MENAME course outline Winter 2016

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Middle Eastern and North African Music Ensemble: Music 148, 448, 548

Note: 448 counts for the Certificate in International Learning.

Focus: Music of the Arabian Peninsula

Short URL for this website:

Use eClass site to submit all assignments


Professor Michael Frishkopf
Meetings: Winter 2016, Thursdays, 6:30 pm - 9:30 pm , Studio 27, Fine Arts Building
Office: 334D Old Arts Building
Office hours: Wednesday 1:30-3:30 pm, by appointment
Tel: 780-492-0225, email:

Course description, objectives, requirements

Course description

This course is an introduction to music and culture of the Middle East and North African (MENA) region, by combining academic and performance study of music, its culture and society. This term our focus will be the Arabian Peninsula. Performance includes rehearsals and occasional public performances as well, including the final concert on March 31. Undergraduates should enroll in Music 148 (intro level) or Music 448 (intermediate level); graduate students should enroll in Music 548.

Course objectives

  • To introduce you to music of the MENA (Middle Eastern and North African) region, broadly defined, beyond a strict geography, to include music of Arabic, Persian, Turkish, Hebrew, Kurdish, Berber, Nubian, Armenian, Greek, Swahili and other cultural-linguistic groups, through performance and academic study. During this term, our academic focus will be music of the Arabian peninsula.
  • To become attuned to the rich culture and history of the MENA region, through its music
  • To gain theoretical and practical understanding of music concepts, including melodic modes (maqamat) and rhythmic cycles (durub)
  • To develop musical skills, including the ability to perform in the modes, and some facility in improvisation.
  • To learn, practice, and polish a core repertoire of songs and instrumental pieces.
  • To present performances of this repertoire to the University and Edmonton communities at the World Music Sampler, Saturday, November 24 (7:30 – 10:30), and on other occasions as opportunities arise.

Course requirements

  • Participation: Your grade will depend on regular, punctual attendance, and active, energetic involvement. We will take attendance every Thursday. It is essential to arrive on time, as we must begin promptly at 6:30.
  • Listening, and practicing: it is crucial to listen and to practice as much as possible.
  • Organization: keep all handouts in a binder, such that you can find them quickly. Bring your binder to each class, and don’t take more than one copy of each handout. For concerts, use a smaller, black binder containing needed handouts in order.
  • Homework: Please complete readings, listenings, viewings, and study maqamat and durub prior to the class for which they are assigned (in the sections below).

For each reading, each listening, and each film submit a 1-2 paragraph review (in two parts: (A) summary; (B) critique) via eClass. Please do not email assignments to the instructor. Prepare your assignments in a text editor of your choice, then copy and paste into the text box on eClass (no uploads). In this review, demonstrate that you’ve completed the assignment (by telling me what it’s about), and that you’ve thought about it (by telling me what you think of it). This review is due prior to class on the due date; late assignments will be downgraded a quarter point per day. All reviews due on a particular day should be included together on eClass, which will provide you with a single link for this purpose.

  • Self-assessment: a two to three page self-assessment is to be submitted by April 7, in which you’ll document your progress during the term, including a list of pieces, songs, modes, and rhythms mastered, and a discussion of difficulties encountered. The student should be prepared to demonstrate this mastery to the instructor during the final exam. Late assignments will be downgraded one full point per day.
  • Midterm quizzes are scheduled for TBA (academic, 6:30 – 7:00; short answer and map quiz) and TBA (demonstration of performance and aural competence, 6:30 – 7:30). No makeups will be allowed without a valid excuse.
  • Final exam: April 7, 6:30 to 7:30, combining academic and performance questions of the types characterizing the midterms.
  • Graduate students should consult with the instructor to arrange for preparation of a research paper centered on music of the Arabian peninsula (20 pages, 1.5 line spacing, 1” margins, 12 pt font, not including bibliography).

Additional notes

  • Undergraduates should enroll in Music 148 (intro level) or Music 448 (intermediate level); graduate students should enroll in Music 548.
  • The first half hour of each class will be devoted to academic material (lectures, films, discussions); the second half hour to practical exercises, including ear training. From 7:30 to 9:30 w will focus on rehearsing our repertoire. The repertoire will be specified on the main MENAME site:
  • Private music lessons are not available through this course, but arrangements may be possible; see instructor. Also see the instructor if you wish to purchase any instruments.
  • Some percussion instruments are available for borrowing.
  • Singing is central to this music and the chorus can accommodate any number of participants. Please do sing!
  • All continuous-pitch instruments are welcome, even if they are not traditional in music of the region. Violin, viola, cello, and bass all work especially well. Other instruments can also be used selectively (e.g. guitar may have trouble on maqamat incorporating quartertones).
  • All percussion instruments are welcome; however we may have to assign parts to achieve a harmonious timbral and dynamic balance.
  • Neither the ability to read musical notation nor prior musical or cultural experience is required.
  • Aural training is central.
  • We will experiment with ornamentation and improvisation in the melodic modes (taqasim).
  • You will require access to the Internet in order to obtain course materials, and receive email announcements (please be sure to provide your email address on the attendance sheet.)
  • Please come to class on time! We will start punctually at 6:30. Missing any portion of the first half hour will result in a mark of “absent” for that day.
  • Please limit mid-class breaks to 10 minutes (usually 8:30 to 8:40 PM).
  • If you are a student, encode your Onecard to provide access to Studio 27. Ask in the Music Office (382 FAB) for details. There is only one designated day for encoding early in each term. If you are not a student but wish to have access, please see the instructor.


Assignments and weights

NB: Performance quizzes evaluate musical growth, while academic quizzes and assignments evaluate knowledge and critical thinking. In evaluating performance, beginners will not be penalized for being beginners, nor will virtuosos be rewarded for being virtuosos; rather, each will be evaluated according to her or his musical development over the term.

For Music 148 and 448 (undergraduate level; note that 448 will be graded at higher standards than 148):

  • 15% participation and general involvement
  • 5% self-assessment
  • 30% two quizzes (15% each), dates TBA
  • 25% reviews (submitted on eClass)
  • 25% final exam, TBA

For Music 548 (graduate level):

  • 10% participation and general involvement
  • 10% self-assessment
  • 20% two quizzes (10% each)
  • 15% reviews (submitted on eClass)
  • 15% final exam
  • 30% research paper


  • Unexcused late assignments will be downgraded one quarter point per day.
  • When page counts are given they refer to 1" margins, 1.5-spaced, Times New Roman font, or equivalent. "References cited" or "bibliography" does not count towards the page total.
  • Be sure to cite all references using the (author year:pages) format, and list all references cited at the end of your paper. I strongly suggest use of a bibliographic database tool to assist in organizing sources and recommend Zotero ; another possibility is "Refworks. Both are free.

Grading scale

Evaluations of each assignment are on a scale from 0 - 100. 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)



  • This syllabus, including its many links to readings, listenings, viewings
  • The class website:
  • Handouts (music notation and lyrics). Please keep these arranged alphabetically in a binder for easy reference.
  • Instruments (mainly percussion, available for signout and practice in the instrument room adjoining Studio 27)
  • Other members of the ensemble.

Physical (print, CD, DVD) - sometimes also online...

  • Reserve shelf (Rutherford Library), especially: Music and Traditions of the Arabian Peninsula: Saudi Arabia, Kuwait, Bahrain, and Qatar, by Lisa Urkevich (Routledge), available for purchase in the bookstore and on reserve. Also available on Amazon (less expensive on and as an e-book. It comes with a CD.
  • Music in Bahrain, Rovsing Olsen, Poul (2002). David Brown Book Company, isbn=87-88415-19-8 (I am searching for a copy!)
  • A Musical Anthology of the Arabian Peninsula, (1995), Gallo (audio)
  • Songs Of The Bahrain Pearl Divers (2000), UNESCO (audio)
  • Laith Ulaby's chapter, "Mass media and music in the Arab Persian Gulf", in Music and Media in the Arab World




Maps, Timelines

Databases and archives

Week 1: Jan 7

Lecture and exercise segment (6:30 to 7:30)

  • Course introduction: ethnomusicology, world music, Middle East and North Africa.
  • Music theory and terminology:
    • Darb (lit. "strike"), plural durub: rhythmic concept (also known as iqa` or wazn or usul). We introduced 4 durub: wahda - maqsum - masmudi - malfuf. See my chart for definitions.
    • Dulab (literally "wheel"): a short, precomposed, introductory instrumental form. See forms at
    • Maqam (lit. "station"), plural maqamat: tonal concept (something like "scale" but using a wider range of pitch material, and including melodic and ornamentation characteristics). There are dozens of different maqamat. See
    • We introduced Maqam Rast
    • Taqsim: an instrumental improvisation in a maqam.
    • See for more on maqam, darb, and forms

See the course's Theory section for more information about maqam, darb, and music theory generally.

Rehearsal segment: (7:30 to 9:30)

Instrumental piece:


  • Ya Tira Tiri (Sabah Fakhri) (Rouwaida Attieh) (Sabah Fakhri, starting with mawwal (vocal improvisation) and segueing into Ya Mal al-Sham)

Week 2: Jan 14

Maqamat: Review: Rast, New: Hijaz (on G, on D)
Durub: Review: Wahda, Maqsum, Masmudi, Sa`idi, Malfuf; Note: please listen as much as possible each week - both to the basic tonal and rhythmic structures, and to the pieces and songs we're working on. You may find the former at More links are below. While listening try to play/sing along, repeat, imitate, and absorb as much as possible. Try the "third stream" technique: (a) listen to the recording; (b) listen and sing along; (c) sing without the recording; (d) repeat steps [b] and [c] while playing on your instrument (if you play one).

Homework (due today)

Remember homework is always due on the day it is listed, before class! You must submit reading reviews for each reading to me by email before class on Thursday! Remember: In this review, you should demonstrate that you’ve completed the assignment (by telling me what it’s about), and that you’ve thought about it (by telling me what you think of it). Use the eClass site to submit all assignments. (All assignments due on a particular day will be submitted together, since eClass provides a single link each Thursday.) For more details on assignments, see course outline above.

Read & review:

Browse:, and Theory section of our website, especially for the maqam (Hijaz) and durub we introduced last week.

Lecture and exercise segment

  • Introduction to music of the Middle East, focus on Mashriq
  • Overview of tonal and rhythmic theory
  • Durub: Review of durub introduced last week; Introduction to cifetetelli, masmudi kabir, sama`i thaqil
  • Maqam: Review of Rast; introduction to Hijaz (on G and D)


Week 3: Jan 21

  • Maqamat: Rast, Suznak, Huzam, Ajam, Saba Zamzam
  • Durub: Wahda, Masmudi, Maqsum, Sa`idi, Malfuf, Bamb, Ciftetelli

Homework due

Read and submit reviews for the following readings on Arab musical history; the performer Sabah Fakhri, and an introduction to music of the Arabian peninsula:

As before LISTEN as much as possible, using the 3rd stream technique (first listen, then listen and sing / clap, then just sing/clap - and repeat with an instrument if you play one). Apply this approach to the maqamat, the durub, and the songs and instrumental pieces. Use for examples of maqamat and for some of the durub (and for the latter you have also your durub charts, which you can also fine online at under "theory")

Our maqamat thus far:

  • Rast
  • Suznak
  • Huzam
  • Ajam
  • Saba Zamzam

New: Hijaz

Our durub thus far:

  • Wahda
  • Masmudi
  • Maqsum
  • Sa`idi
  • Malfuf
  • Bamb
  • Ciftetelli

Film segment (6:30 to 7:30)

Please arrive on time to watch this film: Umm Kulthum: A Voice Like Egypt



  • Dulab Rast
  • Tira tiri
  • Ya Mal al-Sham

(see links above)


Week 4: Jan 28

  • Maqamat & Durub: review content from previous weeks

Note: we have a performance on Jan 30 (concert at 8 pm) in Convocation Hall, and also Jan 31 (2 pm) at the Royal Alberta Museum. Note: Quizzes are Feb 11 and 25; review sheets will be provided!

Homework due

  • Review the film on Umm Kulthum we saw last week (it's on Rutherford reserve, if you want to watch it again). You should have taken notes - present those notes (what stories does the film tell) and your critique (what is the perspective given? what is left out?)
  • Read and review Musical Life in Aleppo, Syria (pp. 565-571)
  • Read and review Interview with Kelly Askew about taarab music, and watch this interview with Bi Kidude (also hit the button marked "play" for a wonderful podcast on this music). There is also a documentary about Bi Kidude As old as my tongue (we'll watch this in class this week.)

Just one or at most two paragraphs for each work is fine - but be sure you cover the main points!

Lecture segment (6:30 to 7:30)

Introduction to Maqam and Ajnas theory



  • Rast
  • Suznak
  • Huzam
  • Hijaz
  • Ajam
  • Saba Zamzam


  • Wahda
  • Masmudi
  • Maqsum
  • Sa`idi
  • Malfuf
  • Bamb
  • Ciftetelli


  • Dulab Hijaz

Focus on our upcoming concert:

Syrian wasla:

  • Dulab Rast
  • Tira tiri
  • Ya Mal al-Sham

Taarab music (Bi Kidude)

Week 5: Feb 4

NOTE: the first quiz will be held next week, Feb 11 6:30 - 7:00, comprising short answers and identification of countries on a map. A study guide will be provided this week.

  • Maqamat: Rast, Suznak, Nahawand, Hijaz, Agam, Saba Zemzem, Sika, Huzam, Rahat al-Arwah
  • Durub: Wahda, Maqsum, Masmudi, Sa`idi, Bamb, Malfuf, Ciftetelli, Sama`i Thaqil (new), Masmudi Kabir (new)


  • Performance for Syrian refugees: Feb 19, 7:30 pm - 8:00 pm
  • Benefit for Syrian refugees, Red Cross, Feb 28, 6 - 8 pm.
  • Study sheet for quiz next week (based on readings)
  • As Old as My Tongue (about Bi Kidude and her taarab music) - delayed.


No new homework ; please finish your prior assignments. You may also revise and resubmit assignments you've submitted already (but please let me know that you are doing this).

Lecture and exercise segment


  • Maqamat: Rast, Suznak, Sika, Huzam (Rahat al-Arwah), Ajam, Saba (Zemzem), Nahawand, Hijaz
  • Durub: Wahda, Maqsum, Masmudi, Sa`idi, Bamb, Malfuf, Ciftetelli. New: Sama`i Thaqil , Masmudi Kabir


Week 6: Feb 11: Quiz #1

NOTE: the first quiz will be held TODAY Feb 11, from 6:30 - 7:15, comprising short answers and identification of countries on a map. Credit students - please arrive on time! The second quiz will be held on Feb 25, in two weeks' time.

Review for quiz. Know terms and map (including also location of Tanzania).


None - just review for the quiz, which will be based on readings as well as in-class presentations and the Umm Kulthum film we watched together (available on reserve if you want to watch again).


Note: Optional meeting next week for those going to perform for the Syrian refugees.

Note: from now on please find all repertoire media files on the ensemble's repertoire pages:


  • Ciftetelli
  • Sama`i Thaqil


Week 7: Feb 18 (READING WEEK)


  • Rehearsal from 7:00 to 9:30. Optional - especially for those planning to perform the following evening (Syrian refugees - Feb 19).
  • Performance for Syrian refugees on Feb 19th, 7:30 pm. I will announce the location by email.
  • The second quiz (identifications) will be held next week (Feb 25). I will distribute a review sheet by email and link to this site also.


None. Prepare for your quiz next week.


Preparation for performance tomorrow evening.

Week 8: Feb 25: Quiz #2

NOTE: The second quiz will be held Feb 25 from 6:30 to 7:15 PM.


Please be ready to identify all the pieces we've performed so far, and say something (1-3 sentences) about them, including the following sorts of information (as available - not all information is available for every song or piece):

  • the title
  • the maqam and darb
  • the names of the composer and lyricist (if known)
  • the genre (type of music, e.g. muwashshah, dulab)
  • the source culture or country/region (e.g. Lebanese, Omani)

I will play a recording; you will provide the above information. You don't have to know anything about these songs that we haven't discussed in class, and there isn't always a definite "right" answer. I'm just looking to see what information you can provide.

Here is the list of pieces to know: (see

  • Sama`i Rast
  • Dulab Rast
  • Ya Tira Tiri
  • Ya Mal al-Sham
  • Ya Shadi al-Alhan
  • Ya hilwat al-Dar
  • Wa Imani Wa Imani (Bomwanzani Wa Mahaba)
  • Ṭilʿit ya maḥla nurha
  • Dulab Hijaz
  • Ah ya zayn

I will play an excerpt from the recording and then you'll write 1-3 sentences about the piece.

You will also be asked to identify:

  • Durub: be able to identify the following 6 durub: wahda - maqsum - masmudi - malfuf - masmudi kabir - sama`i thaqil (refer to your theory sheets or maqamworld for examples. Note that ordinary masmudi is also called "masmudi saghir"). I will play the rhythms on a drum.
  • Ajnas: be able to identify these 6 ajnas: and begin to distinguish them by ear. I will play these examples in class. DON'T WORRY IF YOU HAVE TROUBLE - JUST DO YOUR BEST!

Also see for theory.




  • Bayyati tetrachord, mixed with Yekah = Rast on G (aka Nairouz) and Sika (Iraq - Bayyati on D)
  • Maqam Bayyati (with either Rast or Nahawand above - or Hijaz = Bayyati shuri)
  • Ciftetelli & taqasim
  • Shambar halabi
  • Dulab Hijaz
  • Il Hilwa Di
  • Ya Hilwat ad-Dar: review and add second verse
  • Bomwanzani wa Mahaba - review
  • Dabka!
  • Review of other pieces thus far (including Foug al-Nakhal and Qadduka al-Mayyas - new to those who didn't participate last week).
  • Review program for Sunday

Week 9: March 3. Possible retake of map quiz immediately after class, 9:30 - 9:45 pm

FILM: 6:30 - 7:36 As old as my tongue (on Bi Kidude). Credit students: watch and take notes!


  • Read: Urkevich, Ch. 5, pp. 62-94 (Hadar Arts from the Najd - focus especially on the genre samri; listen to the musical examples and try out the rhythms given in notations if you can), and bios from p. 247 onward, on three artists:
    • Mohammad `Abdu
    • Talal Maddah
    • 'Itab
  • Listen: (maqam `Iraq - Sika on B half flat with bayyati in upper tetrachord): Halat dimu`a [1] (Saudi song - samri; composed and sung by Saudi's most famous singer, Mohamed Abdu - this is Urkevich's CD example #5)
  • eClass: Submit a review for Urkevich, Ch. 5 and also briefly discuss the song Halat dimu`a: in what ways does it conform to the definition of samri?

Note: you have access to Music and Traditions of the Arabian Peninsula: Saudi Arabia, Kuwait, Bahrain, and Qatar, by Lisa Urkevich (Routledge) on Reserve shelf (Rutherford Library). Also available for purchase in SUB bookstore, and on Amazon (less expensive on and as an e-book. It comes with a CD.


Focus on:

Week 10: March 10


Muslim religious chant - adhan and Qur'anic recitations - reflect the various styles of music in the region. They also impact it, because many singers are trained through such recitations. We saw a clear instance in the case of Umm Kulthum, but such training is common to many singers.

  • Read and review each of the following (just two paragraphs on each).
  • Read, listen, analyze: what differences do you hear?
    • Read and listen and submit your comments on the differences you hear between the different styles of performing the Call to Prayer (adhan).
    • Read and listen and submit your comments on the differences you hear between the different styles of performing Qur'anic recitation.

Lecture segment: Adhan and Qur'an

  • About Adhan and Qur'an
  • Relation to melody
    • Maqamat
    • "Melodies of the Arabs" (Hadith)


  • Islam's link to Ethiopia - the first hijra; and the freed slave Bilal, first mu'adhdhin - spiritual progenitor of Keita dynasty (Mali) and various sub-saharan subcultures of North Africa (e.g. Gnawa)
  • Origin of adhan (see 1:20:00)
  • Map of adhan and performance styles
    • Melody
    • Group
    • Local musical sound


For those who are interested, here are some links on Arabic script and calligraphy:



New: percussion piece

  • Rhythms of the sea
  • Dabke?


  • Taqsim on Ajam D and Saba Zemzem F#
  • Ya Hilwat al-Dar [2]
  • Halat dimu` (English text and notation coming...) [3] (Saudi song - samri; composed and sung by Saudi's most famous singer, Mohamed Abdu)

Week 11: Mar 17


Read and review:


We'll be reviewing our entire repertoire. Please practice hard this week! Only two rehearsals before our big concert on March 31!

Week 12: Mar 24


Based on the films we watched and the notes you took, and any other sources you care to use, write two pages comparing the lives of Umm Kulthum (in Egypt) and Bi Kidude (in Zanzibar) as two independent women who broke the rules, albeit in different ways. Compare and contrast: their upbringing and relation to traditional culture, their rebellion against gender roles and breaking of musical conventions, their rootedness in traditional musical culture and their musical innovations, and the ways their careers reflect the broader impacts of colonialism, nationalism, and globalization (dissemination through media, travel, concertizing abroad). Please cite sources informally (whether the films, or something else).

You don't have to address all of these topics - select those of interest to you, under the broader question: How does the career of each singer express her social and cultural milieux, how are they similar, and how are they different?

The Umm Kulthum film is on Reserve in Rutherford library if you want to rewatch it. There is information on Bi Kidude in the links above. If you need to rewatch the Bi Kidude film let me know and I'll arrange a screening.

Rehearsal: starts at 6:30 this week!!

We'll be reviewing our entire repertoire. Please practice hard this week! Last rehearsal before our big concert on Nov 24! Please arrive promptly a few minutes before 6:30 so we can begin on time!

Week 13: Mar 31 (MENAME concert)

  • NB: extra rehearsals this week, 7 pm: March 29th in Studio 27; March 30th in room FAB 1-23
  • Final concert: March 31 in Convocation Hall

Week 14: April 7 (for credit students only)

  • Final exam and makeups

Official statements

Course prerequisites: none
Course-based ethics approval, Community service learning: NA
Past or representative evaluative course material: see instructor
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 ) and avoid any behaviour 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: ( ). Information about the University of Alberta Discrimination and Harassment Policy and Procedures is described in UAPPOL at

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 sections 23.3(1) and 23.5.6 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, 10% of your grade depends on regular attendance and energetic participation.

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

Specialized Support & Disability 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 Specialized Support & Disability Services, contact their office immediately ( 2-800 SUB; Email; Email; phone 780-492-3381; WEB ).

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.