond 2008:xiii–xv, 1–34 (ICW).
DQ: Film: The Wodaabe. (Disappearing W orld series, Granada TV, London, 1988).
M 2/6 W odaabe aesthetics, music, and ceremonies. Read: Beckwith 1983 (ICW).
W 2/8 W odaabe ceremonies and dance: The yaake, ruume, and geerewol. Read: Bovin 1998 (ICW).
DQ: Film: Birds of the Wilderness: The Beauty Competition of the Wodaabe People of Niger (2007).
III. M iddle Eastern Soundscapes and the Arab Diaspora
M 2/13 Maghrib and Mashriq: The Middle East as musical region: Binding features and local differences. Read: WoM 10:317–19, 336–40, 347 (textbook).
W 2/15 The sounds of Islam: Qur’anic recitation and the call to prayer. Read: WoM 10:326–30 (textbook); Marcus 2007a:1–15 (ICW). DQ: W odaabe listening review.
M 2/20 Arab instruments and the takht ensemble. In-class demonstration. Read: WoM 10:319–26 (textbook).
W 2/22 The takht, con’t. Textures, form, makam, and ‘iqa.
DQ: In-class listening and analysis. Read: WoM 10:330–36 (textbook); Bakan 2012:289–93 (ICW).
M 2/27 Celebration and song in Egyptian, Moroccan, and Palestinian communities: W eddings and popular culture. Read: WoM 10:341-46, 348–50 (textbook); Marcus 2007b:155–71 (ICW).
W 2/29 Ofra Haza, Hossam Ramzy, and other Middle Eastern film music and ethnopop artists. Read: WoM 10:350–54 (textbook); Bakan 2012:295–301 (ICW).
DQ: Review for Exam #1.
M 3/5 M id-term examination covering Units I–III.
IV. M usic and the Politics of Identity: Gender, Ethnicity, Nationalism, and Political Transition in Bulgaria
W 3/7 The Balkans as musical region. Introduction to Bulgaria and Bulgarian lifeways past and present. Read: Rice 2004:xi–xiii, 1, 18–27 (textbook).
DQ: Film: Whose Song is This?
M 3/12 Music in the pre-1950s Bulgarian village: A regional tour of instrumental and vocal genres. In-class demos. Read: Rice 2004:28–45 (textbook).
W 3/14 Regional tour, con’t. Celebration: The ritual calendar with a focus on mumming.
DQ: Listening review: Distinguishing Bulgarian instruments and musical textures.
M 3/26 Contemporary mumming customs and festivals, con’t. Read: Rice 2004:46–55 (textbook).
W 3/29 In-class performance: “Balkanalia.”
DQ: Listening review: Regional styles and their characteristics.
M 4/2 Traditional music in the socialist era: Professional ensembles for folk music & dance. Folk orchestras. Read: Rice 2004:56–68 (textbook).
W 4/4 Folk choirs: Le mystère des voix bulgares as world music and Xena, Warrior Princess. Contemporary postsocialist folkloric productions. Read: Rice 2004:75–86 (textbook).
DQ: Topic TBA.
M 4/9 W eddings past and present. Bulgarian “wedding music” in the 1980s and 1990s: Balkan dzhaz. Read: Rice 2004:1–17, 68–74 (textbook).
W 4/11 PopFolk: Post-socialist Bulgarian ethnopop and music videos. Read: Rice 2004:87–102 (textbook).
DQ: Listening review.
V. M usic, Healing, Ecology, and Cosmology: Native American M usical Life
M 4/16 Introduction to Native American music cultures. Differentiating regional styles: Plains, Southwest, and Northwest Coast peoples. Read: WoM 2:35–40 (textbook); Nettl 2008:341–51 (ICW). Review Diamond 2008a (ICW).
W 4/18 Differentiating regional styles, con’t. The Eastern W oodlands: The Iroquois Confederacy. Read: Wom 2: 41–43 (textbook); Diamond 2008b:95–116, review 2008a:12–21 (ICW).
DQ: Film: Into the Circle: An Introduction to Native American Powwows (1992) or Wisconsin Powwow: Naamikaaged Dancer for the People (1996).
— —. 2007b. “Present-Day Pop Music: Hakîm and the Sha)bî and Shabâbî Genres.” In his Music in Egypt: Experiencing Music, Expressing Culture, 155–71. NY and Oxford: Oxford University Press.
Nettl, Bruno. 2008. “Native American Music.” In Excursions in World Music, 5th edition, by Bruno Nettl, et al., 336–51, 355–58. Englewood Cliffs, NJ: Prentice-Hall.
Turino, Thomas. 2008. “The Music of Sub-Saharan Africa.” In Excursions in World Music, 5th edition, by Bruno Nettl, et al., 190–200. Englewood Cliffs, NJ: Prentice-Hall.
United Nations. 1993. “W ho are the W orld’s Indigenous Peoples?” NY: United Nations Department of Public Information. (Pamphlet)
W ade, Bonnie C. 2009. “Thinking about Instruments.” In her Thinking Musically: Experiencing Music, Expressing Culture, 35–60. New York and Oxford: Oxford University Press.