Music for Global Human Development - Winter 2019 plan

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This page contains the course plan. Turn here to find assignments, notes and links, in case you need to revisit them (or if you missed class). eClass will contain links to submit assignments only. Please submit assignments only via eClass.

Short link to this page: http://bit.ly/m4ghd19p
Short link back to the syllabus: http://bit.ly/m4ghd19s
Short link to eClass: http://bit.ly/m4ghd19e

Week 1: Introduction

An introduction to the course: "Area Studies in Ethnomusicology: Africa (Music for Global Human Development in Africa)"

Tues, 8 Jan 2019

  • Welcome to the class! Note: There are absolutely no prerequisites for this course.
  • Introductions. What do you want to get out of this course? Please respond on eClass also.
  • In this class we'll study African music as a social technology for positive change...
    • Indigenous: how does it work, ethnically (traditional) or generationally (popular)
    • Intervention: what can it do, and how?
  • Concepts:
    • "Music": narrow and broad definitions, expressive culture.
    • Ethnomusicology (the three "extensions": sonic, contextual, disciplinary), Applied Ethnomusicology (operating outside academia), M4GHD
    • "Music as a social technology"
    • Africa
      • History of the concept, exonym vs endonym, geographical or cultural, natural or artificial?
      • Diversity (climate, religion, culture, language, history, politics)
      • African languages
      • Africa through maps
    • African music vs. Music in Africa
      • Traditional (and folklorized), including "traditional religious"
      • Popular (what are the fundamental differences?)
      • "Classical", church. Centrality of vocal music.
      • World music, world beat
    • Development
    • Music for Global Human Development in Africa, and some prior projects.
  • M4GHD - a presentation
  • A few key course concepts:
    • Ethnocentrism (Chronocentrism, Lingocentrism...)
    • Etic and Emic, vs. Outsider and Insider
    • Source and Reference. Example: Richard Wallaschek's book on Primitive Music tells us about music of the world, but tells us even more about the author's world of the late 19th century. Claim: everything in the world is a SOURCE.
    • Critical thinking, reading, writing. We turn SOURCE into REFERENCE through the process of CRITIQUE.
    • Reading reviews: bipartite (summary/critique)
  • Course Syllabus: Resources, Requirements, and Mechanics

Thur, 10 Jan 2019

Assignment (complete before class):

  • Watch: Basil Davidson film, part 1 (1 hour)
  • Read: African History: A Short Introduction, chapter 1 (pp. 19-34; 15 pages)
  • Read: African Music : A People's Art by Francis Bebey, through page 16.
  • Read: Representing African Music Introduction (pp. xi - xxii; 11 pages)
  • Listen: select two musical tracks from Africa (1) a traditional song, using Global Jukebox or ; (2) a popular song from Awesome tapes from Africa
  • Write (2 critical paragraphs, just a couple of sentences for each question - but do think critically!). Submit on eClass:
    • What is Africa?
    • What is African music?
    • How does African music function as a "social technology", or how can it be modified to do so? (use your two selected tracks as examples)

Week 2

Tues, 15 Jan

Thurs, 17 Jan

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