environment, sound, and world cultures. familiar notion ... · Readings: Erlmann, Veit. 1999. “Fantasies of Home: The Antinomies of Modernity and the Music of Ladysmith Black Mambazo”

SEMESTER AT SEA COURSE SYLLABUS

Colorado State University, Academic Partner

Voyage: Fall 2020

Discipline: Music

Course Number and Title: MU 132 Exploring World Music

Division: Lower

Faculty Name: Fugan Dineen

Semester Credit Hours: 3

Prerequisites: None

COURSE DESCRIPTION

From the CSU catalog: Global aspects of music and its meaning with connections to the

environment, sound, and world cultures.

Additional description:

Our intimate engagement with music, alongside its ubiquity in the world, supports the

familiar notion articulated by Henry Wadsworth Longfellow; “music is the universal language

of [hu]mankind” (in Outre-Mer, 1833). But it’s not so simple. While music, like language, is a

universal feature of human societies, specific musics (like languages) can be unintelligible

across cultures. And while music always has meaning, its meanings vary dramatically from

place to place.

In each port of call and region we visit, we will directly encounter the multiplicity of musical

lives that humans embody. Our explorations of these diverse music cultures—as

ethnomusicologists, ethnographers, and as music makers (no previous experience

required)—will focus on musical praxis, on the lives and experiences of artists and

audiences, and on music’s varied cultural and social meanings. The joy and intimacy of

musicking with others, and the deep connections it fosters, resides at the heart of our

journey. Over the course of the semester, we will discover how music cultures intertwine,

where they overlap, and in what ways they inform our understanding of music as a human

endeavor and, perhaps, as a human imperative.

LEARNING OBJECTIVES

Understand how music operates in culture, as culture, and across cultures

o Appreciate the varieties of perspectives people have about what “music” is

o Understand the diversity of purposes and meanings people give to musical

performance and consumption

Gain insight into music’s roles in identity formation on personal, interpersonal,

communal, national, and international levels

Learn the special attributes and sonic identifiers of the music cultures we encounter

in our ports of call

Appreciate the historic and political influences shaping individual music cultures

Develop listening and analytical skills for music through intimate engagements with

diverse forms and styles

Cultivate a toolkit for conducting musical fieldwork with hands-on explorations

Delve into transnational musical connections underlying our journey

Refine skills in critical reading, academic research, and scholarship

Develop or hone music making skills through in-class practicums.

REQUIRED TEXTBOOKS & SOFTWARE

There is not a required textbook for this class.

Students are required to have basic audio-editing software on their laptops prior to

departure. You may use a program you already own and to which you are accustomed, such

as GarageBand, Logic, Ableton, or Pro Tools. Or download a simple platform like Audacity,

which is a free and intuitive.

TOPICAL OUTLINE OF COURSE

Depart Hamburg, Germany – September 9

A1—September 11: Introduction—Music Culture

Questions:

What is music, musical form, and music culture? How will we approach the diversity of music

cultures we encounter on our journey? What does the centrality of the human voice to South

Indian music culture mean for rhythm? How do we embody our conceptual understanding of

this relationship?

Readings:

Nelson, David. 2008. “Introduction.” In Solkaṭṭu Manuel: An Introduction to the

Rhythm Language of South Indian Music, 1-13. Middletown: Wesleyan

University Press.

Titon, Jeff Todd. 2016. “The Music-Culture as a World of Music.” In Worlds of Music: An

Introduction to the Music of the world’s Peoples (6th ed.), 1-15. Ed. Jeff Todd Titon.

Cengage: Boston.

A2— September 13: Ethnomusicology, Ethnography, and Reflexive Scholarship in Morocco

Questions:

What is ethnomusicology and how do ethnomusicologists approach the diversity of

musical instruments, playing contexts, and meanings in the world? What are social,

historical, and musical characteristics of Gnawa music as described by Witulski? How

does he weave ethnography, reflexive scholarship, and musical analysis into his

account?

Readings:

Rice, Timothy. 2014. “Defining Ethnomusicology.” In Ethnomusicology: A Very Short

Introduction, 1-10. Oxford: Oxford University Press.

Witulski, Christopher. 2018. “One Minute in Meknes.” In The Gnawa Lions, 1-19.

Bloomington: Indiana University Press.

Additional Resources:

Witulski, Christopher. 2018. “Light Rhythms and Heavy Spirits.” In The Gnawa Lions, 94-

114. Bloomington: Indiana University Press.

Casablanca, Morocco – September 15-19

A3—September 20: “World Music”? Universals, Hybridity, and Authenticity

Questions:

Is music universal or non-universal (hint: yes!)? How can we interpret, evaluate, and

engage with diverse musical sounds and meanings?

Readings:

Weiss, Sarah. 2014. “Listening to the World but Hearing Ourselves: Hybridity and

Perceptions of Authenticity in World Music.” Ethnomusicology 58(3):506-25.


Nettl, Bruno. 2005. “The Universal Language: Universals of Music.” In The Study of

Ethnomusicology: Thirty-one Issues and Concepts, 42-49. New ed. Urbana; Chicago:

University of Illinois Press.

—————. 2005. “The Nonuniversal Language: Varieties of Music.” In The Study of

Ethnomusicology: Thirty-one Issues and Concepts, 50-59. New ed. Urbana; Chicago:

University of Illinois Press.

A4—September 22: An Introduction to Ewe Music—Listen to the Bell!

Questions:

What are the general characteristics of African music making described by Locke and

how does the example he offers support his claims? How can we productively

evaluate generalizations about the diversity of music cultures present on the

continent of Africa? What are the social, historical, and musical characteristics of

agbekor?

Readings:

Gilman, Lisa and John Fenn. 2019. “Defining Fieldwork.” In Handbook for Folklore and

Ethnomusicology Fieldwork, 7-22. Bloomington: Indiana University Press.

Locke, David. 2016. “3. Africa/Ewe, Mande, Dagbama, Shona, BaAka.” In Worlds of

Music: An Introduction to the Music of the World’s Peoples (6th edition), 99-

126. Ed. Jeff Todd Titon. Cengage: Boston.

A5—September 24: Metaphor, Time-Cognition, and Balance in African Drumming

Questions:

Are our senses culturally conditioned? How do we evaluate Guerts’ argument on

including balance as a sense among the Anlo-Ewe? Can we relate this to our

embodied experiences navigating 3:2 in the gankogui pattern?

Readings:

Geurts, Kathryn Linn. 2002. “Is There a Sixth Sense?” In Culture and the Senses, 3-20.

Berkley: University of California Press.


Zbikowski, Lawrence M. 1998. “Metaphor and Music Theory: Reflections from Cognitive

Science.” Music Theory Online: The Online Journal of the Society for Music Theory

4.1: 1–14.

A6—September 26: Ewe Music, Diversity, and Tradition

Questions:

What is a tradition? Where does it lie? Who is able, authorized, and sanctioned to convey a

tradition? And by whom? What can Pond’s experiences as a student of Ewe drumming teach

us as we negotiate ideas of tradition and authenticity? How does his writing work as

ethnographic/reflexive analysis?

Readings:

Pond, Steven F. 2014. “A Negotiated Tradition: Learning ‘Traditional’ Ewe Drumming.” Black

Music Research Journal 34(2):169-200.

Takoradi, Ghana — September 27-28

Tema, Ghana — September 29-October 1

A7—October 3: Race, (Embodied) Voices, and Choral Music—Colonial Models and Post-

Apartheid South Africa

Questions:

How is ethnicity sounded? What analytical tools can researchers call on to describe timbre

and situate it in discussions of race, culture, and social history? In what contexts did

analysis of the “black” voice develop and how do those historical formations play out in

contemporary discourse on South African choral music?

Readings:

Olwage, Grant. 2004. “The Class and Colour of Tone: An Essay on the Social History of Vocal

Timbre.” Ethnomusicology Forum 13(2):203-26.


Meintjes, Louise. 2004. “Shoot the Sergeant, Shatter the Mountain: The Production of

Masculinity in Zulu Ngoma Song and Dance in Post-Apartheid South Africa.”

Ethnomusicology Forum 13(2):173-201.

Community Programming — October 4 (No Class)

A8—October 6: Isicathamiya—Sounds and Symbols in South African Vocal Music

Questions:

What are the historical circumstances and current practices of isicathamiya? How do these

intertwine with ideas of purity, authenticity, and tradition in South Africa and more broadly?

What roles did the recording industry have in the development of the style? How did/does

isicathamiya push back against the politics and structures of oppression?

Readings:

Erlmann, Veit. 1999. “Fantasies of Home: The Antinomies of Modernity and the Music of

Ladysmith Black Mambazo” In Music, Modernity, and the Global Imagination: South

Africa and the West, 199-213. New York: Oxford University Press.


Erlmann, Veit. 1999. “Symbols of Inclusion and Exclusion: Nationalism, Colonial

Consciousness, and the ‘Great Hymn’.” In Music, Modernity, and the Global

Imagination: South Africa and the West, 111-32. New York: Oxford University Press.

A9—October 8: Bring the Noise—South African Hip Hop

Questions:

How did colonial consciousness and racial politics influence the development of hip

hop as a vibrant form of musical expression in South Africa? What are the

contemporary contours of South African hip hop? How do hip hop artists articulate

identity, modernity, and resistance in South Africa?

Readings:

Watkins, Lee. 2012. “A Genre Coming of Age: Transformation, Difference, and Authenticity in

the Rap Music and Hip Hop Culture of South Africa.” In Hip Hop Africa, 57-76. Ed.

Eric Charry. Bloomington: Indiana University Press.


Hammett, Daniel. 2012. “Reworking and resisting globalising influences: Cape Town hip-

hop.” GeoJournal 77(3):417-428.

Cape Town, South Africa — October 9-14

A10—October 16: Diaspora, Musical Movements, Island Nations

Questions:

How have technologies and evolving media for musical consumption affected na’t

recitation? What connections do we see between Mauritian Muslims and the larger

South Asian sphere played out in devotional performance? What aesthetic features

of na’t performance are especially evocative (or here, “touching”) to listeners? How

are these amplified through technologies?

Readings

Eisenlohr, Patrick. 2018. “Sounding Islam.” In Sounding Islam: Voice, Media, and Sonic

Atmospheres in an Indian Ocean World, 1-20. Oakland: University of California Press.

—————. 2018. “Devotional Islam and Sound Reproduction.” In Sounding Islam: Voice,

Media, and Sonic Atmospheres in an Indian Ocean World, 21-37. Oakland: University

of California Press.

Due: Field Assignment

A11—October 18: Tourism, Heritage, and Identity in Mauritius

Questions:

How can tourism impact authenticity and the performance of music and culture?

What specific issues are ignited as a result of state interventions in Mauritius? What

are some of the broader implications of Boswell’s study?

Readings:

Boswell, Rosabelle. 2005. “Heritage Tourism and Identity in the Mauritian Villages of

Chamarel and Le Morne.” Journal of Southern African Studies 31(2):283-95.

A12—October 20: Diaspora, Musical Movements, Island Nations

Questions:

How can Myers and Pandey’s analysis of Indian diasporic communities allow us to rethink

identity, nation, and belonging? Where does music fit into their framing? How do Myers and

Pandey’s observations on diasporic Indian communities and their diverse trajectories fit into

our narrative on Mauritius?

Readings:

Myers, Helen Priscilla, and Umesh Chandra Pandey. 2019. “The Island Diaspora.” In

Storytime in India: Wedding Songs, Victorian Tales, and the Ethnographic Experience,

147-53. Bloomington: Indiana University Press.

Port Louis, Mauritius — October 22-24

A13—October 25: Indian Musics

Questions:

What does Reck suggest about Indian music/history by invoking Nehru’s palimpsest

analogy? While the long history outlined by Reck can inform our understanding of

contemporary Indian musics, what qualifications should we infer from our previous

readings on tradition, authenticity, and histories?

Readings:

Reck, David. 2016. “Asia/India.” In Worlds of Music: An Introduction to the Music of

the World’s Peoples 6th edition, 293-310. Ed. Jeff Todd Titon. Cengage:

Boston.

A14—October 27: Bharatanatyam and Identity: The Devadāsī Heritage

Questions:

How does Knight’s description of T. Balasaraswati’s heritage fit in with Allen’s critique of

colonial, nationalist, and postcolonial reforms of South Indian dance? What specific changes

in the dance legacy does Allen note? How did these changes impact the hereditary families

of dancers and musicians like the one described by Knight?

Readings:

Allen, Matthew H. 1997. “Rewriting the Script for South Indian Dance.” The Drama Review

41(3):63–100.

Knight, Douglas M. 2010. “From the Heart of the Tradition.” In Balasaraswati: Her Art

& Life, 1-16. Middletown: Wesleyan University Press.

Community Programming — October 28 (No Class)

A15—October 30: An Historic View on Devadāsī Culture

Questions:

How does Orr use historical textual analysis and iconography to deepen our

understanding of the devadāsī as a historical figure? What does her history tell us

about colonial narratives on the devadāsī and recent re-imaginings of the devadāsī in

contemporary scholarship?

Readings:

Orr, Leslie C. 2000. Donors, Devotees, and Daughters of God: Temple Women in Medieval

Tamilnadu. New York: Oxford University Press. [3-17, 172-80]

Mumbai, India — November 1-6

Reflection Day — November 7 (No Class)

A16—November 7: Globalization, Glocalization, and Modernity in Southeast Asia

Questions:

While global communications, multi-nationals, neoliberalism, and hegemonic

state/corporate interests have deeply influenced artistic production around the

world, the long-feared cultural grey-out from globalization never quite materialized.

How have the local and global been productively negotiated by artists in Island

Southeast Asia? What is glocalization? And, more specifically, what do Lysloff’s case

studies tell us about the roles and malleability of “tradition”?

Readings:

Lysloff, René T. A. 2016. “Worlding Music in Jogjakarta: Tales of the Global Postmodern.”

Ethnomusicology 60(3):484-507.

A17—November 9: Harnessing the Global in Malaysia

Questions:

How do the subjects of Beng’s study align with/diverge from those of Lysloff’s in their

approaches to negotiating global influences? What do you think accounts for the

differences? Does the orang asli’s productive use of “world music” challenge

narratives on power relations? If so, how?

Readings:

Beng, Tan Sooi. 2014. “Modernizing Songs of the Forest: Indigenous Communities Negotiate

Tensions of Change in Malaysia.” In Sonic Modernities in the Malay World, 353-70.

Ed. Bart Barendregt. Leiden; Boston: Brill.

Reflection & Study Day — November 11 (No Class)

A18—November 12: Film Music and National Identity

Questions:

What are the different types and meanings of film music noted by Slobin? How does

Johan’s reading of P. Ramlee’s films fit into Slobin’s taxonomy of film music on the

world stage? How does the transnational nature of the Malaysian film industry reflect

culture-making in Island Southeast Asia? How does reflexivity support Johan’s

scholarship?

Readings:

Johan, Adil. 2018. “Preface.” In Cosmopolitan Intimacies, xvii-xxviii. Singapore: NUS

Press.

Slobin, Mark ed. 2008. “Preview of Coming Attractions.” In Global Soundtracks: Worlds of

Film Music, vii-xxiii. Middletown, Wesleyan University Press.

A19—November 14: Remakes and Nation-making

Questions:

How is “tradition” defined in the Malaysian context discussed by Johan? How do hybridity

and modernity play out in film music? How does Johan use the concept of “indiepretation” in

his discussion of ethnonationalism, nostalgia, and the reimagining of identities through film

music and its interpretations?

Readings:

Johan, Adil. 2018. “Indiepretations of Zubir Said and P. Ramlee.” In Cosmopolitan

Intimacies, 227-72. Singapore: NUS Press.

Due: Field Class Essay

Port Klang/Kuala Lumpur, Malaysia — November 15-19

A20—November 21: Rebuilding Traditional Musics in Southern Vietnam

Questions:

How does Cannon frame the challenges to “traditional” musics in South Vietnam? How do

traditional and national musics relate in Vietnam? What are the factors granting authority to

a teacher of traditional music? What problems emerge from this context?

Readings:

Cannon, Alexander M. 2013. “When Charisma Sustains Tradition: Deploying Musical

Competence in Southern Vietnam.” Ethnomusicology 57(1):88-115.

Ho Chi Minh City, Vietnam — November 22-27

A21—November 29: Taiko

Questions:

What is the history and sources of taiko? How does it function as a contemporary genre? As

a “traditional” genre? How is nostalgia (furustao) deployed by taiko groups? What human

and civil rights issues come into play with taiko drumming?

Readings:

Bender, Shawn Morgan. 2012. “Introduction” and “Taiko Drums and Taiko Drum Makers.” In

Taiko Boom: Japanese Drumming in Place and Motion, 1-47. Berkley: University of

California Press.

A22—December 1: Gender and Representation in Taiko Drumming

Questions:

How are gender roles constructed and enforced in a contemporary performance

practice like taiko? What are the boundaries and how are they pushed and/or held?

What constitutes “authenticity” in Japanese taiko? And how is that transformed in

diaspora?

Readings:

Bender, Shawn Morgan. 2012. “Woman Unbound? Body and Gender in Japanese Taiko.” In

Taiko Boom: Japanese Drumming in Place and Motion, 142-69. Berkeley: University

of California Press.

Tsuda, Takeyuki. 2016. "Performative Authenticity and Fragmented Empowerment through

Taiko." In Japanese American Ethnicity: In Search of Heritage and Homeland Across

Generations, 225-49. New York: NYU Press.

A23—December 3: Race, Gender, and Taiko

Questions:

How does orientalism appear in Wong’s reading of “Rising Sun”? How is American

taiko perceived by white audiences? How does racism play out in Wong’s telling?

What are the features of American taiko that contrast with Japanese models? What

do you suspect is behind such a divergence in form and practice?

Readings:

Wong, Deborah. 2000. “Taiko and the Asian/American Body: Drums, ‘Rising Sun,’ and the

Question of Gender.” The World of Music 42(3):67-78.

Due: Field Assignment

Kobe, Japan — December 5-9

A24—December 10: Reinventing Tradition in Korea

Questions:

What were the historic and social conditions under which Korean itinerant performance

troupes (namsadang) emerged and developed? What challenges does Hesseling describe

for the newly emerging genre of samul nori?

Readings:

Hesselink, Nathan. 2012. “The Namsadang: Itinerant Troupe Performance Culture and the

Roots of SamulNori.” In SamulNori: Contemporary Korean Drumming and the Rebirth

of Itinerant Performance Culture, 1-37. Chicago: University of Chicago Press.


Hesselink, Nathan. 2004. “Samul nori as Traditional: Preservation and Innovation in a South

Korean Contemporary Percussion Genre.” Ethnomusicology 48(3):405-439.

Busan, South Korea — December 12-16

Study Day — December 17 (No Class)

A25—December 18:

Due: Final Presentations

Arrive Yokohama, Japan— December 22

FIELD WORK

Semester at Sea® field experiences allow for an unparalleled opportunity to compare,

contrast, and synthesize the different cultures and countries encountered over the course of

the voyage. In addition to the one field class, students will complete independent field

assignments that span multiple countries.

Field Class & Assignment

[Field Class proposals listed below are not finalized. Confirmed ports, dates, and times will

be posted to the Fall 2020 Courses and Field Class page when available.]

Field Class attendance is mandatory for all students enrolled in this course. Do not book

individual travel plans or a Semester at Sea sponsored trip on the day of your field class.

Field Classes constitute at least 20% of the contact hours for each course, and are

developed and led by the instructor.

Proposal Title #1: Movement, Gesture, Voice, and His(her)story in Bharatanatyam

Country: India

Idea:

Bharatanatyam can be loosely translated as “India’s Dance.” It is a prized and highly-

refined style studied and performed throughout India and the Indian diaspora.

Bharatanatyam is also taught widely at institutes, colleges, and universities in North

America and Europe and has claimed a place alongside other global dance forms.

The music, costuming, movements, and performance modes of bharatanatyam—

along with the narratives told by dancers, dance scholars, in film, and in the media—

emphasize a certain take on Indian-ness, one rooted in notions of “tradition.”

However, the elevated cultural location of bharatanatyam is relatively new. As the

country moved towards independence in the early 20th century, a dramatic

reinvention took place in the arts. A dance form previously practiced by hereditary

communities of low-caste artists—matrifocal and matrilineal communities whose

dancers were known as devadāsī-s and in which wealth and land were passed from

mothers to daughters—was reimagined as a national form. The social practices of the

hereditary communities were (literally) outlawed, devadāsī-s were replaced by high

caste dancers, and the style was recreated through nationalist and orientalist lenses.

The name “bharatanatyam” itself was a renaming of the former style, known as sadir,

with an eye towards refinement and elevation.

Objectives:

In this field class, we will explore the living reality of bharatanatyam as an embodied

form. Students will participate in workshops on dance music, the gestural vocabulary

used by dancers, and the pure movement of the dance. They will interact with

professional dancers and dance students, and gain insight into their lives and views

on the arts. We will also critically examine the history and narratives around the

dance, unpacking the character of the devadāsī and her demise, as well as her

reinventions in film and popular culture.

Activities:

Lecture/demonstration: Students will be guided through an introduction to the

form by an established practitioner, including a question and answer session

Workshops: Participate in two workshops

o Gesture (mudra), storytelling (abhinaya), and pure dance (nrṭṭa)

o The music of bharatanatyam with a focus on the art of reciting dance

steps (naṭṭuvangam)

Performance: Attend a bharatanatyam performance in a temple or concert hall

Q & A: Participate in a discussion of the performance with the dancers/musicians

Meal: Enjoy a traditional Indian meal

Evaluation:

During the field class, you will be engaging with a vibrant music and dance culture

through embodied and experiential learning modes. You will also be acting as

ethnographers and participant-observers as well as music scholars. In those many

roles, you will be gaining information, accessing new perspectives and ways of

knowing, letting go of preconceptions, and gathering resources. This data will inform

your written analysis, which takes the form of a 1250-word academic reflection

essay. The essay will draw on your field notes and observations, on recordings and

remembrances, and on post-field class reflections and processing. It will integrate

texts we have studied and will incorporate course themes such as tradition and

transformation, the cultural meanings of music and the arts, and the effects of

colonialism and postcolonial narratives on the arts. A detailed rubric for the

assignment will be distributed in class.

Proposal Title #2: Performing Culture through Ghanaian Drum and Dance

Country: Ghana

Idea:

Music and dance are integral components to Ghanaian social life. Traditional forms,

such as agbekor, are often deeply integrated into Ewe social life. The meanings of

these dances go well beyond the sounds, movements, and texts that are sung. They

are embodied performances of history, culture, and identity. And these genres act as

places/spaces where community is formed and supported (often through mutual aid

societies that promote local music and dance).

Objectives:

In this field class, we will explore Ewe music culture as participant-observers. We will

learn about the instruments and playing techniques of agbekor (or a related form)

from Ghanaian musicians and dance movements from Ghanaian dancers. This

learning will be experiential—you will drum and dance. And it will be intellectual, you

will have ample opportunity to engage in dialogue with artists and community

members.

Activities:

Lecture/Demonstration: Attend a lecture on Ewe music culture by a local

authority with time for Q & A

Workshops: Participate in a series of workshops on Ewe drumming, dance, and

song

Meal: Prepare a traditional meal using local ingredients and techniques

Informal discussion: Enjoy an informal meal where you can converse and share

with local artists

Performance: Attend a local performance

Evaluation:

During the field class, you will be engaging with a vibrant music culture through

embodied and experiential learning modes. You will also be acting as ethnographers

and participant-observers as well as music scholars. In those many roles, you will be

gaining information, accessing new perspectives and ways of knowing, letting go of

preconceptions, and gathering resources. This data will inform your written analysis,

which takes the form of a 1250-word academic reflection essay. The essay will draw

on your field notes and observations, on recordings and remembrances, and on post-

field class reflections and processing. It will integrate texts we have studied and will

tie in course themes such as tradition and transformation, the cultural meanings of

music and the arts, and the intimate relation of social structures, social health, and

music. A detailed rubric for the assignment will be distributed in class.

Independent Field Assignments

Our exploration of music cultures is grounded in “the field”: the physical, cultural, and

cognitive spaces we encounter in our journey. It is an experiential plane where our

understandings and ideas come into contact with reality. This reality is lived by the

people we encounter and is lived in the encounter itself. We are also part of the

field—while we are in-country and in our attempts to frame, analyze, and share the

field with others.

You have two field assignments in this course: (1) a 750-word essay (plus

audio/visual examples) documenting how a course theme plays out in a particular

region of our voyage and (2) an oral presentation focused on a different class theme

in another region. Both provide opportunities for you to explore an issue across

multiple sites (2 to 3 ports of call), to develop and share your analysis, and to

synthesize your individual experiences into broader narratives on music and culture.

These field assignments are based on fieldnotes, recordings, and observations and

will be grounded in the academic literature and the language of ethnomusicology.

The essay will follow academic writing norms and provide an opportunity for you to

hone your writing skills. The presentation can be read (conference style) or follow a

less-academic format: i.e., sung, rapped, acted, danced or some combination of text,

music, and movement. A detailed rubric for these assignments will be distributed in

class.

METHODS OF EVALUATION

Final Presentation: 25%

A collaborative group project will be presented in-class and be accompanied by a

written artists’ statement (1500 words). This collaborative effort provides an

opportunity to share your field research, insights, and analysis of a particular issue

relevant to our class in a creative format. The projects, which will tie together multiple

regions and experiences, will include a combination of text, sound, images, and

performance (dramatic, musical, etc.). A detailed rubric for this assignment will be

distributed in class.

Field Assignments: 25%

One essay and one oral presentation based on your field experiences in two different

regions (detailed above) will be completed over the course of the semester. Each is

worth 12.5% of your grade.

Field Class: 25%

Attendance, participation, and the assignments generated by your field class account

for 25% of your grade (see above). The field class is an opportunity to directly

experience a sound and music culture different from your own, gain intimate

knowledge of how locals hear and sound their world, and to integrate that experience

into your larger understanding of music and sound as culture and what that means in

the context of your own journey.

In-Class Assignments, Submissions, Written Responses: 15%

In class, we will engage the course materials through a variety of modalities,

including written and oral responses to readings, journaling, group activities and

assignments, and by submitting prepared questions. In combination, these efforts

comprise 15% of your grade.

Engagement/Attendance: 10%

Class attendance is mandatory (5%) as your active involvement (5%) counts for a

significant portion of your grade. Unexcused absences will lower the attendance

portion of your grade according to a simple percentage. Tardiness will also be figured

into your grade. Valid absences—cleared with the instructor—will not count against

you.

GRADING SCALE

The following Grading Scale is utilized for student evaluation. Pass/Fail is not an option for

Semester at Sea® coursework. Note that C-, D+ and D- grades are also not assigned on

Semester at Sea® in accordance with the grading system at Colorado State University (the

SAS partner institution).

Pluses and minuses are awarded as follows on a 100% scale:

Excellent Good Satisfactory/Poor Failing

97-100%: A+

93-96%: A

90-92%: A-

87-89%: B+

83-86%: B

80-82%: B-

77-79%: C+

70-76%: C

60-69%: D

Less than 60%: F

ATTENDANCE/ENGAGEMENT IN THE ACADEMIC PROGRAM

Attendance in all Semester at Sea® classes, including the Field Class, is mandatory.

Students must inform their instructors prior to any unanticipated absence and take the

initiative to make up missed work in a timely fashion. Instructors must make reasonable

efforts to enable students to make up work which must be accomplished under the

instructor’s supervision (e.g., examinations, laboratories). In the event of a conflict in regard

to this policy, individuals may appeal using established CSU procedures.

LEARNING ACCOMMODATIONS

Semester at Sea® provides academic accommodations for students with diagnosed learning

disabilities, in accordance with ADA guidelines. Students who will need accommodations in a

class, should contact ISE to discuss their individual needs. Any accommodation must be

discussed in a timely manner prior to implementation.

A letter from students’ home institutions verifying the accommodations received on their

home campuses (dated within the last three years) is required before any accommodation is

provided on the ship. Students must submit verification of accommodations to

[email protected] as soon as possible, but no later than two months prior to the

voyage. More details can be found within the Course Registration Packet, as posted to the

Courses and Field Classes page no later than one month prior to registration.

STUDENT CONDUCT CODE

The foundation of a university is truth and knowledge, each of which relies in a fundamental

manner upon academic integrity and is diminished significantly by academic misconduct.

Academic integrity is conceptualized as doing and taking credit for one’s own work. A

pervasive attitude promoting academic integrity enhances the sense of community and adds

value to the educational process. All within the University are affected by the cooperative

commitment to academic integrity. All Semester at Sea® courses adhere to this Academic

Integrity Policy and Student Conduct Code.

Depending on the nature of the assignment or exam, the faculty member may require a

written declaration of the following honor pledge: “I have not given, received, or used any

unauthorized assistance on this exam/assignment.”

RESERVE BOOKS FOR THE LIBRARY

AUTHOR: Titon, Jeff Todd

TITLE: Worlds of Music

PUBLISHER:

ISBN: ISBN: 1-33710149-4 (pbk.)

DATE/EDITION: 6th

AUTHOR: Nettl, Bruno

TITLE: Excursions in World Music

PUBLISHER:

ISBN: LCCN: 2016-26536

DATE/EDITION:

mailto:[email protected]

https://www.semesteratsea.org/voyages/fall-2020/courses/

AUTHOR: Gokulsing, K.

TITLE: Indian Popular Cinema: A narrative of Cultural Change

PUBLISHER:

ISBN: ISBN: 1-85856-329-1

DATE/EDITION:

FILMS

TITLE OF FILM: Kodo: The Drummers of Japan

DISTRIBUTOR: Image Entertainment

TITLE OF FILM: Bala. (a documentary film on T. Balasaraswati by Satyajit Ray 1976)

DISTRIBUTOR: National Center for the Performing Arts, Government of Tamil Nadu

TITLE OF FILM: This is a Music!: Reclaiming an Untouchable Drum.

DISTRIBUTOR: Z. Sherinian

TITLE OF FILM: Edward Said on Orientalism

DISTRIBUTOR: Media Education Foundation

TITLE OF FILM: Cashing in on Culture: Indigenous Communities and Tourism

DISTRIBUTOR: Regina Harrison

TITLE OF FILM: Nelson Mandela the life and times

DISTRIBUTOR: CBC Television Production

TITLE OF FILM: Monsoon Wedding

DISTRIBUTOR: USA Films

TITLE OF FILM: Mandela: Long Walk to Freedom

DISTRIBUTOR: dir. Justin Chadwick

TITLE OF FILM: Atumpan, the talking drums of Ghana

DISTRIBUTOR: Mantle Hood

TITLE OF FILM: Dreaming in Morocco

DISTRIBUTOR: Café Aziza

TITLE OF FILM: Born into Brothels

DISTRIBUTOR: Red Light Films

ELECTRONIC COURSE MATERIALS

AUTHOR: Allen, Matthew

ARTICLE/CHAPTER TITLE: Rewriting the Script for South Indian Dance

JOURNAL/BOOK TITLE: The Drama Review

VOLUME: 41(3)

DATE: 1997

PAGES: 63-100

AUTHOR: Bender, Shawn Morgan

ARTICLE/CHAPTER TITLE: Introduction.

JOURNAL/BOOK TITLE: Taiko Boom: Japanese Drumming in Place and Motion

VOLUME:

DATE: 2012

PAGES: 1-22


ARTICLE/CHAPTER TITLE: Taiko Drums and Taiko Drum Makers.


VOLUME:

DATE: 2012

PAGES: 22-47


ARTICLE/CHAPTER TITLE: Woman Unbound? Body and Gender in Japanese Taiko


VOLUME:

DATE: 2012

PAGES: 142-169

AUTHOR: Beng, Tan Sooi

ARTICLE/CHAPTER TITLE: Chapter 12. Modernizing Songs of the Forest: Indigenous

Communities Negotiate Tensions of Change in Malaysia

JOURNAL/BOOK TITLE: Sonic Modernities in the Malay World, Ed. Bart Barendregt

VOLUME:

DATE: 2014

PAGES: 353-370

AUTHOR: Boswell, Rosabelle

ARTICLE/CHAPTER TITLE: Heritage Tourism and Identity in the Mauritian Villages of

Chamarel and Le Morne

JOURNAL/BOOK TITLE: Journal of Southern African Studies

VOLUME: 31(2)

DATE: 2005

PAGES: 283-295

AUTHOR: Cannon, Alexander M.

ARTICLE/CHAPTER TITLE: When Charisma Sustains Tradition: Deploying Musical

Competence in Southern Vietnam

JOURNAL/BOOK TITLE: Ethnomusicology

VOLUME: 57(1)

DATE: 2013

PAGES: 88-115

AUTHOR: Eisenlohr, Patrick

ARTICLE/CHAPTER TITLE: Chapter 1. Sounding Islam

JOURNAL/BOOK TITLE: Sounding Islam: Voice, Media, and Sonic Atmospheres in an Indian

Ocean World

VOLUME:

DATE: 2018

PAGES: 1-20

AUTHOR: Eisenlohr, Patrick

ARTICLE/CHAPTER TITLE: Notes

JOURNAL/BOOK TITLE: Sounding Islam: Voice, Media, and Sonic Atmospheres in an Indian

Ocean World

VOLUME:

DATE: 2018

PAGES: 135-144

AUTHOR: Erlmann, Veit

ARTICLE/CHAPTER TITLE: But What of the Ethnographic Ear? Anthropology, Sound, and the

Senses

JOURNAL/BOOK TITLE: Hearing Cultures: Essays on Sound, Listening, and Modernity

VOLUME:

DATE: 2005

PAGES: 1-20


ARTICLE/CHAPTER TITLE: Symbols of Inclusion and Exclusion: Nationalism, Colonial

Consciousness, and the “Great Hymn”

JOURNAL/BOOK TITLE: Music, Modernity, and the Global Imagination: South Africa and the

West

VOLUME:

DATE: 1999

PAGES: 111-132


ARTICLE/CHAPTER TITLE: Fantasies of Home: The Antinomies of Modernity and the Music of

Ladysmith Black Mambazo

JOURNAL/BOOK TITLE: Music, Modernity, and the Global Imagination: South Africa and the

West

VOLUME:

DATE: 1999

PAGES: 199-213

AUTHOR: Geurts, Kathryn Linn

ARTICLE/CHAPTER TITLE: Is There a Sixth Sense?

JOURNAL/BOOK TITLE: Culture and the Senses

VOLUME:

DATE: 2002

PAGES: 3-20

AUTHOR: Gilman, Lisa and John Fenn

ARTICLE/CHAPTER TITLE: Defining Fieldwork

JOURNAL/BOOK TITLE: Handbook for Folklore and Ethnomusicology Fieldwork

VOLUME:

DATE: 2019

PAGES: 7-22

AUTHOR: Hammett, Daniel

ARTICLE/CHAPTER TITLE: Reworking and Resisting Globalising Influences: Cape Town Hip

Hop

JOURNAL/BOOK TITLE: GeoJournal

VOLUME: 77(3)

DATE: 2012

PAGES: 417-428

AUTHOR: Harris, Rachel

ARTICLE/CHAPTER TITLE: The New Battleground: Song-and-dance in China’s Muslim

Borderlands

JOURNAL/BOOK TITLE: The World of Music

VOLUME: 6(2)

DATE: 2017

PAGES: 35-55

AUTHOR: Hesselink, Nathan

ARTICLE/CHAPTER TITLE: Samul nori as Traditional: Preservation and Innovation in a South

Korean Contemporary Percussion Genre


VOLUME: 48(3)

DATE: 2004

PAGES: 405-439


ARTICLE/CHAPTER TITLE: Introduction: Popko ch’angshin (Preserve the Old While Creating

the New): The Challenges of Tradition

JOURNAL/BOOK TITLE: SamulNori: Contemporary Korean Drumming and the Rebirth of

Itinerant Performance Culture

VOLUME:

DATE: 2012

PAGES: 1-16


ARTICLE/CHAPTER TITLE: Chapter 1. The Namsadang: Itinerant Troupe Performance Culture

and the Roots of SamulNori

JOURNAL/BOOK TITLE: SamulNori: Contemporary Korean Drumming and the Rebirth of

Itinerant Performance Culture

VOLUME:

DATE: 2012

PAGES: 17-38

AUTHOR: Johan, Adil

ARTICLE/CHAPTER TITLE: Chapter 6. Indiepretations of Zubir Said and P. Ramlee

JOURNAL/BOOK TITLE: Cosmopolitan Intimacies

VOLUME:

DATE: 2018

PAGES: 221-272

AUTHOR: Johan, Adil

ARTICLE/CHAPTER TITLE: Preface

JOURNAL/BOOK TITLE: Cosmopolitan Intimacies

VOLUME:

DATE: 2018

PAGES: xvii-xxviii

AUTHOR: Knight, Douglas

ARTICLE/CHAPTER TITLE: Chapter 1. From the Heart of the Tradition

JOURNAL/BOOK TITLE: Balasaraswati: Her Art & Life

VOLUME:

DATE: 2010

PAGES: 1-16

AUTHOR: Lau, Fredrick

ARTICLE/CHAPTER TITLE: Chapter 1. Music of the People

JOURNAL/BOOK TITLE: Music in China: Experiencing Music, Expressing Culture

VOLUME:

DATE: 2008

PAGES: 1-29

AUTHOR: Lau, Fredrick

ARTICLE/CHAPTER TITLE: Chapter 2. Constructing National Music

JOURNAL/BOOK TITLE: Music in China: Experiencing Music, Expressing Culture

VOLUME:

DATE: 2008

PAGES: 30-58

AUTHOR: Locke, David

ARTICLE/CHAPTER TITLE: Chapter 3. Africa/Ewe, Mande, Dagbama, Shona, BaAka

JOURNAL/BOOK TITLE: Worlds of Music: An Introduction to the Music of the World’s Peoples

(6th ed.). Ed. Jeff Todd Titon

VOLUME:

DATE: 2016

PAGES: 99-174

AUTHOR: Lysloff, René

ARTICLE/CHAPTER TITLE: Worlding Music in Jogjakarta: Tales of the Global Postmodern


VOLUME: 60(3)

DATE: 2016

PAGES: 484-507

AUTHOR: Meintjes, Louise

ARTICLE/CHAPTER TITLE: Cut 1. Mbaqanga

JOURNAL/BOOK TITLE: Sound of Africa! Making music Zulu in a South African studio

VOLUME:

DATE: 2003

PAGES: 19-70


ARTICLE/CHAPTER TITLE: Notes & Glossary

JOURNAL/BOOK TITLE: Sound of Africa! Making music Zulu in a South African studio

VOLUME:

DATE: 2003

PAGES: 267-296


ARTICLE/CHAPTER TITLE: Shoot the Sergeant, Shatter the Mountain: The Production of

Masculinity in Zulu Ngoma

JOURNAL/BOOK TITLE: Ethnomusicology Forum

VOLUME: 13(2)

DATE: 2004

PAGES: 173-201

AUTHOR: Myers, Helen Priscilla and Umesh Chandra Pandey

ARTICLE/CHAPTER TITLE: Twenty-Five. The Island diaspora: My Introduction to Indian Culture

from far Away

JOURNAL/BOOK TITLE: Storytime in India: Wedding Songs, Victorian Tales, and the

Ethnographic Experience

VOLUME:

DATE: 2019

PAGES: 147-153

AUTHOR: Nelson, David P.

ARTICLE/CHAPTER TITLE: Introduction

JOURNAL/BOOK TITLE: Solkattu Manual: An Introduction to the Rhythmic Language of South

Indian Music

VOLUME:

DATE: 2008

PAGES: 1-13


ARTICLE/CHAPTER TITLE: Chapter 4. The Universal Language: Universals of Music

JOURNAL/BOOK TITLE: The Study of Ethnomusicology: Thirty-one Issues and Concepts

VOLUME:

DATE: 2005

PAGES: 42-49


ARTICLE/CHAPTER TITLE: Chapter 5. The Nonuniversal Language: Varieties of Music

JOURNAL/BOOK TITLE: The Study of Ethnomusicology: Thirty-one Issues and Concepts

VOLUME:

DATE: 2005

PAGES: 50-59

AUTHOR: Olwage, Grant

ARTICLE/CHAPTER TITLE: The Class and Colour of Tone: An Essay on the Social History of

Vocal Timbre

JOURNAL/BOOK TITLE: Ethnomusicology Forum

VOLUME: 13(2)

DATE: 2004

PAGES: 203-226

AUTHOR: Orr, Leslie C.

ARTICLE/CHAPTER TITLE: Devadasis and Dancing Girls

JOURNAL/BOOK TITLE: Donors, Devotees, and Daughters of God: Temple Women in

Medieval Tamilnadu

VOLUME:

DATE: 2000

PAGES: 3-17


ARTICLE/CHAPTER TITLE: From the Chola Period Temple Women to the Twentieth Century

Devadāsī


Medieval Tamilnadu

VOLUME:

DATE: 2000

PAGES: 172-180


ARTICLE/CHAPTER TITLE: Notes


Medieval Tamilnadu

VOLUME:

DATE: 2000

PAGES: 193-98; 260-61

AUTHOR: Pond, Steven

ARTICLE/CHAPTER TITLE: A Negotiated Tradition: Learning “Traditional” Ewe Drumming

JOURNAL/BOOK TITLE: Black Music Research Journal

VOLUME: 34(2)

DATE: 2014

PAGES: 169-200

AUTHOR: Qian, Lijuan

ARTICLE/CHAPTER TITLE: Which Identity Matter? Competing Ethnicities in Chinese TV Music

Contests

JOURNAL/BOOK TITLE: The Worlds of Music

VOLUME: 6(2)

DATE: 2017

PAGES: 57-82

AUTHOR: Reck, David

ARTICLE/CHAPTER TITLE: Chapter 6. Asia/India



VOLUME:

DATE: 2016

PAGES: 293-330

AUTHOR: Rice, Timothy

ARTICLE/CHAPTER TITLE: Chapter 1: Defining Ethnomusicology

JOURNAL/BOOK TITLE: Ethnomusicology: A Very Short Introduction

VOLUME:

DATE: 2014

PAGES: 1-10

AUTHOR: Sherinian, Zoe C.

ARTICLE/CHAPTER TITLE: This is a Music! Reclaiming and Untouchable Drum

JOURNAL/BOOK TITLE: (DVD)

VOLUME:

DATE: 2011

PAGES: DVD

AUTHOR: Sherinian, Zoe C.

ARTICLE/CHAPTER TITLE: How Can the Subaltern Speak?

JOURNAL/BOOK TITLE: Tamil Folk Music as Dalit Liberation Theology

VOLUME:

DATE: 2014

PAGES: 36-61

AUTHOR: Slobin, Mark

ARTICLE/CHAPTER TITLE: Preview of Coming Attractions

JOURNAL/BOOK TITLE: Global Soundtracks: Worlds of Film Music

VOLUME:

DATE: 2008

PAGES: vii-xxiii

AUTHOR: Titon, Jeff Todd

ARTICLE/CHAPTER TITLE: Chapter 1. The Music-Culture as a World of Music



VOLUME:

DATE: 2016

PAGES: 1-31

AUTHOR: Tsuda, Takeyuki

ARTICLE/CHAPTER TITLE: Performative Authenticity and Fragmented Empowerment through

Taiko

JOURNAL/BOOK TITLE: Japanese American Ethnicity: In Search of Heritage and Homeland

Across Generations

VOLUME:

DATE: 2016

PAGES: 225-249

AUTHOR: Viswanathan, T. and Matthew Allen

ARTICLE/CHAPTER TITLE: Chapter 1. Song in South India

JOURNAL/BOOK TITLE: Music in south India: Experiencing Music, Expressing Culture

VOLUME:

DATE: 2004

PAGES: 1-33

AUTHOR: Watkins, Lee

ARTICLE/CHAPTER TITLE: A Genre Coming of Age: Transformation, Difference, and

Authenticity in the Rap Music and Hip Hop Culture of South Africa

JOURNAL/BOOK TITLE: Hip Hop Africa: New African Music in a Globalizing World

VOLUME:

DATE: 2012

PAGES: 57-75

AUTHOR: Weiss, Sarah

ARTICLE/CHAPTER TITLE: Listening to the World but Hearing Ourselves: Hybridity and

Perceptions of Authenticity in World Music


VOLUME: 58(3)

DATE: 2014

PAGES: 506-525

AUTHOR: Witulski, Christopher

ARTICLE/CHAPTER TITLE: One Minute in Meknes

JOURNAL/BOOK TITLE: The Gnawa Lions

VOLUME:

DATE: 2018

PAGES: 1-19

AUTHOR: Witulski, Christopher

ARTICLE/CHAPTER TITLE: Light Rhythms and Heavy Spirits

JOURNAL/BOOK TITLE: The Gnawa Lions

VOLUME:

DATE: 2018

PAGES: 94-114

AUTHOR: Wong, Deborah

ARTICLE/CHAPTER TITLE: Taiko and the Asian/American Body: Drums, ‘Rising Sun,’ and the

Question of Gender

JOURNAL/BOOK TITLE: The World of Music

VOLUME: 42(3)

DATE: 2000

AUTHOR: Zbikowski, Lawrence

ARTICLE/CHAPTER TITLE: Metaphor and Music Theory: Reflections from Cognitive Science

JOURNAL/BOOK TITLE: Music Theory Online: The Online Journal of the Society for Music

Theory

VOLUME: 4.1

DATE: 1998

PAGES: 1-14

ADDITIONAL RESOURCES

None

Documents

environment, sound, and world cultures. familiar notion ... · Readings: Erlmann, Veit. 1999. “Fantasies of Home: The Antinomies of Modernity and the Music of Ladysmith Black Mambazo”