CURRICULUM CHANGE PROPOSAL

APPROVAL PAGE

Proposal Title: Music Minor Changes College: Liberal Arts Department: Music

DEPARTMENT CHAIR I have read the enclosed proposal and approve this proposal on behalf of the department. _______________________________________ _______________________________ Signature Date COLLEGE CURRICULUM COMMITTEE CHAIR I have read the enclosed documents and approve the proposal on behalf of the college curriculum committee. _______________________________________ _______________________________ Signature Date COLLEGE DEAN I have read the enclosed documents and approve the proposal on behalf of the college. I certify that the necessary funds will be allocated by the college in support of this proposal. _______________________________________ _______________________________ Signature Date

09/24/2018

Undergraduate Curriculum Change Memo

Date: September 17, 2018 From: Charles Francis Leinberger, Professor, Department of Music Through: Steve Wilson, Chair, Department of Music Through: Denis O’Hearn, Dean, College of Liberal Arts To: Chair, Undergraduate Curriculum Committee Subject: Music Minor Changes Updates to the Academic Music Minor (MUAC): The Music Minor currently includes three options: Applied Music, Academic Music, and Commercial Music/Recording. The Academic Music Option includes courses in Music Theory and Music History & Literature. Unfortunately, one of the courses, MUSL 3329, Topics in Music History & Culture, has not been offered in a few years. The reason is that MUSL 3329 has had some very successful topics over the years, and these successful MUSL 3329 topics have been “spun-off” into their own course numbers, and should be included in the Academic Music Minor. These include:

MUSL 3331, Musical Instruments MUSL 3332, Music and Film MUSL 3333, Arabic Music MUSL 3334, Ethnomusicology.

Also, the fact that the current Music Minor, Academic Option, has only included 17 semester credit hours, and not the 18 hours specified in the Undergraduate Catalog, has gone unnoticed for years. Therefore, this proposal includes an increase in the number of upper-level MUSL courses from three to four, for a total of 20 semester credit hours. From the Undergraduate Catalog, found at http://catalog.utep.edu/undergrad/college-of-liberal-arts/

Students will complete a minor of at least 18 or more hours, nine of which must be advanced (3000-or 4000-level).

Attachments:

Catalog Copy with Track Changes o Applied Music Minor

Syllabi: o MUSL 3331, Musical Instruments o MUSL 3332, Music and Film o MUSL 3333, Arabic Music o MUSL 3334, Ethnomusicology

Degree Plan Code Title Hours

Required Courses:

MUST 1111 Aural Skills I 1

MUST 1112 Aural Skills II 1

MUST 1313 Music Theory I 3

MUST 1314 Music Theory II 3

Select four three semesters of the following: 12 9

MUSL 3326 Social History of Rock

MUSL 3327 History of Jazz

MUSL 3329 Topics in Music Hist & Culture 1

MUSL 3331 Musical Instruments

MUSL 3332 Music and Film

MUSL 3333 Arabic Music

MUSL 3334 Ethnomusicology

Total Hours 20 17

Course List 1 May be taken more than once if topic varies.

 

MUSL3331MusicinHistoryandCulture Dr. David Ross (dross@utep.edu)

Summer 2010 Meeting times: MTWRF 0920-1130 am

FOXM M402

A Introduction to Musical Instruments

Description: A survey of musical instruments, concentrating on the instruments used in Western music. Selected ethnic instruments will also be discussed. Differences in construction, ways various instruments are sounded, and the historical development of instruments will be covered. This class is open to upper-level undergraduates, and no prior knowledge of music or music reading is assumed. This class will be taught as a “hybrid” class, meaning that class materials will be presented both in class presentations and also online, and students have the option of attending class or reviewing materials online via Blackboard. Tests will be given in class. Class requirements: attendance, one term paper, tests/quizzes, optional class presentation as bonus Recommended text: There is no required text, but students are advised that the purchase of a standard book on musical instruments will make class materials more accessible. Perhaps the best textbook is: Musical Instruments of the World: An Illustrated Encyclopedia by the Diagram Group. (Several publishers) Unfortunately this is out of print, but copies are usually available from amazon.com. It is suggested that students planning to take this class order this book well ahead of time so that it is available when class starts. Other recommended texts include: The illustrated encyclopedia of musical instruments: from all eras and regions of the world, by Bozhidar Abrashev & Vladir Gadjev. (Cologne: Könemann, 2000) The World Encyclopedia of Musical Instruments, by Max Wade-Mathews. (London: Lorenz Books, 2000) The Encyclopedia of Musical Instruments, by Robert Dearlng. (London: Carlton Books, 1996)

The Complete Encyclopedia of Musical Instruments, by Bert Long and Heinz Wallisch. (Edison, NJ: Chartwell Books, 2003) The above books can also be purchased from amazon.com Students can also use online sources such as Wikipedia to supplement information presented in class.

Class syllabus

1. Introduction 2. Classification Systems—Ancient Greece, China, others based on

social/musical/religious distinctions, early Western attempts (Praetorius “Syntagma Musicum” [1618], Victor Charles Mahillon [Brussels, 1880’s]), modern “scientific” classification system developed by Curt Sachs and Erich von Hornbostel

3. Preliminary survey based on Sachs/Hornbostel system 4. Aerophones

a. blow hole flutes b. end blown flutes (duct flutes/fipple flutes) c. reeds—single and double d. cup mouthpiece e. free reed f. free aerophones

5. Chordophones (3 ways of sounding string) a. musical bows b. lyres c. harps d. lutes e. zither

6. Idiophones

a. shaken b. struck c. concussion d. scraped e. plucked

7. Membranophones

a. drums of all sorts b. mirlitons

8. Electrophones

a. electro-acoustic/electro-mechanical b. true electrophones c. telharmonium d. ondes martenot e. theremin f. trautonium g. tape recording h. synthesizers i. computers/digital music

Office Hours: By appointment Statements on Academic Honesty and Accessibility are posted at: http://www.utep.edu/dos/acadintg.htm http://www.utep.edu/dsso

MUSL 3332, Music and FilmCHARLES FRANCIS LEINBERGER, PH.D.

UTEP Course Syllabus, Summer II

When viewing this document as a PDF file in Digital Measures, some links will not work. Visit http://utminers.utep.edu/charlesl/3332summer.html

COURSE INFORMATIONDescription: An introduction to the role of music in the sound track of films. Although the emphasis is on Hollywood

films of the sound era, some discussion of foreign films and silent films is also included. A background in music appreciation is not needed. The ability to read music is not needed.

Location: FFA Room M402Meeting Times MTWRF, 0920AM-1130AM

Prerequisite: Junior standingINSTRUCTOR INFORMATION

Name: Charles Francis LeinbergerE-mail: CHARLESL@UTEP.EDUOffice: Fox Fine Arts Center, Room M432Office Phone: (915) 747-7800Office Hours: Charles Francis Leinberger's Office HoursBiography: Charles Francis Leinberger's Biography

TEXTBOOKTextbook: James Buhler and David Neumeyer:

Hearing the Movies, 2nd Edition (Required)Web Site: Hearing the Movies, www.hearingthemovies.netFacebook: www.facebook.com/utepmusicandfilmAlso See: The Internet Movie Database

Plaza Classic Film FestivalSupplemental Reading

Jon Burlingame: The Music of James BondRobert C. Cumbow: The Films of Sergio LeoneKate Daubney: Max Steiner's Now, Voyager: A Film Score GuideCynthia Farah Haines: Showtime! From Opera Houses to Picture Palaces in El PasoRoger Hickman: Reel Music: Exploring 100 years of Film MusicKathryn Kalinak, editor: Music in the Western: Notes from the FrontierCharles Leinberger: Ennio Morricone's The Good, the Bad and the Ugly: A Film Score GuideNeil Lerner, editor: Music in the Horror Film: Listening to FearRoy Prendergast: Film Music: A Neglected ArtJames Wierzbicki: Film Music: A History

COURSE GOALS, OBJECTIVES, AND TEACHING PHILOSOPHY.Course Goal: 1. To provide the student with an awareness of the elements of the music that affects our lives every

day; 2. To provide the student with an understanding of music's history and how music affects, and is

affected by, culture and events worldwide; 3. To enable the student to discuss how and why music contributes to a better quality of life; 4. To foster a life-long love of music and a desire to support music and all of the arts.

Course Upon successful completion of the course, the student will be able to:

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Objective: 1. Understand and appreciate the complexities with which sound is used in film and the role of music as one element of a film's soundtrack;

2. Understand and appreciate the creation and use of music in cinema as both craft and art; 3. Understand the unique challenges that composing for film presents; 4. View a film with a critical ear for the film score and not as a passive viewer; 5. Appreciate the contributions to the art by those who compose for both Hollywood films and foreign

films. Teaching Philosophy:

Charles Francis Leinberger's Teaching Philosophy

GRADINGThe final grade will be calculated according to the following point values:12 Quizzes 25 points each 300 points 37.5% of final gradeExam 1 100 points 12.5% of final gradeExam 2 100 points 12.5% of final gradeFinal Exam 300 points 37.5% of final gradeTotal Points Possible 800 points 100% of final gradeLetter grades will be assigned based on the total number of points earned.

A 720-800 points 90.0-100.0%B 640-719 points 80.0-89.9%C 560-639 points 70.0-79.9%D 480-559 points 60.0-69.9%F 0-479 points 0.0-59.9%

W A grade of "W" (Withdrawal) will be assigned only if a student drops the course before the Course Drop Deadline, which is the Friday of Week 3. See Deadlines for Students.

I A grade of "I" (Incomplete) will be assigned only if the student provides documentation for a situation that prevents him or her from completing the requirements for a passing grade. These situation include, but are not limited to, hospitalization, incarceration, and military deployment.

COURSE POLICIESThe following policies apply to all of Dr. Leinberger's classes:

1. Attendance Policy2. Assignment Policy3. Classroom Policy4. Final Exam Policy and Schedules5. Each student should check his or her UTEP email account each day of the semester when registered for this class.

The following policies apply to this class:

6. Come to class on time and prepared. 7. Quizzes take place at the end of class almost everyday. If a student misses a quiz due to an excused absence

(university function, medical emergency, car trouble, etc.), the student may take the quiz, but must do so before the next class meeting.

8. The Exams will be during class on Monday of Week 2 and Thursday of Week 3. Students will have one hour and twenty minutes to complete each exam.

9. Spoiler Alert: During the screening of some films, or parts of films, in class, students may learn the surprise endings of films that they have not yet seen in their entirety.

10. Some films, or parts of films, that are screened in class may contain profanity, violence, adult subject matter, sexuality, nudity, and depictions of acts of racism and sexism. Students who are easily offended by such content

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should consider enrolling in a music literature course other than MUSL 3332, Music and Film.

SUMMER SCHEDULEWeek Days Topic Test

1

T

Part I

Buhler and Neumeyer: Introduction, Chapter 1: The Soundtrack and Narrative Quiz 1W Buhler and Neumeyer: Chapter 2: The Musicality of the Soundtrack Quiz 2R Buhler and Neumeyer: Chapter 3: Music, Sound, Space, and Time Quiz 3F Review for Exam 1 None

2

M Exam 1 Exam 1T

Part II

Buhler and Neumeyer: Chapter 4: From 1895 to 1929 Quiz 4W Buhler and Neumeyer: Chapter 5: From 1926 to 1932 Quiz 5

R Buhler and Neumeyer: Chapters 6 & 7: The Broadway Melody, Gold Diggers of 1933, and Le Million & From 1932 to 1950 Quiz 6

F Buhler and Neumeyer: Chapter 8: Mildred Pierce Quiz 7

3

M Buhler and Neumeyer: Chapter 9: From 1950 to 1975 Quiz 8T Buhler and Neumeyer: Chapter 10: Music and Film Form in the Post-Classical Era Quiz 9W Review for Exam 2 NoneR Exam 2 Exam 2F

Part III

Buhler and Neumeyer: Chapter 11: From 1975 to 2000, Course Drop Deadline None

4

M Buhler and Neumeyer: Chapter 12: Music and Film Form in the New Hollywood Quiz 10T Buhler and Neumeyer: Chapter 13: Music and Film Sound Since 2000 NoneW Buhler and Neumeyer: Chapter 14: Music and Film Form Since 2000 Quiz 11R Buhler and Neumeyer: Chapter 15: Writing about Film Music Quiz 12F

Parts I, II, III

Review for Final Exam None

Final M Final Exam Final Exam

PLAGIARISM/ACADEMIC DISHONESTY STATEMENTCharles Francis Leinberger's Plagiarism and Collusion Statement

DISABILITIES STATEMENTCharles Francis Leinberger's Disability Statement

charlesl homeCharles Francis Leinberger's Summer II ScheduleCHARLESL@UTEP.EDUThis page was updated 25 July 2018All of this information is subject to change.

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MUSL 3333 – Arabic Music TR 9:00 - 10:20am, FFA room 402

Spring 2016

Dr. Andrea Shaheen Espinosa alshaheen@utep.edu FFA room 441; 747-7824 Office Hours: TR, 10:20-11am, or by appointment Course Description Throughout the semester we will observe some of the ways that music functions in the societies of the Arabic speaking North Africa, the Levant, and the Arabian Peninsula. The course will address the differences in genres and practices between the three regions while also realizing broader, pan-Arab characteristics and considerations towards music. In addition to cultural implications, we will examine the basic theoretical and compositional aspects of Arabic music. In light of the current turmoil and brutality in the region, we will cover special topics such as Music as Contestation and Music and Trauma, examining recent case studies and communicating with musicians currently residing in the Middle East. Other special topics covered are Music and Islam and The Global Pop Effect. Course Objectives Upon the successful completion of this course, students will be able to:

1. Conceptualize music as a cultural product and realize its possible indications. 2. Gain insight into cultural practices and traditions of the Arab world that involve the

musics studied. 3. Identify and discern musical characteristics typical to the traditions studied and identify

regional idiosyncrasies. 4. Comprehend and utilize a musical lexicon in order to describe and discuss Arabic music

in an intellectual manner. Prerequisites None. Required Texts Marcus, Scott. Music in Egypt. New York, Oxford University Press, 2007. Optional Texts Touma, Habib Hassan. The Music of the Arabs. Portland: Amadeus Press, 1996. Required Work (Additional details and guidelines will be provided in class.)

A. Discussion or Observation Reports (DOR): These reports will most frequently coordinate with the assigned reading and in general will be one to two pages in length. Students will be expected to complete each DOR via Blackboard. The combined total of these reports will count for 15% of the final grade.

B. Listening quizzes: 25% of the final grade. C. Three Exams (via Blackboard): 30% of the final grade. D. Authoring Project and/or Performance with Layali Al-Sham: 30% E. Attendance: Students that accumulate more than 2 unexcused absences will have their

final grade lowered by one letter grade.

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Grading Scale: 90-100%= A; 80-89% = B; 70-79% = C; 60-69% = D; below 60% = E Support Website For additional details, links to websites, resources, regular updates the Work Schedule, and access to your grades for MUSL 3329, consult our class Blackboard: http://blackboard.utep.edu, and follow the log-in instructions. *Students are responsible for checking the course Blackboard site frequently for changes and updates!* EMAIL The most effective way to communicate with the professor is through UTEP or Blackboard email. When composing email for this course, you must do the following:

1. Include your course number and first and last name in the SUBJECT line as follows: MUSL 3329; Jane Smith

2. Indicate the specific assignment (DOR-3, or Concert Review, etc.) in the body of your email.

3. You must sign with your full name. Classroom Conduct By enrolling in this course, the student agrees to abide by the following rules. Violating one or more of these rules may result in the lowering of the student’s grade or the removal of the student from the course through an administrative drop.

1. No talking during the professor’s lecture. 2. All electronic devices (cell phones, MP3 players, etc.) are prohibited in class. Use of

internet is prohibited – laptops are allowed only to facilitate note taking. 3. Communication of any form is prohibited during quizzes and exams. Any student who

participates in such behavior will be asked to leave the room immediately and may be dropped from the course with a grade of “F”. Furthermore, the student may face plagiarism charges at UTEP.

Late Work Late work may only earn up to half credit if accepted by the professor. Additional Expectations In addition to responsible attendance, it is expected that all students in this class know and will adhere to university policies regarding conduct, behavior, and academic integrity. Disabilities Statement Students registered with the the Disabled Student Services Office (DSSO) should have the DSSO send me official notification of your accommodation needs. All students with special needs should make an appointment to meet with me as soon as possible to discuss available options and determine how we can best address your needs so that you can fully participate in this course. You may contact the DSSO by phone (747-5148) email (dss@utep.edu), or in person at the Union Building East, Room 106. For further information, visit the DSSO website (www.utep.edu/dsso).

3

Work Schedule* The symbol, (B), indicates the reading is provided on Blackboard. Week Day Topic Assignment 1 Tuesday, 1/19 Introductions; Arabic

musical categories;

Purchase book, explore course websites (Extra Credit DOR)

Thursday, 1/21 The Art of Listening 2 Tuesday, 1/26 Music in the Arab

World: Contextualizing Tradition

Read: Marcus Chapter 1

Thursday, 1/28 The Science of Maqamāt

Read: Marcus, Chapter 2 Due: DOR-1

3 Tuesday, 2/2 Rhythm: Iqā’āt Read: Marcus Chapter 4

Thursday, 2/4 Madh: Sufi Music Read: Marcus Chapter 3

4 Tuesday, 2/9 Music in North Africa Andalusi Nubah

Listening Quiz 1 (Bring a small green scantron to class.)

Thursday, 2/11 Morocco: Gnawa Listening assignments 5 Tuesday, 2/16 Music and the

Nation: Berber Music, the Tunisian Mezouwed; Malouf

Listening assignments

Thursday, 2/18 Music and Identity Alegerian Rai

Read: McMurray, Swedenburg, “Rai, Rap, & Ramadan Nights…” (B) Due: DOR-2

6 Tuesday, 2/23 Sa’īdī Music Read: Marcus Ch. 5 Thursday, 2/25 Egypt Read: Marcus Ch. 8

Exam I: via Blackboard

7 Tuesday, 3/1 Umm Al-Dunia: Cairo Watch: Umm Kulthum: A Voice Like Egypt

Thursday, 3/3 Continue film; in-class discussion Due: DOR-3

8 Tuesday, 3/8-3/10 Read: Marcus Ch. 3

4

Spring Break 9 Tuesday, 3/15 Al-Turath vs.

Tradition Read: Marcus Ch. 7 Due: AP Proposals

Thursday, 3/17 The Mashriq (Levant) Song forms, Aleppo and Sabah Fakhri

Read: Marcus Ch. 7, cont.

10 Tuesday, 3/22 The Artistry of Tarab and Sultanah

Listening Quiz 2 Read: Racy, “The Many Faces…” (B) Due: DOR-4

Thursday, 3/24 No Class TBA Due: AP Outlines

11 Tuesday, 3/29 Ritual Performance: Zaffa

Read: Marcus Ch. 9

Thursday, 3/31 ‘arada: Syrian Wedding Music

Due: Exam II via Blackboard

12 Tuesday, 4/5 The Dabke Tradition Wear your dancing shoes!

Thursday, 4/7 The Global Pop Effect and Arab Pop

Read: Marcus Ch. 10

13 Tuesday, 4/12 Rotana Thursday, 4/14 Music as

Contestation: Palestine, Arab Hip-Hop

Watch: Channels of Rage

14 Tuesday, 4/19 Continue film; discussion Due: DOR-5

Thursday, 4/21 The Symphony Canon: The Middle East Conservatory and The West East Divan Orchestra

15 Tuesday, 4/26 The Khalij: Fjiri Thursday, 4/28 Kuwait and the

Habban (Bagpipes) Listening Quiz 3

Saturday, 4/30 Required attendance: LAYALI AL-SHAM CONCERT, 7:30pm

16 Tuesday, 5/3 Iraqi beats (Chobi) Listening activities and discussion

Thursday, 5/5 Reflection and Performance

Due: Authoring Projects Exam III: via Blackboard

* The schedule is subject to change at the professor’s discretion.

MUSL 3334 – Ethnomusicology TR 9:00 - 10:20am, FFA room 402

Spring 2015

Dr. Andrea Shaheen alshaheen@utep.edu FFA room 441; 747-7824 Office Hours: TR, 10:30-11:30, or by appointment Course Description This course is an introduction to the definition, scope, and perspectives of the field of Ethnomusicology. Through an overview of the discipline, we will consider the major theories and methodologies that guide ethnomusicological inquiry. Additionally, we will examine the interdisciplinary nature of ethnomusicology and the ways it intersects with anthropology, sociology, folklore, linguistics, and media studies. Discussion of specific case studies will be used to illustrate methods and challenges of fieldwork. There is no music pre-requisite. Course Objectives Through the successful completion of this course, students will be able to:

1. Understand the basic theories and principles of Ethnomusicology, including major concepts and relevant terminology.

2. Make observations about various roles of music in the human experience. 3. Become comfortable with the utilization of multimedia resources concerning

world music. 4. Realize and apply a multidisciplinary approach to the observation and analysis of

a music culture.

Required Texts Stone, Ruth. Theory for Ethnomusicology. Upper Saddle River, New Jersey: Pearson, 2008. Additional readings will be assigned and are available on our Blackboard site under “Articles/Excerpts”. Optional Texts Nettl, Bruno. The Study of Ethnomusicology. Chicago: University of Illinois Press, 2005. Post, Jennifer. Ethnomusicology: A Contemporary Reader. New York: Routledge, 2006.

Required Materials 3-ring binder Snacks to share for one class meeting Required Work (Additional details and guidelines will be provided in class and via Blackboard.)

A. One authoring project (AP) that addresses/explores issue(s) discussed in class as a point of departure. Students must follow the guidelines/requirements for the final paper that are available on Blackboard. The AP project is worth 40% of the final grade. Your proposal submission and flash talk will count for 10% (5 each) of your total AP grade.

B. In-class presentation: Each student will lead one in-class discussion on an assigned date, worth 40% of the final grade. The presenter(s) should consult with Dr. Shaheen during office hours (or a specified appointment) prior to the presentation date and follow the guidelines available on Blackboard.

C. Participation/Journals (20% of the final grade): For full participation credit, students are to:

Finish all reading assignments before the class meeting. Some reading assignments will include activities/writing

assignments that must be completed in preparation for class. Participate actively in class discussion. Accumulate no more than two unexcused absences. Complete all journal assignments by each specified date.

Grading Scale: 90-100%= A; 80-89% = B; 70-79% = C; 65-69% = D; below 65% = F Support Website For additional details, links to websites, resources, regular updates the Work Schedule, and access to your grades for MUSL 3334, consult our class Blackboard: http://blackboard.utep.edu, and follow the log-in instructions. *Students are responsible for checking the course Blackboard site frequently for changes and updates!* EMAIL The most effective way to communicate with the professor is through UTEP or Blackboard email. When composing email for this course, you must do the following:

1. Include your course number and first and last name in the SUBJECT line as follows: MUSL 3334; Jane Smith

2. Indicate the specific assignment (Presentation, or Reading, etc.) in the body of your email.

3. Conclude the email with your full name. Classroom Conduct By enrolling in this course, the student agrees to abide by the following rules. Violating one or more of these rules may result in the lowering of the student’s grade or the removal of the student from the course through an administrative drop.

1. No talking during the professor’s lecture or student presentations. 2. All electronic devices (cell phones, MP3 players, etc.) are prohibited in class. 3. Use of Internet is prohibited – laptops are allowed only to facilitate note taking.

Additional Expectations In addition to responsible attendance, it is expected that all students know and adhere to university policies regarding conduct, behavior, and academic integrity (anti-plagiarism policy). Disabilities Statement If you have a disability and need classroom accommodations, please contact The Center for Accommodations and Support Services (CASS) at 747-5148, or by email tocass@utep.edu, or visit their office located in UTEP Union East, Room 106. For additional information, please visit the CASS website at www.sa.utep.edu/cass.

MUSL 3334- Ethnomusicology - Daily Work Schedule Assignments should be completed by the day listed.

Week/Theme Date Topic Assignment 1 Defining Ethnomusicology

1/20 Introduction; Blackboard demonstration

Explore web-links, purchase text

Understanding Musical Cultures

1/22 Ethnomusicology as a field and significant milestones

Read: Chapter 2 from Alan P. Merriam’s The Anthropology of Music (1964)

2 Musicking 1/27 Music: Process vs. Product

Read: “Prelude” from Christopher Small’s Musicking…(eBook)In class: create list of music makers to consider for ethnography

Ethnomusicology and Fieldwork

1/29 Defining the Field Read: Preface (Stone), “Thinking about Fieldwork” from Thinking Musically (Bonnie Wade) In class: Take and organize notes from the Wade reading; Make a chart to organize preliminary fieldwork

3 2/3 Methodology; Participant-Observation; Archival work

Read: Stone, Ch. 1; Explore the homepage for the Society for Ethnomusicology and read the “About Us” section

Past Paradigms and Theories

2/5 Cultural Evolutionism;

Read: Stone, Ch. 2 Submit Final

Diffusionism; Project Proposals via Blackboard

4 The Researcher 2/10 Bimusicality; Native and Non-Native researchers

In class: Watch Genghis Blues, take notes of significant happenings relevant to fieldwork

2/12 Presentation by Janeth B., Read: Hood, “The Challenge…” Presentation by Venus M.,“The Challenge…”, Chenier, “Experience and Fieldwork…” Due: Journal 1

5 Theories and Blended Theories

2/17 Structural Functionalism

Read: Stone, Ch. 3

2/19 Linguistic Approaches

Read : Stone, Ch. 4 Presentation by Delilah Q. and Savannah R., Read: Feld, « Linguistic Approaches… »

6 2/24 Setting Parameters Read: Seeger, “A Tropical…” Due: Journal 2

Material Culture: Musical Instruments

2/26 Classification Systems

Presentation by Laura P. and Marcus V., Read: Hornbostel, “Classification…” Presentation by Kiyoko L., Read: Polak, “A Musical Instrument…”

7 3/3 Presentation by Alicia Y., Read: Shaheen, “A Daily Juxtaposition…” Presentation by Mayra N. and Vivana M., Read: Doubleday, “The

Frame Drum…” Taking Auditory Inventory

3/5 Read: Nettl, Ch. 14 Presentation by Roger R., Read: Sakakeeny, “Under the Bridge”

8 3/9-3/13 Spring Break No Class

9 Identity

3/17 Paradigmatic Structuralism; Marxist Analyses

Presentation by Rogelio, Read: Omojola, “Politics, Identity, and Nostalgia…” Presentation by Marcus T., “Klezmer in Krakow…”

3/19 Read: Stone, Ch. 5 Ricardo G., Read: Dor, “Communal Creativity…” Due: Journal 3

10

3/24 Presentation by Jorge S. and Charles S., Read: Qureshi, “Confronting the Social…”

3/26 Cesar Chavez Day (No Class)

11 Music, Dance and Gender

3/31 Cantometrics and Choreometrics Today

Presentation by Ashleigh C. and Mario M., Read: Waxer, “Las Caleñas…” Read: Stone, Ch. 10 Presentation by Erika A., Read: Phillips, “Becoming the Floor…”

The Impact of US Pop Around the Globe

4/2 Presentation by Francisco C., Read: Timothy Taylor,

Intro and Chapter 1 from Global Pop Due: Journal 4

12

4/7 Read: Nettl, Ch. 15 Presentation by Emilio O. and Alexandro V., Read: Feld, “Pygmy Pop…”

Ethnomusicology and Activism

4/9 Presentation by Lucero P., Read: In-Young Lee, “The Drumming of Dissent…” Read: Stone, Ch. 11

13

4/14 Presentation by Amanda R., Read: McDonald, “Poetics and the Performance…”

Music and Nationalism

4/16 Presentation by Kristina T. and Frank R., Read: Scruggs, “Let’s Enjoy as Nicaraguans…” Presentation by Russel A., Read: Rommen, “Localize It": Rock…”

14 4/21 Presentation by Jason G., Read : Ullestad,“Native American Rap…”

Music, Ritual, and Healing

4/23 Presentation by Thomas S., Read: Jankowsky, “Music, “Spirit Posession…” Due: Journal 5

15

4/28 Presentation by Claudia V., Read: Tvarnø Lind, “Meaning, Power…”

Music and Technology

4/30 Read: Nettl, Ch. 30 Read: Stone, Ch. 13

Presentation by Noe I.

16

5/5 Presentation by Paul M., Read: Lysloff, “Mozart in the …” Read: Stone, Ch. 14

5/7 In-Class Flash Talks Due: Final Project 17 5/11-5/15 FINALS WEEK