Introduction to World Music (Fall 2017)

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COURSE SYLLABUS

Short URL for this page: http://bit.ly/iwm17
Short URL for accompanying eClass site: http://bit.ly/iwm17ec
Short URL for accompanying Google Drive folder: http://bit.ly/iwm17gd
COURSE CALENDAR (http://bit.ly/iwm17cc)

Course

Music 102: Introduction to World Music
Meetings: Wednesday 6:30 - 9:30, T BW 2

Instructor

Professor Michael Frishkopf
Office: 334D Old Arts Building
Office hours: click for appointment, or contact instructor
Tel: 780-492-0225, michaelf@ualberta.ca

Goals

  • learn about world music through film - mainly documentary ethnographic...
  • learn about the many dimensions of our diverse musical world
  • learn to understand our world musically
  • understand music as both product and shaper of its environment, especially the power of music to effect change: music as a technology
  • broaden musical horizons, develop musical capacities
  • learn how to think critically about (music) culture
  • get introduced to the discipline of ethnomusicology

Course Mechanics and Requirements

Course Mechanics

  • Use this course Syllabus webpage to learn about assignments (http://bit.ly/iwm17)
  • Use the Lecture Notes webpage to review what I've presented in class (http://bit.ly/iwm17ln)
  • use eClass to submit assignments, always on the day they are due (http://bit.ly/iwm17ec). Please be sure you submit assignments via eClass and in the right week - otherwise I may miss them.
  • Consult the Course Calendar for our schedule of events (I'll be posting new events as they come up: concerts, lectures, workshops, etc.)
  • Please say your name when you speak in class, so we can all get to know one another.
  • Be sure to sign the attendance list at the end of each class!
  • There is no textbook and book purchases are not necessary! All materials are available free of charge, mostly online, some on reserve (which is rather nice!)
  • Reserve shelf in Rutherford Library will contain some materials that are not available online.
  • Each evening class session includes musical listening & "music stretches", group presentations, a short lecture introduction, and a film we will watch together and discuss afterwards. Occasionally a special guest will replace the film.
  • This course deploys a collaborative approach: you are divided into 11 subgroups of 4-5 each; each group has been assigned a Google Drive folder (you should have received an invitation via your UofA email; please let me know if you joined the course late and didn't get assigned) where you can share and edit materials with each other and with me. You have access to other groups' materials as read-only. Please communicate as you wish - via email, social media, or face to face. It may be best to meet immediately before or after class, at least to plan. You will have short collaborative assignments each week, and class will begin with group presentations. Everyone is expected to contribute!
  • If you have questions email me (michaelf@ualberta.ca) or come visit me during my office hours (signup at http://frishkopf.org).

Course requirements

  • Start up: on eClass please introduce yourselves (due Sep 8) and vote for musical topics/areas you'd like to see covered in this class. I will consider your feedback!
  • Participation is essential! Please do not miss any classes!! Your group will be presenting nearly every week. And the course centers on visual ethnomusicology: nearly every evening will center on a film we will watch together.
  • Short weekly reading/viewing/listening/browsing: I will not assign more than 20 pages per week! Please don't wait until the last minute to do the assignments. (They're interesting!)
  • Very short weekly responses (description + critique) to those weekly assignments, amounting to one short paragraph (3-5 sentences) per week MAX!
  • One world music concert review (an event description + critique), 1.5-2 pages - due by end of term. (Pages: 1" margins, Times New Roman single spaced, not including any bibliography section)
  • Midterm quiz and final quiz: these will center on short (one sentence) IDs of terms, musical examples, map locations.
  • Optional creative assignment for extra credit (everyone is encouraged to submit this assignment and share with the class; musical "talent" not required!), due by end of term.

Evaluation and grading

  • Participation (presence and active contributions, including group presentations). 25%
  • Very short weekly responses, graded in four levels: excellent (A+), satisfactory (A-/B+), unsatisfactory (B-), or missing (F): 25% total
  • Concert review: 5%
  • midterm quiz: 20%
  • final quiz (cumulative, but weighted towards latter half): 25%
  • optional creative assignment for extra credit


All written assignments are to be uploaded to eClass by 6 pm on the due date. (This is very important so you'll be prepared for class.) Thereafter, the grade will be reduced one level for each two days of lateness.

Evaluations of each assignment are computed on a scale from 0 - 100, reflecting the letter grades below. These scores are combined according to the percentages indicated in order to produce a final numeric grade. This grade is rounded to the nearest numeric value in the table below, in order to determine the final letter grade.

  • A+: 4.3 (98)
  • A: 4.0 (95)
  • A-: 3.7 (92)
  • B+: 3.3 (88)
  • B: 3.0 (85)
  • B-: 2.7 (82)
  • C+: 2.3 (78)
  • C: 2.0 (75)
  • C-: 1.7 (72)
  • D+: 1.3 (68)
  • D: 1.0 (65)
  • D-: .7 (62)
  • F: 0 (60)


Schedule and assignments

Sep 6: Hearing music of the world: World Folksong, Alan Lomax, and Cantometrics

Lecture notes Sep 6

In class

  • Prelude: Listening and understanding... Nay sounds (quarter tones), Sufi hadra, post office music, Rosie
  • Some musical warmups: Rosie
  • Course syllabus and course mechanics
  • Definitions: "Music", "World Music", "Folk Music"
  • Lomax and Cantometrics. Documentary: Lomax the Songhunter

For the coming week (due Sep 13)

  • Read 15 pages:
  • Browse websites:
  • Write (1 short paragraph, 3-5 sentences): What do you think of Cantometrics and Lomax's enterprise as a whole? What worked, in your view? What didn't? Write a short paragraph (3-5 sentences maximum!) and submit via eClass for September 13.
  • Group work:
    • Develop your own group version of Global Jukebox: Rosie (under Learning/Lesson plans). OR Develop a collective table-top drum piece (with singing), along these lines. Perform in class (just 1 minute or so!).
    • Odd numbered groups (1,3,5,7,9,11): critique Cantometrics, but come up with a different way of comparing musics of the world; optionally, outline your ideas via Google Drive/Google Slides (or you can simply plan to talk through your points)
    • Even numbered (2,4,6,8,10): defend Cantometrics, and introduce refinements to make it even better; optionally, outline your ideas via Google Drive/Google Slides (or you can simply plan to talk through your points)

Sep 13: When is music not "music"? The sound and meaning of Qur'anic recitation

Lecture notes Sep 13: Introduction to World Music (Fall 2017)

In class

Prelude

  • Rosie via David Guetta ft. Nicki Minaj ("Hey mama")
    • What do you hear? World musical influences?
    • How has the meaning changed?
    • What are the implications for world music?
    • See this article by Jeff Miers.
  • name that tune! Hearing and Understanding via Cantometrics...where in the world?
    • Social organization of the performing group
    • Nasality

Musical stretching: singing microtones in the Arab maqamat (scales)

Group work:

  • Performances
  • Opinions about Cantometrics and Alan Lomax

Discussion:

  • Etic vs. emic
  • source vs. reference
  • Review: music, world music, ethnomusicology

5 minute break

Qur'anic recitation

Etic: ritual music
Emic: not musiqa (موسيقى)

Film: Qur'an by Heart

Discussion

For coming week (due Sep 20)

Read:

  • The Qur'an Recited, by Kristina Nelson (from Garland Encyclopedia of World Music v. 6 - Middle East. If you have trouble with the above link click here and navigate to the article under section Part 2 Understanding the Musics of the Middle East: Issues and Processes). This is a sympathetic outsider's account of Qur'anic recitation, treated in broad context. (5 pages)
  • The Overnight Qari - Read from the beginning to the end of Section 2, plus Section 4 (equivalent to 15 pages of text; there are many images and half-full pages); skim the rest as you like. This is an insider's account of Qur'anic recitation by a Canadian, focused on teaching you to recite.
    • Click on media links and watch as you wish, but especially please watch: Surah al-Fatiha in Seven Maqamat
    • Practice reciting along, and listen to the different maqamat.


Group activities:

  • Issues to discuss in class: discuss the film from one of the following perspectives
    • Countering Islamophobia through understanding
    • Children's performance
    • oral vs. written traditions
    • competition in ritual and art

Sep 20

Lecture notes Sep 20: Introduction to World Music (Fall 2017)

Telling stories through music: the epic.

Sep 27: Special guest, George Chungo Otiende

http://www.chungaotiende.com/

Oct 4

Lecture notes Oct 4: Introduction to World Music (Fall 2017)

Oct 11

Oct 18: Midterm quiz

Oct 25

Nov 1

Nov 8

Nov 15: No class

Nov 22

Nov 29

Dec 6: Final quiz

Vote on eClass for topics and areas below

Epic singing

Sira: songs of the crescent moon

Circumpolar music: throat singing around the arctic...and beyond: Inuit, Ainu, Tuva...and Bantu?

Genghis blues, 1:27.

Inuit
Susan Aglukark, throat singing https://www-nfb-ca.login.ezproxy.library.ualberta.ca/film/breaths/ 
also http://video.nationalgeographic.com/video/exploreorg/inuit-throat-singing-eorg
https://www.youtube.com/watch?v=KTqweU3SXq4
Katajjacoustic - Traditional Throat Singing of the Inuit https://www.youtube.com/watch?v=fPI2dXcn8Vw
Punk Inuit throat singer Tanya Tagaq   https://www.youtube.com/watch?v=dumvYzfuT0w
The Man and the Giant: An Eskimo Legend https://www-nfb-ca.login.ezproxy.library.ualberta.ca/film/man_and_giant_eskimo_legend/
Learning: https://www.youtube.com/watch?time_continue=2&v=kbg6BltCr-g (from http://icor.ottawainuitchildrens.com/)

Ainu: history and revival
https://www.youtube.com/watch?v=iA7BILX-q4I
https://www.youtube.com/user/pehkutu
https://www.youtube.com/watch?v=lMQ5H0YZDfQ
https://www.youtube.com/watch?v=3ijAaLHBi18
https://www.youtube.com/watch?v=maaJiJq7Gow
https://www.youtube.com/watch?v=qSnbN_OyRms



Activity: Try to learn to produce these sounds yourself.


Read: Throat singing (Smithsonian) [1] Film reviews

The Nile Project: Music along the world's longest river

Transnationalism and ecology.

http://nileproject.org/

https://www.youtube.com/watch?v=Wj4OqEAk7aY

2016 Nile Gathering https://www.youtube.com/watch?v=jZuZfRL4CAk

Musical Speed Dating https://www.youtube.com/watch?v=THtnRv8V7-A

2016 Nile Project Collaborations https://www.youtube.com/watch?v=UwrPkNPxLwk

Nile Project Conversations https://www.youtube.com/watch?v=Wj4OqEAk7aY


Many links on press page: http://nileproject.org/press


For Nile hydro-political background: Al Jazeera's Struggle over the Nile: http://www.aljazeera.com/programmes/struggleoverthenile/

https://www.internationalrivers.org/blogs/264/the-nile-project-uses-music-to-transcend-borders

Non-musical ritual sound: Qur'anic Recitation

Koran by Heart

Music, Culture, and Ecology in Bali

Three Worlds of Bali

Activity: creating an interlocking pattern

World music theory: Indigenous conceptualizations of 'Are'are music of the Solomon Islands

Music cognition, perception, classification.

Hugo Zemp Are’are Music

also see: https://ualberta.kanopystreaming.com/video/shaping-bamboo

https://www.youtube.com/watch?v=KtKQws9ZOfs

readings: filmmaker article

activity: make a flute out of PVC pipe

Music, Religion, and Politics in Turkey: the Alevi

Religion and Politics

Sivas, Home of Poets. The songs and traditions of the Ashiks, poet-musicians in modern Turkey, who see themsevles as the voice of the people which they defend with their music. From Ecouter le Monde / Around Music series, on Rutherford Reserve.

Also see: https://ualberta.kanopystreaming.com/video/asiklar-those-who-are-love-1996

Music and Forced Migration: Afghanistan and Liberia

Amir, directed by John Bailey 53:46


Related: http://tvmultiversity.blogspot.ca/2011/03/two-ethnographic-films-on-muslim-music.html http://search.alexanderstreet.com.login.ezproxy.library.ualberta.ca/view/work/bibliographic_entity%7Cvideo_work%7C764448 read accompanying booklet

Giving Voice to Hope: Music of Liberian Refugees (you will all receive a free copy of this CD!)

John Bailey and I spoke at this special event

Sierra Leone's Refugee All Stars

Music and Protest in Zimbabwe

Mbira music: spirit of the people - ML 350 M35 1993 Music Media University of Alberta Rutherford Humanities & Social Science. https://www.youtube.com/watch?v=5hF2Hstvrfc Readings: afropop worldwide... http://www.afropop.org/6814/interview-thomas-turino/ http://www.afropop.org/7041/thomas-mapfumo-2-the-mugabe-years/

Romani ("Gypsy") Music around the World

Latcho Drom

Read Silverman in Garland, and her review of the film itself

Music and Ritual in Iran

Music, Mysticism, Architecture....and Martial Arts

Zurkhaneh: The House of Strength: a unique sport, from Iran to Korea

Mystic Iran

Music and Baptists in the American South

Powerhouse for God is a portrait of an old-fashioned Baptist preacher, his family, and their church in Virginia's northern Blue Ridge Mountains. Audiences who were born and raised among old-time southern Baptists say this film captures the fierce preaching, determined singing, autobiographical witnessing, and stern doctrine that characterizes these religious communities.

also available here

Read: select three film reviews to read and compare; note impact of this film on multiple fields of study.

World music and Western Art Music

Hallelujah!: This film presents an African talking drums version of Georg Friedrich Händel’s Hallelujah chorus, as staged and performed by legendary drummer Ghanaba together with the Winneba Youth Choir, in Ghana, West Africa.

Experimentalism and the ‘Whole World of Music’

Official statements

Course prerequisites: none
Course-based ethics approval, Community service learning: NA
Past or representative evaluative course material: NA
Additional mandatory instruction fees: No

Policy about course outlines can be found in Section 23.4(2) of the University Calendar. (GFC 29 SEP 2003).

Academic Integrity
“The University of Alberta is committed to the highest standards of academic integrity and honesty. Students are expected to be familiar with these standards regarding academic honesty and to uphold the policies of the University in this respect. Students are particularly urged to familiarize themselves with the provisions of the Code of Student Behaviour (online at http://www.governance.ualberta.ca) and avoid any behavior that could potentially result in suspicions of cheating, plagiarism, misrepresentation of facts and/or participation in an offence. Academic dishonesty is a serious offence and can result in suspension or expulsion from the University.

Learning and working environment
The Faculty of Arts is committed to ensuring that all students, faculty and staff are able to work and study in an environment that is safe and free from discrimination and harassment. It does not tolerate behaviour that undermines that environment. The department urges anyone who feels that this policy is being violated to: • Discuss the matter with the person whose behaviour is causing concern; or • If that discussion is unsatisfactory, or there is concern that direct discussion is inappropriate or threatening, discuss it with the Chair of the Department. For additional advice or assistance regarding this policy you may contact the student ombudservice: (http://www.ombudservice.ualberta.ca/ ). Information about the University of Alberta Discrimination and Harassment Policy and Procedures is described in UAPPOL at https://policiesonline.ualberta.ca/PoliciesProcedures/Pages/DispPol.aspx?PID=110

Academic Honesty:
All students should consult the information provided by the Office of Judicial Affairs regarding avoiding cheating and plagiarism in particular and academic dishonesty in general (see the Academic Integrity Undergraduate Handbook and Information for Students). If in doubt about what is permitted in this class, ask the instructor. Students involved in language courses and translation courses should be aware that on-line “translation engines” produce very dubious and unreliable “translations.” Students in language courses should be aware that, while seeking the advice of native or expert speakers is often helpful, excessive editorial and creative help in assignments is considered a form of “cheating” that violates the code of student conduct with dire consequences. An instructor or coordinator who is convinced that a student has handed in work that he or she could not possibly reproduce without outside assistance is obliged, out of consideration of fairness to other students, to report the case to the Associate Dean of the Faculty. See the Academic Discipline Process.

Recording of Lectures:
Audio or video recording of lectures, labs, seminars or any other teaching environment by students is allowed only with the prior written consent of the instructor or as a part of an approved accommodation plan. Recorded material is to be used solely for personal study, and is not to be used or distributed for any other purpose without prior written consent from the instructor.

Attendance, Absences, and Missed Grade Components:
Regular attendance is essential for optimal performance in any course. In cases of potentially excusable absences due to illness or domestic affliction, notify your instructor by e-mail within two days. Regarding absences that may be excusable and procedures for addressing course components missed as a result, consult the Calendar regarding Attendance and Examinations sections of the University Calendar. Be aware that unexcused absences will result in partial or total loss of the grade for the “attendance and participation” component(s) of a course, as well as for any assignments that are not handed-in or completed as a result. In this course, 25% of your grade depends on regular attendance and energetic participation.

Policy for Late Assignments:
See section on Evaluation, above.

Student Accessibility Services:
If you have special needs that could affect your performance in this class, please let me know during the first week of the term so that appropriate arrangements can be made. If you are not already registered with Student Accessibility Services, contact their office immediately (1-80 SUB; Email sasrec@ualberta.ca; Email; phone 780-492-3381).



Media Archives and Departmental Broadcasting of Audio-visual Material
Audio or video recording of performances, lectures, seminars, or any other academic or research environment activities are carried out by the Department of Music for archival purposes. These archives may be collected and housed in the Music Library. Recorded material is to be used solely for non-profit, educational, research, and community outreach purposes, and is not to be used or distributed for any other purpose without obtaining the express permission from all parties involved. Please be advised that your solo or group performance may be featured on the University of Alberta's Department of Music website and/or social media platform(s). If you object to this use of audio and/or video material in which you will be included, please advise your instructor or the Department of Music in writing prior to participating in any performance, lecture, seminar or public event held by the Department of Music.

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