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MUSIC
136-01: Music of the World's Peoples
Fall
2003
Instructor: Eric Hung
Teaching
Assistant: Andrea Knopik
COURSE
SYLLABUS
RECENT UPDATES:
Detailed Schedules
This syllabus is subject to change.
General Information
Course Schedule
Reader Contents
THE BASICS
Class Meetings:
Tuesdays/Thursdays,
12:40pm-2:00pm (SS 356)
Credits: 3
Course Web Page:
http://eric.mandi-eric.com/fa2003/mus13601home.htm
CONCERT / LECTURE ATTENDANCE
All students are required to attend the
following music department events:
September 23, 7:30pm: Bob LedBetter
Lecture (Music Recital Hall)
September 30, 7:30pm: Forward Kwenda and
Erica Azim Mbira Concert (Music Recital Hall)
November 24, 7:30pm: Percussion Ensemble
(University Theater)
If you are unable to attend any of these
events, discuss your situation with the instructor at least two days
before the event, and you will receive a substitute assignment.
CONTACT
INFORMATION
Eric Hung’s Contact
Information: mus136@mandi-eric.com, 406-243-6892
Office Hours: Mondays
1:00pm-2:00pm, Wednesdays 1:30pm-3:00pm, and by appointment
Andrea Konpik’s
Contact Information:
a_knopik@hotmail.com
Office Hours: TBA
COURSE BASICS
This course includes
four units and a final group project. The first introduces students
to basic issues in the study of world music and the elements of music.
The second focuses on the musics of Africa. The third unit
examines the musics of India and Indonesia, and the final unit explores
Latin American musics. The course concludes with a
final project that involves some aspect of music in Western Montana. Be
aware that a large portion of this course involves group work. If you are
unwilling to participate fully in group assignments, do NOT take this
course.
TEXTS
(1)
Bruno
Nettl, Charles Capwell, Philip V. Bohlman, Isabel K.F. Wong and Thomas
Turino, Excursions in World Music,
3rd edition [Textbook and 2CDs; Available at UM Bookstore
and on e-reserve];
(2)
MUS 136-01 Course Reader [Available at UM
Bookstore];
(3)
Listening assignments are on reserve in
Mansfield Library.
WORKLOAD
The national standard
for academic university courses is this: to earn an average grade (C),
the average student needs to spend three hours each week for each hour of
credit. Since this is a three-credit course, the average student would
need to spend nine hours a week (three in class and six outside class) on
this course to earn a C. If you are an average student and want to earn
an A or B, you might very well need to work more than nine hours a week.
If you are spending nine or more hours a week on this course, but are not
earning appropriate grades, please talk to me. We can devise study
techniques that might help you achieve better results.
GRADING
A = 90+, B= 80-89,
C=70-79, D=60-69, F= 59 or lower
|
Unit One
(Music in
Daily Life Essay—5%, Unit
Test—10%)
|
15%
|
|
Unit Two
(Class
Participation/Quizzes—5%, Concert Report—5%, Unit Test—15%)
|
25%
|
|
Unit
Three
(Class
Participation/Quizzes—5%, Unit Test—15%)
|
20%
|
|
Unit Four
(Class
Participation/Quizzes—5%, Concert Report—5%, Unit Test—15%)
|
25%
|
|
Final
Project
(Outline
and Interview Questions—2%, Presentation and Paper—13%)
|
15%
|
CLASS FORMAT
On the class schedule
below, each session is listed as a lecture, a discussion, or a test.
Lecture sessions include lectures by the instructor or a guest and video
screenings. These sessions will complement but not directly repeat
material covered in the textbook. During discussion sessions, we will
divide the class into small groups to discuss a specific article or to
talk about your final project. At the end of discussion sessions,
selected groups will be asked to present their thoughts. Be sure to
bring your reader to classes in which you are discussing articles in the
reader. Your class participation grade is based on your
attendance/participation at the group discussions and on your presentations to the
class. Each unit concludes with a unit test.
READING AND
LISTENING ASSIGNMENTS
All reading and
listening assignments are to be completed before class on the date listed
in the syllabus.
QUIZZES
To ensure that all
students are completing their reading assignments, there
will be periodic quizzes on the readings in the Course Reader. If you are absent for a quiz, you can make it up only if your
excuse is documented and legitimate (i.e., religious holiday, official
school event, severe illness and family emergency).
UNIT TESTS
Unit tests will
contain a map section, a multiple-choice section (with several questions
involving listening excerpts), and an essay section. They will contain
some questions that are only covered in class sessions and some questions
that are only covered in the textbook. It is therefore pertinent that you
attend all classes and do all the assignments. Review sheets will be
posted on the course website at least one week before each unit test. A
practice test for the first unit is also available on the website.
If you need to
reschedule an exam because of a religious holiday or official school event
(e.g., basketball game), you must make your request at least two weeks
before the scheduled exam.
If you would like to
reschedule an exam for personal reasons (e.g., you’re diving in the
Olympics), you must talk to me at least two weeks before the scheduled
exam. I reserve the right to refuse requests made on the basis of
personal reasons.
If you miss an exam
because of serious illness or severe family emergency, you may request a
makeup exam only if you can document your illness or emergency. I reserve
the right to refuse requests for makeup exams.
FINAL GROUP PROJECT
For the final project,
the class will be divided into groups of five or six. Each group will
conduct research on some aspect of music in Western Montana. The project
must involve both interviews and library research. Each group will do a
presentation for the class during the designated exam time for the course
and hand in a five-page paper. Hopefully, we will as a class learn
something about the diversity and history of musical life in the Missoula
area. More details about this project will be forthcoming.
COURSE WEBPAGE
(http://eric.mandi-eric.com/fa2003/mus13601home.htm)
The class webpage is
an important component of this course. I will post lecture notes,
discussion questions and review sheets there. I will also use it to
clarify assignments and to respond to your questions. Use it as often as
you wish, but you are responsible for checking this webpage each Monday.
DISABILITY
If you need
accommodations because of a disability, please talk to me and the
Disability Services for Students (DSS) Office as soon as possible. I need
at least one week’s notice for test accommodations.
ACADEMIC HONESTY
All students in this
class must abide by the University’s “Academic Conduct” code. This code
is available at
http://www.umt.edu/studentaffairs/sccAcademicConduct.htm. Failure to
abide by this code will result in severe penalties.
INCOMPLETES
Incompletes will be
granted only in extreme situations, such as serious illness and severe
family emergency.
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COURSE
SCHEDULE
Unit
1: Introduction to the Study of World Music (Sept. 2 - 18)
Unit
2: The Music of Africa (Sept. 23 - Oct. 16)
Unit 3: The Music of India, Indonesia, and the Indian Diaspora (Oct.
16 - Nov. 6)
Unit 4: The Music of Latin America (Nov. 6 - Dec. 4)
Unit 5: Final Project Presentations (Dec. 9 - 16)
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READER CONTENTS
-
"Young Adults," in Susan D. Crafts, Daniel
Cavicchi, Charles Keil and the Music in the Daily Life Project, My
Music (Hanover, NH: Wesleyan University Press/University Press of New
England, 1993), pp. 69-106.
-
Veit Erlmann, “’Strengthening Native Home
Life’: Isicathamiya and Hegemony” and “Things Will Come Right: The
Political Economy of Noncommercial Performance,” in Nightsong:
Performance, Power, and Practice in
South Africa
by Veit Erlmann. Chicago: The University of Chicago Press, 1996, pp.
243-280, 320-321.
-
Christopher Alan Waterman, “Jùjú Music and
Inequality in Modern Yoruba Society,” in Jùjú: A Social History and
Ethnography of an African Popular Music by Christopher Alan Waterman.
Chicago: The University of Chicago Press, 1990, pp. 213-228, 241-242.
-
Philip V. Bohlman, “Between Myth and
History,” in World Music: A Very Short Introduction by Philip V.
Bohlman. Oxford: Oxford University Press, 2002, pp. 47-63.
-
Gerry Farrell, “Three Journeys to the
West,” in Indian Music and the West by Gerry Farrell. Oxford:
Oxford University Press, 1997, pp. 144-167.
-
Timothy D. Taylor, “Anglo-Asian
Self-Fashioning,” in Global Pop: World Music, World Markets by
Timothy D. Taylor. New York: Routledge, 1997, pp. 147-172.
-
Mervyn Cooke, “’The East in the West’:
Evocations of the Gamelan in Western Music,” in The Exotic in Western
Music, edited by Jonathan Bellman. Boston: Northeastern University
Press, 1998, pp. 258-280, 347-350.
-
Peter Manuel, “Trinidad, Calypso, and
Carnival,” in Caribbean
Currents: Caribbean Music from Rumba to Reggae
by Peter Manuel, with Kenneth Bilby and Michael Largey. Philadelphia:
Temple University Press, 1995, pp. 183-211, 263.
-
John Koegel, “Crossing Borders: Mexicana,
Tejana, and Chicana Musicians in the United States and Mexico,” in From
Tejano to Tango: Latin American Popular Music, edited by Walter Aaron
Clark. New York: Routledge, 2002, pp. 97-125.
-
Walter Aaron Clark, “Doing the Samba on
Sunset Boulevard: Carmen Miranda and the Hollywoodization of Latin
American Music,” in From Tejano to Tango: Latin American Popular Music,
edited by Walter Aaron Clark. New York: Routledge, 2002, pp. 252-276.
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Last updated:
August 25, 2003 |