Introduction to World Music

Introduction to World Music

MUS 239-750 Telecourse, Summer ‘10

Thursday 7:00 PM

Ellis Hall Room 226

Instructor: Dr. John Prescott

Facilitator: Dr. Christopher Lair

Office Hours:by appointment

Email:

Web Site:

Podcasts:

Text

Titon, Jeff, ed. Worlds of Music, An Introduction to the Music of the World's Peoples. Fourth edition. Belmont, California: Schirmer/Thomson Learning, 2002.

Student Companion Site (for online quizzes):

Humanities and Social Sciences

Music

Music of the World

Find picture of text (4th edition)—click on Companion Site

Select desired chapter

Important! Choose Content Quiz, not listening quiz

Only questions 1-10 will be graded for each quiz

Course Description

This course surveys the selected musical traditions of the world. By looking at selected communities in detail, students will better understand that music is, in most cases, connected to culture and cannot be understood without an awareness of cultural contexts. Students will also develop a musical vocabulary and listening skills through exposure to recordings, lectures and assignments about stylistic elements, and analysis. The ability to read music is not required for the course, but it is helpful. The lectures will be supplemented with sound recordings, and will include in-class demonstrations when possible.

Course Goals

Within the context of the music of the cultures studied, students will become familiar with the following General Education-based concepts.

1.An understanding of how human beings are alike and different from one another.

Understand the common elements of music, and how these common elements are used in similar and in different ways across cultures.

Explore the function of music and the concept of musician cross-culturally

An awareness of the cultural moment and space in which music is created

2.Study ways in which music works in enculturation, community building, and/or spirituality in various cultures, including one’s own.
3.An understanding of the social and cultural circumstances into which one is born through the exploration of a familiar music culture.
4.An awareness of how music is a window to one's own being.

Discussions of ways in which ethnomusicology is intrinsically linked to one’s own culture.

Assignments that deal with personal reflections regarding interpretation of music of other cultures and one’s own.

5.The knowledge of how to play a role in improving relations with other cultures through music.

Attendance

Because this is a telecourse, it is up to each student to ensure that lectures are being viewed, either through Podcast, through DVD check-out in Meyer Library, or by purchasing the CD-ROMs at the campus bookstore. Tests are scheduled on the dates shown below, and may only be made up in cases of extenuating circumstances.

Academic Integrity

Missouri State University is a community of scholars committed to developing educated persons who accept the responsibility to practice personal and academic integrity. You are responsible for knowing and following the university’s student honor code, Student Academic Integrity Policies and Procedures, available at and also available at the Reserves Desk in Meyer Library. Any student participating in any form of academic dishonesty will be subject to sanctions as described in this policy.

Non-Discrimination Policy

Missouri State University is an equal opportunity/affirmative action institution, and maintains a grievance procedure available to any person who believes he or she has been discriminated against. At all times, it is your right to address inquiries or concerns about possible discrimination to the Office of Equal Opportunity Officer, Siceluff Hall 296, (417) 836-4252. Other types of concerns

(i.e., concerns of an academic nature) should be discussed directly with your instructor and can also be brought to the attention of your instructor’s Department Head.

Cell Phone Policy

As a member of the learning community, each student has a responsibility to other students who are members of the community. When cell phones or pagers ring and students respond in class or leave class to respond, it disrupts the class. Therefore, the Office of Academic Affairs prohibits the use by students of cell phones, pagers, or similar communication devices during scheduled classes. All such devices must be turned off or put in a silent mode and cannot be taken out during class. Violation of this policy may include a student being dismissed from the class. In testing situations, use of cell phones or similar communication devices may lead also to a charge of academic dishonesty and additional sanctions under the Student Academic Integrity Policies and Procedures. For more information, please see

Disability Accommodation

To request academic accommodations for a disability, contact the Director of Disability Services, Plaster Student Union, Suite 405, (417) 836-4192 or (417) 836-6792 (TTY), Students are required to provide documentation of disability to Disability Services prior to receiving accommodations. Disability Services refers some types of accommodation requests to the Learning Diagnostic Clinic, which also provides diagnostic testing for learning and psychological disabilities. For information about testing, contact the Director of the Learning Diagnostic Clinic, (417) 836-4787,

Dropping a Class

If you stop attending this class but do not follow proper procedure for dropping the class, you will receive a failing grade and will also be financially obligated. To drop a class anytime after the first week, you must turn in a drop slip at an authorized registration center or online at the following address; You do not need to obtain any signatures on the drop slip.

Assignments & Grades

Assignments: Most assignments will be directly related to subjects discussed in your reading, and will be announced in the lectures and shown on the syllabus. Assignments should be e-mailed to the instructor by midnight on the dates indicated. Late assignments will not be accepted, and should not be e-mailed to the instructor unless permission to do this has been received. If permission to send a late assignment is given, there will be a necessary point reduction. Assignments generally involve becoming acquainted with good relevant sources (books, sound recordings, periodicals, and web sites) and submitting a short report. They should not consist of information that is simply copied from the text. Assignment descriptions are found in the following locations: #1—End of powerpoint for chapters 1 and 10, #2—End of Native American powerpoint, #3—End of Traditional Ozarks Music PP, #4—End of African-American PP, #5—End of China PP, #6—End of Indonesia PP.

Exams: There will be three exams in this class. They will generally only cover material for a particular section (2–3 chapters). Additional material will be announced in class, if applicable.

On-line Quizzes: There will be eight on-line quizzes (Chapter numbers 2-9) due on the dates shown below. They can be accessed using the website shown above. Be sure to do the content quiz rather than the listening quiz. Please also be sure to select the correct edition of the text! Only questions 1-10 will be graded for each quiz.

Final Project (this takes the place of a final exam)

Each student will undertake one individual final project during the course. This is your opportunity to explore an aspect of the course in a way that best suits your academic and creative interests. Two options are available: (1) a complete ethnography of a particular music culture, and (2) actual performance of a piece from a world music repertory. Whichever option you choose, you must submit a paper (along with media materials, if appropriate). The paper must be typed, double spaced, paginated, stapled, and it must include bibliographical references and proper citations for a scholarly paper.

OPTION 1: complete musical ethnography or interview. Describe a music-culture event, as much as possible from an insider’s point of view, or conduct an interview with someone with strong ties to a world music tradition. This must include observing, documenting, and assessing a music event, and conducting an interview (face-to-face, phone, or e-mail) with a person involved directly in a world music culture. Your paper, which must be no fewer than five and no more than six pages long in a 12-point font, will be based more on fieldwork than on written sources, but must include some general historical or descriptive information drawn from at least two library sources, one of which must be a book (your textbook should not be one of them) or article. Bibliographical references must be formatted as described in option 1. Examples include: The Taiko Drumming Ensemble at the Shoji Tabuchi Theatre, or The Music and Culture of Big Smith.

OPTION 2: performance of a piece or group of pieces.
Learn and perform a piece or group of pieces from a world music repertory during the final exam period. When learning the piece, listen to recorded sources if possible so you can get a good sense of how the music should be performed. If only written music sources are available, you may use those. Discuss the various artistic and creative challenges you've faced in learning and interpreting the piece. Submit a paper of no fewer than three and no more that five pages in a 12-point font, that describes your learning process, and that outlines a brief history of the music. Use at least two sources as described in option 1. Some possible pieces are: Songs from the Max Hunter Folk Song Collection; Didjeridu; African mbira (thumb piano).

Grades: A point system will be used to calculate the final grade, as shown below.

Proportional Breakdown of Grades during Course

On-line Quizzes (8)12%80 points

6 Assignments (25 points each): 22%150 points

Exams (3): 44% 300 points

Project: 22%150 points

Total Points Available: 680

Grading Scale: A = 612-680; B = 544-611; C = 476-543; D = 408-475; F = 0-407.

Blackboard: Your progress in the course

will be listed in blackboard. Scores on each quiz, assignment, and test will be shown along with a running total. Please enroll at blackboard.missouristate.edu.

Schedule (Deadlines indicated in bold)

Date / Programs / Description / Assignments/Readings Due
6/10 / Intro / Initial class meeting, 7:00 PM, Ellis 226 / Purchase Book and CDs
6/14 (M) / 1-2 / Introduction to “World Music” and Ethnomusicology
North America/Native America / Read Chapters 1, 10, and 2
6/15 (T) / 3-4 / Native America / Assignment 1: One paragraph project proposal
6/16 (W) / 5-6 / Ozarks Traditional Music / Chapter 2 On-line Quiz
Read Chapter 3
6/17 (R) / 7-8 / Ozarks Traditional Music/Music of Africa / Assign. 2: Native American Vocal Characteristics Table (Use template at end of Native American powerpoint).
6/21 (M) / 9-10 / Music of Africa / Assignment 3: Pretty Polly
6/22 (T) / 11-12 / Same / Chapter 3 On-line Quiz
6/24 (R) / 1-13 / Exam 1, 7:00-7:50 PM, Ellis 226 / Chapters 1,10,2,3 and the Ozarks, Programs 1-13
6/28 (M) / 14-15 / Agbekor Demo/Final Project Guidelines
African-American Music / Read Chapter 4
6/29 (T) / 16-17 / African American Music / Chapter 4 On-line Quiz
6/30 (W) / 18-19 / Music of China / Assignment 4: Original Blues Lyrics (2 verses)
7/1 (R) / 20-21 / Music of China / Read Chapter 8
7/5 (M) / 22-23 / Music of Japan / Chapter 8 On-line Quiz
7/6 (T) / 24-25 / Japan/Music of India / Read Chapter 6
7/7 (W) / 26-27 / Music of India / Chapter 6 On-line Quiz
7/8 (R) / Exam 2, 7:00-7:50 PM, Ellis 226 / Chapters 4,8,6, and China
Programs 14-27
7/13 (M) / 28-29 / Bosnia / Read Chapter 5 Assignment 5: Harvard Outline of Final Project
7/14 (T) / 30-31 / Eastern Europe / Chapter 5 On-line Quiz
Read Chapter 7
7/15 (W) / 32-33 / Indonesia / Read Chapter 9
7/20 (M) / 34-35 / Same / Chapter 7 On-Line Quiz
7/21 (T) / 34-37 / Latin America / Assignment 6: General Education Essay
7/22 (W) / 36-37 / Same / Chapter 9 On-line Quiz
7/22 (R) / Exam 3, 7:00-7:50 PM, Ellis 226 / Chapters 5,7,9
Programs 28-37
7/29 (R) / Final Project Presentations (option 2 students)
Hand in Projects (all).
7:00-9:00 PM, Ellis 226

Final Project Paper Guidelines

1. Avoid the use of first or second person (I, we, or you). When referring to yourself use the term “this author” or rework into the passive voice.

1. Avoid colloquialisms and slang phrases unless they are a part of the culture you are studying (i.e. gig).

1. Make sure there are no spelling or punctuation errors. Proofread! Again!

1. Make sure your paragraphs are not too long or two short for the reader’s eye to comprehend.

1. Please use a 12-point font for your paper.

1. Use a style manual (APA, MLA, Turabian, etc.) to determine your bibliographic format.

1. Make sure that you properly cite material in your papers that is taken from sources. This can be done using footnotes, endnotes, or the author-in-parentheses methods, but be sure your citation is clear.

1. Start to write as early as you can. I’d love to see your work in progress. Please consider using the writing center for assistance.

Lecture Content Schedule

Class 1: Chapters 1 and 10
Classes 2-5: Native America, Chapter 2
Classes 6-7: Ozarks Music
Classes 8-13 Africa, Chapter 3
Class 14 Agbekor Demonstration and Final Project Guidelines
Classes 15-18 African American Music, Chapter 4
Classes 19-21 Music of China
Classes 22-24 Music of Japan, Chapter 8
Classes 25-27 Music of India, Chapter 6
Classes 28-30 Bosnia and Eastern Europe, Chapter 5
Classes 31-33 Indonesia, Chapter 7
Classes 34-36 Latin America, Chapter 9
Class 37: Wrap-up and Overview

Harvard Outline Demo

1. Africa

1. Postal workers’ music

1. Ewe Culture

1. Several divisions with a chief of each one

2. Agbekor

a. Originally war drumming

b. Monkey legend

c. now used for funerals or celebrations

(1) 3:2 polyrhythm

(2) multiple interlocking drum patterns

(a) gankogui—double bell (3)

(b) axatse--gourd rattle (2)

(3) vocal music

(a) generally pentatonic

(b) second note outside western

tuning

1. Mande Culture

1.

2.

1. Dagbon Culture

1.

2.

1. Shona Culture

1.

2.

1. Chimurenga Music

1.

2.

1. BaAka Culture

1.

2.

*Always at least two points per level

Selected Major Sources & Indexes

New Grove Dictionary of Music and Musicians. Edited by Stanley Sadie ; executive editor, John Tyrrell.New York: Grove, 2001. Considered by most in the United States to be the best general authority on all aspects of music. Available in both print and electronic formats. Hardback is 29 volumes with 29,000 articles. Performers rarely included, and other musicians selectively. Primarily focus is not ethnomusicology, but it includes good introductory articles under country and region headings. This is available through the Music Library web site.

The Garland Encyclopedia of World Music. Advisory editors, Bruno Nettl and Ruth M. Stone ; founding editors, James Porter and Timothy Rice, New York: Garland Pub., 1998-2000. 10-volume series takes a cultural approach to its focus on the music of all the world's peoples. Each volume is arranged topically, regionally, or by ethnic group, and complemented by an extensive index. Although each volume will differ because of the nature of the material, the organization remains consistent throughout all: regional overviews first; music in the social context next; then finally, the musical traditions of individual countries or ethnic groups.

World Music: The Rough Guide. Editors Simon Broughton, et al. London : Rough Guides, 1995. This is a very good, nicely-illustrated work that summarizes world music. The emphasis is on music available on commercial recordings, and it includes descriptions of traditional, popular, and art traditions. With a slight emphasis on popular music styles, the book will not be the best for digging into the community traditions of regions, but will help you see the full range of music styles active in countries throughout the world.

New Grove Dictionary of Musical Instruments.

This dictionary covers the following subjects: the instruments of classical Western music; the makers of classical Western instruments; modern Western instruments & their makers; performing practice (largely in the Western tradition); &, by far the most extensively covered subject, non-Western & folk or traditional instruments. In fact, about 10,000 folk and non-Western instruments are entered in this dictionary.

Musical Instruments of the World: an Illustrated Encyclopedia. By the Diagram Group.

New York : Paddington Press, 1976. Excellent line drawings of musical instruments throughout the world. Organized using the Sachs-Hornbostel (Curt Sachs and Erich von Hornbostel) classification system.

Ethnomusicology: An Introduction. Edited by Helen Myers. New York: W.W. Norton, 1992. A good, thorough introduction to the history, aspects, and theories of ethnomusicology.

Ethnomusicology. Journal Of The Society For Ethnomusicology . 1953-

Cumulated 10-year indexes are published as part of this journal. The index for v.1-10 (1953-66) appears bound with v.10; & separately bound indexes are shelved with the rest of the journal for v.11-20 (1967-76) & for v.21-30 (1977-86). The annual index of each year's articles appears in the third issue of each volume.

Selected Musical Terms Of Non-Western Cultures: A Notebook-Glossary, by Walter Kaufmann. (Detroit Studies In Music Bibliography, no. 65). This book deals with the musical terminology of Asia, Africa, & Oceania. It includes distorted forms as well as correctly spelled terms. Many entries cite a source: i.e., "Lit.:no. 255" which refers to a bibliography at the end entitled, "Literature".

WorldCat

An international cataloging databases, which contains a huge number of library materials (over 50 million) owned by libraries throughout the country. Exellent source for locating books, sound recordings, etc., on any topic. Materials can be obtained through interlibrary loan from other libraries. To access WorldCat, go to the Meyer Library web site, choose Indexes and Databases, then Most Popular, then FirstSearch, and WorldCat.