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Introduction to World Music
Music 102, Autumn 2012
3:00-4:20 pm, Tues/Thurs
Logan Center 901
Rehanna Kheshgi
Office Hours: Thurs 1-2pm, Goodspeed 207
Email: [email protected]
“Can somebody go and steal a culture?...Well, of course, you can’t really steal a culture!”
- Paul Simon, musician, ABC News Interview
“Commercial popular music tends to exclude or simply incorporate the communal of everyday forms of
popular music that cannot be assigned individual authorship or ownership:
no royalties for the song-makers of double-dutch.”
- Kyra Gaunt, ethnomusicologist, The Games Black Girls Play
“For me, [the Manganiyars] are like the treasures of India, so I needed to showcase each one of them…One of the most
theatrical spaces I’ve visited in my life was the red light district of Amsterdam…So I said, maybe we can do it like that,
because over there it’s the seduction of the body, but over here it’s the seduction of the soul.”
- Roysten Abel, director of “Manganiyar Seduction,” quote from Melbourne Festival TV Promo Video
“Doubtless anyone less mouthy, ornery and wickedly intelligent than [Rachid] Taha would have jacked it all in a long
time ago. His refusal to become a cuddly, cabaret pop dolly like many of his crooning Algerian contemporaries has
earned him the barbed reputation of a maverick North African punk hero.”
- Andy Morgan, music journalist, Songlines Magazine
Course Description
The excerpts printed above convey a wide variety of perspectives on what music is and
approaches to conveying that essence through words. These invocations of culture, everyday
forms of popular music, the seduction of the soul, and a North African punk hero refer to
traditions of performance that have been gathered under the umbrella of world music. The term
“world music” might be familiar, but what exactly does it mean? How does “world music” sound,
and how do people represent it through writing? This course challenges students to question the
category of “world music” as they develop analytical tools for listening, reading and writing
critically about the musics and concepts encountered throughout the quarter. Ethnomusicology,
sometimes described as the study of people making music, offers theoretical and methodological
approaches which will structure this course.
Learning Goals
Learn about Ethnomusicology: what it is and how to do it.
Develop listening skills and learn vocabulary to talk and write about music.
Build musical knowledge by studying various media: ethnographic and analytical
academic writing, music journalism, fiction, sound recordings and film.
Use analytical skills to understand how music functions in different sociocultural
contexts, considering the role of mobility, race, gender and power.
Gain hands-on experience as a music ethnographer in Chicago, learn to translate sensory
experience into interpretive writing, and participate in optional music-making activities.
Music 102, Introduction to World Music
Syllabus, Autumn 2012
Course Requirements and Evaluation
Participation*
There are 18 class sessions including one evening film screening session.
Participation will be assessed based on quality of class participation and two
weekly short posts on Chalk (see below for details).
Critical Album Reflection** (800 words)
Due (posted on Chalk) 10/15 - Week III
25pts clarity of argument and relevance of supporting evidence;
15pts appropriateness of sources and mode of incorporation into writing;
10pts grammar, spelling and style.
Midterm Quiz
(In class) 10/30 - Week V
35pts short essay question: respond in a few paragraphs to one of two questions
relating to the concepts discussed in class.
30pts listening response: listen to an audio recording, write a few paragraphs
about the sounds, instruments, and socio-cultural context of what you hear.
30pts video response: watch a video clip featuring a musical performance, create
an ethnographic interpretation of the scene in a few paragraphs.
Topic Statement (250 words) and Annotated Bibliography
Due (via email) 11/5 - Week VI
20pts statement: clarity of argument and relevance of supporting evidence;
10pts bibliography: appropriateness of sources, approx. three sentence description
of each source describing content and relevance to proposed final essay topic.
Ethnographic Sketch*** (800 words)
Due (via email) 11/19 - Week VIII
35pts thoughtful description of musical interactions, experimentation with
evocative writing, evidence of having “been there” through attention to detail;
25pts clarity of writing;
10pts grammar, spelling and style.
Final Short Essay (1500 words)
Due (via email) 12/7 - Week X
70pts clarity of argument and relevance of supporting evidence;
50pts appropriateness of sources and mode of incorporation into writing;
10pts grammar, spelling and style.
25%
125pts
10%
50pts
19%
95pts
6%
30pts
14%
70pts
26%
130pts
Maximum total = 100% (500pts)
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Music 102, Introduction to World Music
Syllabus, Autumn 2012
*Participation
Participation in class sessions will be evaluated and integrated into the point system as described
in the chart above. In order to avoid being penalized for an absence, please notify the instructor in
advance via email. Only after receiving written confirmation from the instructor will your absence
be excused. More than 2 unexcused absences will result in your final grade being lowered by one
letter (e.g., A- will become B-). All students must meet the instructor during office
hours before then end of Week 4. Students who cannot meet during regular office hours
may arrange alternate meeting times in advance.
As part of the participation grade, beginning in Week 2, students are also responsible for posting
two brief items on Chalk each week and reading the responses of others. Posts may be in
response to others’ posts. The class is divided in half by surname:
Surnames A-K will post reading responses for Tuesday’s material on Monday by 10:00 pm and
discussion questions for Thursday’s material on Wednesday by 10:00 pm.
Surnames L-Z will post discussion questions for Tuesday’s material on Monday by 10:00 pm and
reading responses for Thursday’s material on Wednesday by 10:00 pm.
1) Reading response: a short response to assigned reading / listening (150-250 words).
2) Discussion question: a question for class discussion emerging from assigned reading /
listening (1-3 sentences).
**Critical Album Reflection Assignment (800 words posted on Chalk) - Due 10/15
Write a critical reflection on an album which is (or could be) marketed as “world music”. Choose
a CD, cassette or record that you can physically get your hands on. Study the artwork on its
cover, read the liner notes, and choose one song to focus on for this assignment. Listen to the
whole album once, and then listen to the song you’ve selected at least twice. The Recordings
Collection on the 3rd floor of Regenstein Library (Room 360) is a great place to find an album for
this assignment.
In your reflection essay, write critically about the music album as a product and the song you’ve
chosen to discuss. Who are the people involved in creating it? Situate the musicians by
researching their cultural backgrounds and their musical influences. Situate the stylistic idiom of
the song you’ve chosen by describing the sounds you hear. Are the sounds characteristic of a
particular style or genre of music? Mention the context in which the album was recorded (i.e. a
studio or a live concert), the people who wrote the accompanying liner notes and
created/selected the artwork, and the company that produced and distributed the album. Read
between the lines, thinking about what kind of an audience the liner notes address and how they
describe the album and the track you’ve chosen in a way to guide the listener to hear the music in
a particular way.
(continued)
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Music 102, Introduction to World Music
Syllabus, Autumn 2012
Use two sources to provide contextual information for your reflection essay. The first should be a
scholarly resource such as Garland Encyclopedia of World Music (accessible in print and online).
For the second reference draw on a source of music journalism such as Songlines. Both are
listed under “Reference Materials” at the end of this syllabus.
Post your essay on Chalk, citing the song, album and the two sources you chose as references.
Include a link to the song online (on Youtube for example) or upload an mp3 of the song along
with your essay.
***Ethnographic Sketch Assignment (800 words via email) – Due 11/19
Choose a musical event in Chicago to observe and participate in. Take notes during the event,
return home to organize the notes, and shape them into a polished piece that gives your reader a
sense of “being there.” A growing list of Chicago-area events you might choose for this
assignment can be found in a link in the “Assignments” folder on Chalk. Please confirm with the
instructor well in advance that the event you have chosen is appropriate for the assignment before
attending or writing your sketch. More details and guidance regarding this assignment will be
provided in class.
Extra credit opportunity
Students may participate in the South Asian Vocal Ensemble (Mondays 4:30-5:15pm) or the
Javanese Gamelan (Tuesdays 6:00-7:15pm) to raise their final grade. A maximum of 8% (40
points) may be earned by attending all sessions of either ensemble. The percentage of sessions
attended will be reflected in the number of extra credit points earned, but in order to earn any
points, participants must attend at least half of the ensemble meetings.
South Asian Vocal Ensemble – 10 sessions (45min each)
Oct 8, 15, 22, 29, Nov 5, 12, 19, 26, Dec 3, 10
Javanese Gamelan – 6 sessions (75 min each)
Oct 9, 16, 23, 30 (Nov 6th conflicts with our film screening session), Nov 13, 20
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Music 102, Introduction to World Music
Syllabus, Autumn 2012
Course Materials
All readings, listening examples and videos will be available via this course’s Chalk site.
Essay Formatting
The first assignment will be submitted by posting to Chalk. Please submit all subsequent written
assignments via email in 12pt font and double-spaced by the specified time on the due date.
Please send a Word document attachment (no pdfs please) to the instructor using the following
filename format: Lastname_MM_DD_YYYY (Kheshgi_10_02_2012.doc). In the upper left
corner of the page, please provide your name, MUSI 102, and the date.
Please respect the word limit.
Laptop, Tablet and Phone Policy
The use of laptops and tablets in the classroom is a privilege. Laptops and tablets should only be
used for note taking and consulting course materials. Phones should be silenced and kept out of
sight for the duration of the class period. The instructor reserves the right to modify this policy as
needed throughout the quarter.
Statement on Disabilities
It is the responsibility of students with disabilities and/or personal circumstances that may
negatively affect their academic performance to inform the professor as early in the term as
possible, preferably before the end of Week 2. Without timely prior notification, it may be difficult
or impossible to adjust the due dates of assignments or other projects, to reschedule
examinations or to make other accommodations. For further information on University policies
regarding disabilities, contact the office of the Dean of Students or consult the Disabilities
Services web page: http://disabilities.uchicago.edu/.
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Music 102, Introduction to World Music
Syllabus, Autumn 2012
Class Schedule
DATE
TOPICS
READINGS
Week I
Tues, Oct 2
Thurs, Oct 4
“World Music” and
Ethnomusicology: Studying
“Humanly Organized Sound”
Pegg
Blacking 1973
(Bohlman)
(Frith 1996 )
Week II
Tues, Oct 9
Ethnography: “Writing” Music
Thurs, Oct 11
Producing World Music:
Studios and Festivals
Lortat-Jacob 1995
Kisliuk 1998
(Turino 1990)
Williamson 2012
Meintjes 1990
(Turino 2008a)
Week III
Mon, Oct 15 – 3:00pm – Critical Album Reflection due (posted on Chalk)
Tues, Oct 16
Thurs, Oct 18
Musical Time,
Tuning, and Instrument
Classification:
Javanese Gamelan
Johnson 2011
Brinner 1995a
Brinner 1995b
Week IV
Tues, Oct 23
Thurs, Oct 25
Song in South India,
Bollywood, and the
Indian Music Industry
Viswanathan and Allen 2004
Denselow 2011
Week V
Tues, Oct 30
Thurs, Nov 1
Miderm quiz (in class)
(No Class)
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Music 102, Introduction to World Music
DATE
TOPICS
Syllabus, Autumn 2012
READINGS
Week VI
Mon, Nov 5 – 3:00pm – Topic Statement and Annotated Bibliography due (via email)
Tues, Nov 6
Additional
Evening Session
~ Goodspeed 402 ~
6:30-8:30 pm
Film Screening
Thurs, Nov 8
Silverman 2000
Music and Migration:
Roma “Gypsy” Traditions
Music and Politics:
Mongolian Hip Hop
Marsh 2010
Holland 2012
Week VII
Tues, Nov 13
Thurs, Nov 15
Music and Race:
Double Dutch and Soul Train
Gaunt 2006
(Rose 1994)
(Lipsitz 1994)
Austen 2008
(hooks 1990)
(Wong 2006)
Week VIII
Mon, Nov 19 – 3:00pm – Ethnographic Sketch due (via email)
Tues, Nov 20
Thurs, Nov 22
Thanksgiving
Music and Gender:
Situating Salsa
Aparicio 1998
(No class)
Week IX
Tues, Nov 27
Thurs, Nov 29
Locating Music:
Afro-Latino Traditions
App 2000
Quintero 2005
Sturman 2007
Workshop with
Ecos del Pacífico Afrocolombia
(EPA!)
Week X
Tues, Dec 4
Global and Local Musics
Turino 2008b
Fri, Dec 7 – 3:00pm – Short Essay due (via email)
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Music 102, Introduction to World Music
Syllabus, Autumn 2012
Reading List
Pegg, Carole. “Ethnomusicology: Introduction.” In Grove Music Online. Oxford Music Online,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/52178pg1
Blacking, John. 1973. “Humanly Organized Sound.” In How Musical Is Man?, 3-31.
Seattle:University of Washington Press.
Bohlman, Philip V. “Ethnomusicology: Post-1945 developments.” In Grove Music Online.
Oxford Music Online,
http://www.oxfordmusiconline.com/subscriber/article/grove/music/52178pg3
Frith, Simon. 1996. “Where do Sounds Come From?” In Performing Rites: On the Value of
Popular Music. Cambridge: Harvard University Press, 99-122.
Lortat-Jacob, Bernard. 1995. “Aggius.” Sardinian Chronicles. Chicago: University of Chicago
Press, pp98-105.
Kisliuk, M. 1998. “Seizing the Dance.” In Seize the Dance! BaAka Musical Life and the
Ethnography of Performance. Oxford: Oxford University Press, pp75-107.
Turino, Thomas. 1990. Structure, Context, and Strategy in Musical Ethnography.
Ethnomusicology 34:3 (Autumn), pp. 399-412.
Williamson, Nigel. 2012. “2,000 Artists, 27 Countries, 7,590 Flags, 30 Years of WOMAD.”
Songlines 86: 29-35.
Meintjes, Louise. 1990. “Paul Simon’s Graceland, South Africa, and the Mediation of Musical
Meaning.” Ethnomusicology 34:1 (Winter) 37-73.
Turino, Thomas. 2008a. “Introduction: Why Music Matters.” Music as Social Life. Chicago:
University of Chicago Press, pp1-22.
Johnson, Carolyn Schiller. 2011. “Public Anthropology ‘at the Fair’: 1893 Origins, 21st-Century
Opportunities.” American Anthropologist 113: 4. December. 644-646.
Brinner, Benjamin. 2008a. “A Sense of Time.” Music in Central Java. Oxford: Oxford University
Press. pp25-36
Brinner, Benjamin. 2008b. “Gamelan, Tuning, and Instrumental Melody.” Music in Central
Java. Oxford: Oxford University Press. pp48-66
Viswanathan and Allen. 2004. pp1-33
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Music 102, Introduction to World Music
Syllabus, Autumn 2012
Denselow, Robert. 2011. “The Rise and Rise of Raghu Dixit.” Songlines 77 pg. 32-36.
Silverman, Carol. 2000. “Rom (Gypsy) Music.” In Garland p270-293.
Marsh, Peter. 2010. “Our generation is opening its eyes: hip-hop and youth identity in
contemporary Mongolia.” Central Asian Survey 29: 3 (September): 345–358.
Holland, Jessica. 2012. “Steppe Up.” Songlines 86 pg. 46-51.
Gaunt, Kyra. 2006. “Mary Mack Dressed in Black: The Earliest Formation of a Popular Music.”
In The Games Black Girls Play: Learning The Ropes From Double-Dutch to Hip-Hop.
New York: New York University Press, 56-88.
Rose, Tricia. 1994. Black Noise.
Lipsitz, George. “Diasporic Noise: History, Hip Hop, and the Post-colonial Politics of Sound.”
In Dangerous Crossroads: Popular Music, Postmodernism, and the Poetics of Place.
London and New York: Verso, 1994: 25-48.
Austen, Jake. 2008. “Soul Train Local.” Chicago Reader.
hooks, bell. 1990. “Culture to Culture: Ethnography and Cultural Studies as Critical
Intervention.” In Yearning: Race, Gender, and Cultural Politics, 123-134. Boston: South
End.
Wong, Deborah. 2006. “Ethnomusicology and Difference.” Ethnomusicology 50: 2. Pp259-279.
Aparicio, Frances R. 1998. “Situating Salsa.” Listening to Salsa. pp69-82.
App, Lawrence J. 2000. “Afro-Colombian Traditions” in Garland pp400-412.
Quintero, Michael Birenbaum. 2005. “Notes.” Arriba suena marimba, Currulao Marimba from
Colombia by Grupo Naidy, CD SFW 40514. Washington: Smithsonian Folkways
Records, 1-13.
Sturman, Janet. ¡Arriba Suena Marimba! Currulao Marimba Music from Colombia by Grupo
Naidy by Irlando "Maky" López; Daniel Sheehy. Ethnomusicology, Vol. 51, No. 3 (Fall,
2007), pp. 515-518.
Turino, Thomas. 2008b. “For Love or Money.” Music as Social Life. Chicago: University of
Chicago Press, pp225-234.
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Music 102, Introduction to World Music
Syllabus, Autumn 2012
Reference Materials
Garland Encyclopedia of World Music – Regenstein Call Number: ML100.G37 1998, with
accompanying CDs located in the Recordings Collection, Regenstein 3rd Floor. Text is
also online with streamable music examples at:
http://proxy.uchicago.edu/login?url=http://glnd.alexanderstreet.com
Songlines 1999- . Harrow, England : Gramophone Publications, Ltd.
(World Music Magazine – Regenstein Call Number: ML156.4.W63S66, with
accompanying CDs located in the Recordings Collection, Regenstein 3rd Floor. Most
recent issues are located in 2nd floor periodicals section.)
Nettl, Bruno, et. al, eds. 2008. Excursions in World Music. Upper Saddle River, NJ: Prentice
Hall. (Regenstein Call Number: MT90.E95 2008, with accompanying CDs located in the
Recordings Collection, Regenstein 3rd Floor.)
Titon, Jeff Todd, ed. 2009. Worlds of music: an introduction to the music of the world's peoples.
Belmont, CA : Schirmer Cengage Learning.
Bohlman, Phil. 2002. World music: a very short introduction. Oxford: Oxford University Press.
Broughton, Simon, ed. 1994. World music : the rough guide. London: Rough Guides.
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