Music M5337
World Music

Texas Tech University School of Music

Summer Session I 2002

About M5337 | Schedule | Reserves | The Journal | Listening List | Background Reading | Secondary Readings | Other Readings | Research Project

Meets 10:00-11:50 MTWRF in M121
Instructor: Dr. Christopher Smith
Office: Music 203
Office Hours: Posted and/or by arrangement
Office Phone: 742-2270 x249

About MUHL5337

Table of Contents

v      About the course

v      Course objectives

v      Coursework and grading

v      Course materials and expectations

v      Study together

v      Some words about listening

v      Medical and other issues affecting coursework

About the course

This course will introduce students to the wealth of vernacular musics created by the world's peoples. As the global village becomes smaller, the tremendous cultural diversity expressed in world musics reaches across geographic and linguistic boundaries. Music becomes a way for cultures to know and relate to one another. Thus, understanding music from a range of cultures helps students understand a range of cultural perspectives. As a result, this course is useful for students both inside and outside the formal discipline of music, including those majoring in arts & humanities, cultural and social sciences, economics, and international relations.

In this course, we will explore the rich traditions of musics from outside the Anglo-American pop mainstream, tracing their histories, influences, and modern permutations, and examining them on recordings, video, and in live performance. Looking at exemplary genres from a range of cultural and geographic areas, understanding these styles and others, we will expand our own musicianship, artistic sensitivity, and socio-cultural perspectives.

Our theme will be the complex combinations of social, historical, political, colonial, economic, biographical, and artistic factors which have shaped many different musics in many different contexts. We will focus on ideas and processes that shape musicís role in defining human societies.

This website is your guide to the semester. Here you will find a detailed description of the course objectives and notes on course requirements and expectations, with links to a complete course schedule, a list of books on reserve and in Reference , the listening list and background readings for the semester, and instructions on the journal and the presentation which are important parts of the course. This website and these links are also available in a handout, passed out on the first day of class.

Course objectives

  1. By the end of the semester, you should have a framework for looking at music as a cultural expression across boundaries of geography and chronology, and recognizing both the unique peculiarities and cross-cultural resonances which shape music on a global level.
  2. As part of the framework, you should be able to summarize the major traditions addressed in class, distinguish them from other musics, and show how specific musical solutions to various issues reflect specific cultural and musical contexts.
  3. As part of the "what," you will be expected throughout the term to be able to identify the works we study, primarily by ear, up to a reasonable level of proficiency, and to discriminate between the styles of music we concentrate on. You should also be able to identify composers, pieces, and other important names and terms we encounter, to summarize the careers of major musicians and ways in which those biographies reflect musical and cultural priorities, and to show a general knowledge of major events and trends in various musical traditions.
  4. As part of the why, you will be expected to be able to synopsize and critique writings by musicians, ethnomusicologists, and journalists about music.
  5. As part of the "how," you will be expected to be familiar with some basic tools for analyzing (i.e., taking apart and describing) pieces of music from these periods and traditions. To practice these tools, we will analyze some pieces in class and you will prepare some analyses for class discussion. However, because most of the world's traditions (both art music and "folk music" varieties) are taught by sophisticated aural methods--using the "ear" more than the "eye"--much of our analysis will be according to terminology and ways of hearing indigenous to the various musical cultures. The use of Western notation and terminology, which are alien to most of these musics, will be de-emphasized.

Finally, you should be able to take new facts and plug them into the framework you have learned, showing that you can apply a set of tools for understanding and comparing various world musics in your future work.

Coursework and grading

You will demonstrate your achievement of these goals in four principal ways: (1) class preparation and participation; (2) keeping a journal; (3) two examinations; and (4) preparing and presenting a conference-style paper on a topic of your own choosing. Your grade will be based 50% on the exams (25% each), 30% on day-to-day work, including class participation and your journal, and 20% on your group presentation. Separate handouts and linked websites provide more specific information on the journal and presentation.

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Course materials and expectations

There is no single textbook for this course, although we will employ as a reference (and thus ask you to purchase) the book World Music: The Rough Guide (Africa, Europe, and the Middle East). Our main "text" is the music itself, and we will always treat the music as our primary source. A secondary "text" is a series of readings, including musicians' and ethnomusicologists' writings, a good deal of primary source material (newspaper reviews, journals from various periods, and so on), and a few articles that will serve as starting points for discussion. Much of our insight will emerge in classroom listening and discussion sessions, so attendance will be especially important

Reading and listening assignments for each class session are listed in the course schedule. Readings are either in the Main Library's Reserves section (including their online "E-Reserve" service), in the Main Library stacks, or in the Music Listening Room (M250). Listening assignments are available on CDs in M250, and scores, translations, and other helpful materials are on reserve. Be sure to obtain the translation of any vocal work in a language other than English. If you cannot find something, ask!

You are expected to do these assignments before each class, listening to the assigned music, reading the readings, and writing about both in your journal. You should come to class prepared to answer and to ask questions about the readings and music for that day and to share what you have written about them in your journal. On occasion, this may include showing your journal entry to one or more of your classmates. Needless to say, you should do all assignments on time.

But come to class, even if you are unprepared. The core of this course is in what we do together in class. Missed work can always be made up; a missed class is gone forever. Because being in class is so important, attendance will be taken, and your grade will be affected if you miss class.

Study together

I strongly recommend that you study together. Talk with each other about issues raised in class or in the readings. Share hints about what to listen for in the music. Compare notes from class or the readings. Read each other's journals (but don't copy from someone else; do your own work, then compare). Are you getting the same main points out of an article or class session? If you don't understand something, ask a classmate to explain it to you. If you know something well, find someone who doesn't understand it and teach it to them; by the time you're done, you will either know it inside out or will realize that you don't know it as well as you thought (both common experiences among teachers!).

Remember, the goal is to learn the material. The more you share your knowledge with others, and the more you listen to what they have to say, the more you will learn. If you don't learn more from your classmates than you do from me, I will be very surprised.

Some words about listening

Much of your study time will be devoted to listening. Listen to each piece at least twice, perhaps before and again after it is treated in class. You are expected to listen to each piece and to write about it in your journal before the class in which it is discussed.

Listening cannot be hurried, so allow enough time for it. Ask yourself how the piece is put together, how it is like other pieces you know and how it is different, and how it fits into the traditions we are studying, and write your observations in your journal.

Remember that the music is more important than all the talk about it, even what is said in class. Try not to approach music you have never heard through the fog of what others (including myself) have said about it, for much of what is said and written about music can be misleading until you know the music itself. This is one reason for listening to the music before we discuss it in class.

However, many pieces will be unfamiliar, and you may not understand them without an explanation. Liner notes on the CDs are often helpful (though sometimes misleading). If a piece interests you, The New Grove Dictionary of Music and Musicians can be helpful, though a good deal of the most relevant material will be in books and articles on reserve.

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Medical and other issues affecting course work

If you have a diagnosed medical condition that affects your ability to perform standard college-level work such as papers and examinations, please inform the instructors of this situation as soon as possible. While privacy laws do not require you to inform the instructors of the specific nature of the medical condition, it is important that reasonable modifications of the work be made as soon as possible to meet these situations. You should present appropriate verification from Disabled Student Services in the Dean of Students Office.

Similarly, if an examination or assignment is scheduled on a religious holiday you observe, or conflicts with a School of Music ensemble engagement or a major professional obligation (such as an international competition), please inform Prof. Smith during the first two weeks of class so that reasonable accommodations can be made.

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About M5337 | Schedule | Reserves | The Journal | Listening List | Background Reading | Secondary Readings | Research Project

Last updated: Thursday, May 23, 2002

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