Syllabus MUS 334/MUS/380/AFR 374/LAS 326 Musics of Latin America

Instructor: Robin Moore Instructor's office: MBE 3.210 Office Tel.—512 471-0373 Email: [email protected] Office hrs: Thurs 1-3pm or by appt. Class times: Tues-Thurs 11am-12:15pm Class location: MRH 2.634

Teaching assistant: Ana Hernandez [email protected] Lab location: MRH M3.114 (mezzanine level)

Unique numbers and labs for Music (MUS 334): Lab Mon 5-6pm (21105) Lab Thurs 5-6pm (21110) Lab Mon 6-7pm (21115)

For African and African American Studies (AFR 374F): Lab Mon 5-6pm (29875) Lab Thurs 5-6pm (29880) Lab Mon 6-7pm (29885)

For Latin American Studies (LAS 326): Lab Mon 5-6pm (40015) Lab Thurs 5-6pm (40020) Lab Mon 6-7pm (40025)

Description This survey course considers Latin American music within a broad cultural and historical framework. Latin American musical practices are explored by illustrating the many ways that aesthetics and society are embodied in and negotiated through performance. Our discussions will be framed by a range of concepts pertinent in Latin American contexts such as diaspora, colonialism, mestizaje, hybridity, migration, and globalization.

The course carries a Global Cultures flag. Global Cultures courses are designed to increase your familiarity with cultural groups outside the United States. You should therefore expect a substantial portion of your grade to come from assignments covering the practices, beliefs, and histories of at least one non-U.S. cultural group, past or present.

Readings Music of Latin America syllabus, p. 2

One textbook has been ordered for the course, Musics of Latin America (W.W. Norton, 2012); it is available for purchase in the Coop East, across from the Law School. In addition, a few assigned readings have been assembled from others sources. These are available through the course Canvas site.

Listening Students are asked to listen to musical examples each week and will be responsible for recognizing and identifying them on exams; approximately three songs per lecture will be assigned and should be reviewed before class. You will be asked to remember something about the histories, contexts, and meanings of the assigned music. Listening can be downloaded for free from the Canvas site for our class.

Consider making notes that include the following information as you review to the assigned music: —The title of the piece and the composer, if known —The approximate time it was written, within a decade —The culture area/country with which it is associated —The lyrics of the piece, what they discuss —The instrumentation of the piece —The typical contexts in which it is performed —The formal musical characteristics that define it —Any broader issues discussed that relate to the piece

Grading Policy Students are required to attend classes and labs, to keep up with the reading and listening and respond to readings on Canvas posts, to participate actively in discussion, to take exams on the assigned day, and to complete all assignments punctually. Grades for undergraduates will be determined on the basis of three in-class exams, other small assignments (a song analysis, a concert review, other minor assignments or quizzes in section), a final brief oral presentation, class participation, and attendance. Out of approximately 450 total points, the three exams will constitute 60% of the student’s overall grade, the minor assignments 15% (postings 10%, concert review 5%), the oral presentation 10%, attendance 10%, and class participation 5%. In-class exams for students will consist of three parts: (1) the identification of key terms, ideas, or people; (2) discussion of assigned listening examples; and (3) a short essay on a topic related to class discussion. Students will be provided with a review sheet prior to a given test that lists key terms they are to be responsible for and possible essay topics. The essay will be evaluated in terms of the following five categories: clear organization, clear grammar/syntax, reference to assigned musical examples in support of arguments, use of relevant musical terminology from readings or class discussion, and full response to all aspects of the question posed. Undergraduates may opt to write an 8-10 pp. paper instead of taking one of the midterm exams or the final. If they choose the paper option, they should refer to the writing guidelines below for graduate students. Those planning to write a paper should provide the instructor and TA with a proposed topic and bibliography no later than week 5, and an outline by week 7. Music of Latin America syllabus, p. 3

Concert Reviews As noted above, one written concert review is required of all students. The review should be 3 or 4 pages in length, typed and double-spaced. The overall goal of the assignment is that you experience music making live and develop an appropriate vocabulary with which to describe/discuss it. Please consult at least two written sources (at least one from the Fine Arts Library or online academic databases in addition to class readings) in order to acquire background information on the styles of music heard at the concert; they should be formally cited in the review. You should also conduct a brief interview with one of the performers following the event and incorporate what you learn from them into your review. See the “Extra Credit Options” section below about concerts for a listing of possible events to attend. Other concerts may be appropriate but require approval in advance from either the Instructor or TA. Please hand in your review no later than Tuesday of Week 15 unless special arrangements are made with the instructor.

Individual Presentations You will prepare a final 8-10 minute “Musical Mapping of Latin America” presentation to the class by researching a relevant topic of your own choosing. You may focus on a musical style or genre, on prominent artists, bands or groups, or on particular communities. Some portion of the presentation should discuss music per se: instruments, sounds, rhythms, etc., and the remainder may address topics such as historical background, contemporary social meanings, changes in style, dance, etc. The presentation should be accompanied by visual aids. These typically consist of images and notes on Powerpoint or Keynote. The Powerpoint files you prepare should be given to the TA at the class meeting prior to the presentation so that they can be uploaded to the class computer ahead of time. Your presentation should also include AV examples. They may consist of recorded music, youtube video, or other sources. Up to two minutes of your talk may be devoted to playing music. If you would like to play music or incorporate dance into your presentation, you may do that as well.

Attendance Regular attendance is important because various activities that take place in class (the screening of video clips, musical demonstrations or performance opportunities, collective discussion, guest presentations, and so on) cannot be experienced through individual work at home. The same is true for attendance in discussion section. For that reason, attendance in both is mandatory. Attendance will be assigned approximately 45 points (10% of overall possible points), and after the first 3 unexcused absences by a given student each absence will result in 3 lost points.

Class participation This grade will be based on meaningful participation in collective discussions. Meaningful participation is taken to be analytic engagement with the texts and course themes. Each student is expected to come to class prepared to participate actively in class discussions each week. Those students who take the initiative to engage critically with the readings and themes of the class and actively participate by sharing their thoughts on Music of Latin America syllabus, p. 4 a regular basis will graded highly. Those who participate infrequently in class discussions will be graded down.

Missed Test Policy Students are required to keep track of scheduled test days on the syllabus and to take tests when they are scheduled. Students missing tests without a medical excuse will not be allowed to make them up, so please don’t forget to come.

Laptops, Tablets, Phones While you may bring your electronic devices to class for the purposes of note-taking or web browsing related to class activities, please do not abuse the privilege by using your device to email, IM, text message, update your social media, or browse the web in ways not related to class activity. It distracts your classmates and detracts from their learning experience as well as yours. A student seen to be engaged in such activity will earn no attendance credit for that day.

Assignments and Grading for Graduate Students in MUS 380 Graduate students enrolled in MUS 380 should expect to write a research paper on a topic of their choice that relates to the focus of the course, or to undertake other projects (extended transcription and analysis, private lessons on a new instrument or in a new lecture style, preparation of a lecture/demo on a particular style of Latin American music, etc.) as approved by the instructor. Individual written projects should be approximately 12-15 pp. in length, double-spaced. In addition, graduate students must complete two additional assignments: First, they are to transcribe and analyze at least one minute’s worth of music from one of the examples provided on their class listening tapes or related repertoire. The transcription may be incorporated into and/or support their final written project, or it may be separate. Second, they must learn to play and/or sing a representative piece or rhythm of Latin American traditional repertoire unfamiliar to them. This may be accomplished on their own or with the help of private instruction. The piece may relate to their final project or not, as they choose. Students may demonstrate their performance abilities in class if they wish. A two-page description/outline for the individual project (and an accompanying bibliography if appropriate) is due during week 5, and a draft of the project (or demonstration of preliminary work accomplished) is due week 11. The final version of the project, assuming revisions are necessary, as well as the transcriptions and recording of musical performance (in the case of graduate music students) will be due on the last day of classes. This schedule will ensure that I have time to interact with you as you conduct your research. For graduates, the exams will constitute 30% of the overall grade, the individual project 25%, the transcription and performance/recording 10%, the final oral presentation 10%, postings and other minor assignments 10%, attendance 10%, and participation 5%. Graduate students are not required to attend weekly lab section meetings.

Extra Credit Options Music of Latin America syllabus, p. 5

Performance Ensembles. It is the intention of this course to encourage active participation in musical experiences to the greatest extent possible. Therefore, any student interested in enrolling and participating in a one-unit world music performance ensemble at the University of Texas in conjunction with this course will have their lowest test score raised to an A. If you decide to pursue this option, please notify your instructor and TA as soon as possible. You will need to formally enroll in the ensemble by the 12th day of classes in order to receive credit.

Ensembles in the Music School related to Latin America: (1) Ensemble, (W 6-9pm, MBE 2.106) [email protected] (2) Steel Pan Ensemble (MW 5-6pm, MRH 6.222) [email protected] (3) Hispanic Caribbean Ensemble (W 5-8pm in MRH 6.252) (4) Ensemble (T-Th 5-6:30pm, MRH 6.252) [email protected]

Students may also opt to join a group outside of UT for the semester, or to take private lessons on an instrument related to course subject matter, subject to approval by the instructor. If participation or instruction of this sort is duly documented, you will receive substantial extra credit (up to 10 extra credit points) depending on the extent and length of the commitment. Students must attend rehearsals regularly or take at least five private lessons as part of this commitment. Those pursuing individual study must present a 2-3 pp. written summary at the end of the semester that describes their participation in the group/lessons, the material covered, and provides contact info for someone who can vouch for their involvement. A partial list of contacts for such activity is included below.

—Académicos da Opera (samba batucada: www.austinsambaschool.org) —Buscando el Monte (Cuban comparsa: http://www.myspace.com/buscandoelmonte) —Gerard Villanueva offers Latin hand drumming lessons: [email protected] —Puerto Rican Folkloric Dance (http://www.prfdance.org/)

Extra Credit Concert Reviews. Although one concert review is required, those interested in attending additional concerts of music related to the course and writing reviews of their experiences will receive up to seven additional points added to one of their exam scores. Up to two additional reviews may be submitted by any student through Tuesday of week 15 unless later submission is authorized. A list of concerts that students may attend and review is included below. Other concerts may also be appropriate, but check with your instructor and/or TA to confirm.

Mariachi Ensemble: Sun April 15, 7:30pm, Recital Studio (MRH 2.608) Hispanic Caribbean ensemble: Wed April 18, 7:30pm, Bates Recital Hall Tex-Mex Conjunto Ensemble: Thurs April 19, 7:30pm, Recital Studio (MRH 2.608) Steel Pan Ensemble: Contact Diana Loomer, the director of the group, for performance times: [email protected] —Reggae is played regularly at Flamingo Cantina (www.flamingocantina.com) and elsewhere. —The Sahara Lounge (http://saharalounge.com/) regularly features steel pan, reggae, Chicano artists, and others. Music of Latin America syllabus, p. 6

—Salsa Bands in Austin include: O Positivo, Grupo Fantasma, Cienfuegos, El Tule, and The Brew. —Joel Guzmán, the instructor of the Conjunto ensemble, plays regularly in Austin: http://www.guzmanfox.com/ —Live conjunto music played by Los Pinkies is often heard on Sundays beginning around 5pm at the White Horse Saloon. —Cerronato is a local Colombian band. They can be contacted about upcoming shows: http://cerronato.com/contact.htm —Esquina Tango schedules frequent Latin American music and dance events: see their calendar at http://www.esquinatangoaustin.com/

Undergraduate/Graduate Writing Help In addition to assistance offered by your TAs and instructor, take advantage of writing help on campus if you plan to hand in written assignments. The Undergraduate Writing Center is typically open from 9 a.m. to 8 p.m. Monday-Thursday and 9 a.m. to 3 p.m. on Friday. They serve students on a walk-in or appointment basis (512 471-6222). For graduates, the Sanger Center offers similar services. To schedule an appointment, call 512-471-3614.

Academic Dishonesty Each member of the University is expected to uphold the institution’s core values through integrity, honesty, trust, fairness, and respect toward peers and community. Scholastic dishonesty includes, but is not limited to, cheating, plagiarism, and any other act designed to give unfair academic advantage to the student, or the attempt to commit such an act. Any incident of cheating or plagiarism may result in a failed individual exam score or a failing grade in the course.

Religious holidays According to UT Austin policy, you must notify your instructor of a pending absence at least fourteen days prior to the date of observance of a religious holy day. If you must miss a class, an examination, a work assignment, or a project in order to observe a religious holy day, you will be given an opportunity to complete the missed work within a reasonable time after the absence.

Students with Disabilities Any student with a documented disability who requires academic accommodations should contact the Services for Students with Disabilities area of the Office of the Dean of Students at 471-6259 (voice) or 471-4641 as soon as possible to request an official letter outlining authorized accommodations.

Weekly Topics and Readings

Music of Latin America syllabus, p. 7

Note: The dates on the syllabus indicate the day by which you are expected to have read the assignments in question and be ready to discuss them.

Week 1. Introductions Subjects to be addressed: Week 1 provides an overview of the course content, and an introduction to Latin American musical study. Discussion topics: How is Latin American best defined culturally and geographically? What prominent issues come to the fore in the study of music from the region? What are creolization and mestizaje? What is ethnomusicology?

Tues Jan 16. Introductions Reading: none Listening: none

Thurs Jan 18. Latin America as a Cultural Region Reading: Musics of Latin America Chpt. 1, “Introduction,” pp. 2-23. Listening: “Los dos”

Week 2. Musical Terms and Concepts. Music of the Colonial Era. Discussion topics: How useful are Western terms used to describe aspects of melody, rhythm, and form when applied to non-Western music? Are other terms needed? Also: what different kinds of colonial-era music existed in Latin America and how do they reflect broader realities and political projects of the time?

Tues Jan 23. Musical Terms and Concepts Reading: [optional] Musics of Latin America appendix, “The Elements of Music,” 434- 53. Listening: none

Thurs Jan 25. Latin American musics of the colonial era. Reading MOLA 25-39, 50-53, 64-74 Listening: Hanacpachap cussicuinin/Bliss of Heaven, Salve Regina,

Week 3. Mexican sones. and . Discussion topics: In what ways do early traditional dance music styles incorporate unique stylistic elements from diverse sources such as Afrodescendant or indigenous music? What does musical mestizaje sound like? Also: how might you define and banda? How do themes of migration, mass mediation, and ethnic identity manifest themselves in such music?

Tues Jan 30. Mexican sones. Musical performance? Reading: MOLA 77-81. Madrid, Music in Mexico Chpt. 2, pp. 11-36 Listening: La jota/La María Chuchena, La mariquita, El crucifijo de piedra

Music of Latin America syllabus, p. 8

Thurs Feb 1. The corrido norteño and banda music. Reading: MOLA 90-93 (on corridos), 105-07 on banda. Madrid, Music in Mexico Chpt. 5, 76-84 (on norteña) and Chpt. 6 90-94 (on banda). Listening: El siete leguas, Máquina 501, El sinaloense **Collective posting assignment.

Week 4. Mexico, Con’t. Sentimental Song. Rock and Canto Nuevo Subjects to be addressed: Week 4 continues a focus on Mexico with discussion of repertoire including the , balada, and rock.

Discussion topics: What is local in these styles, what has resulted from influences abroad? How has the expression of sentimentality changed over the years in Mexico, and why? Also: Why have Mexicans shown such an interest in rock music from its earliest years, as opposed to Latinos from the eastern U.S. or elsewhere? How do Mexicans alter the music to reflect local perspectives or interests? How would you define canto nuevo?

Tues Feb 6. Mexican sentimental song. Musical performance? Reading: MOLA 103-04. Madrid, Music in Mexico Chpt. 4, 56-72. Listening: Solamente una vez, Esperaré, Simplemente amigos

Thurs Feb 8. Mexican rock and canto nuevo Reading: MOLA 108-11 Listening: Eres, Sale sobrando, Vienen cantando

Week 5. Central America. Exam 1. Outline/bibliography for optional writing projects due Subjects to be addressed: Week 5 considers repertoire from Central America, a region with decidedly understudied yet fascinating musical heritage.

Discussion topics: What does the history of the imply about class divisions and tensions between pride in in local vs. international influences there? How have Liberation Theology and other political movements affected music making in Central America, for instance in the compositions of Carlos Mejía Godoy?

Tues Feb 13. Central America: Guatemala, Nicaragua, Panama **Discuss collective postings Readings: MOLA 125-38 Listening: Luna de Xelajú, Credo/La misa campesina, Rosa de los vientos

Thurs Feb 15. EXAM 1 (through week 4)

Week 6. Venezuela. Introduction to the Hispanic Caribbean. Music of Latin America syllabus, p. 9

Subjects to be addressed: Week 6 begins with an exploration of Afrodescendant, mestizo, and nationalist classical music in Venezuela, then continues with an introduction to the continuum of cultural styles in the Caribbean region.

Discussion topics: How does the compare stylistically with national musical forms found in Mexico? What primary cultural influences are found in Cuban music today and how does this reflect the island’s history?

Tues Feb 20. Venezuela Reading: MOLA 154-74 Listening: El indio, Sueños de Guillermo, Fuga con pajarillo

Thurs Feb 22. West African and Iberian influences in the Hispanic Caribbean Reading: Controversia; Elegguá, Oggún, Ochosi II; En opuestas regiones Listening: MOLA 177-194

Week 7. The Hispanic Caribbean Outlines for optional research papers due Subjects to be addressed: Week 7 examines a sampling of creolized musical forms from the Hispanic Caribbean, and the notion of cultural creolization more generally.

Discussion topics: How does creolization manifest itself musically? How might Cuban son, New York salsa, and Dominican merengue be considered a point of contact between distinct cultural groups? What have you learned about the particulars of salsa performance that provides insight into Afrodiasporic music?

Tues Feb 27. Son, salsa, merengue Reading: MOLA 194-206 Listening: Beso discreto, Ritmo en el corazón, Píntame

Thurs March 1. Practicum, salsa musical style. Musical performance? Rueda de casino. Reading: none Listening: Cáscara patterns with clave, conga patterns, salsa bell patterns

Week 8. Brazil Subjects to be addressed: Week 8 considers the tremendous diversity of musical styles in Brazil, the largest and most populous country in Latin America.

Discussion topics: How is the cultural diversity of Brazil manifest in its music, how do its regions and ethnic communities express themselves in distinct ways? What tensions between local and international repertoire are found in musical forms like bossa nova or MBP?

Tues March 6. Traditional and regional musics Music of Latin America syllabus, p. 10

Reading: MOLA 225-230, 234-46. Listening: Pássaro sonhador, Asa branca, Rei Zumbi dos Palmares

Thurs March 8 Popular musics: bossa nova, MPB, Axé Reading: MOLA 251-63. Listening: A garota de Ipanema, Fato Consumado, O canto da cidade

Spring Break, March 12-17

Week 9 Brazil, Con’t. Exam 2 Subjects to be addressed: Week 9 continues discussion of Brazil’s eclectic musical heritage with a discussion of the Tropicália movement, and of Brazilian hip hop.

Discussion topics: What were Tropicália artists reacting against artistically and politically? How did their philosophy manifest itself through music?

Tues March 20. Tropicália and Brazilian musical politics of the 1960s. Reading: MOLA, 263-66. Film excerpt: Brasil Brasil, Episode 2 (BBC) Listening: Tropicália, [Capítulo 4 versículo 3]

Thurs March 22. **Exam 2** (weeks 5 through 8)

Week 10. Argentina/Southern Cone Subjects to be addressed: Week 10 is devoted to an overview of music from Argentina, including its regional forms, popular music, and both traditional and experimental tango.

Discussion topics: How is Argentina’s cultural history similar to or distinct from that of the rest of Latin America, and how are these tendencies manifest through music? To what extent is African or indigenous heritage present? How has mass immigration shaped the region? How are rural-urban tensions manifest in national repertoire?

Tues March 27. Regional and popular musics Reading: MOLA, 275-92, 305-10 Listening: Milonga para una niña, del paisano, Los sobrevivientes

Thurs March 29. Tango. Guest presentation by Dr. John Turci-Escobar Reading: MOLA, 295-305 Listening: Por una cabeza, Quejas de bandoneón, La camorra I

Music of Latin America syllabus, p. 11

Week 11. The Andes **Draft of any individual writing/graduate projects due** Subjects to be addressed: Week 11 uses case studies from Peru and Chile in order to explore traditional and popular music forms from the Andes, as well as their ties to political movements.

Discussion topics: How have the large indigenous communities of the Andes influenced present-day music making? How have musical tourism and urbanization resulted in musical changes to various styles? How are indigenous-mestizo-criollo tensions expressed in sound? How is the history of nueva canción tied to leftist politics in the region?

Tues April 3. Traditional indigenous, mestizo, and criollo music Reading: MOLA, 325-44, 346-51 Listening: Sikuri music from Taquile, Adios pueblo de Ayacucho, Flor de la canela

Thurs April 5. Nueva canción Reading: MOLA, 355-62 Listening: Gracias a la vida, Plegaria a un Labrador, El pueblo unido

Week 12. Classical music, film music. Danzón. ***UT Ensembles performing Sun, Wed, and Thurs, see earlier listings*** Subjects to be addressed: Week 12 considers how conservatory-trained musicians in Latin America struggle to find a voice that reconciles international trends and styles with their local experiences.

Discussion topics: Is there a way to define Latin American classical music as distinct from other classical repertoire, and if so how? What varied approaches do contemporary composers take to formal composition, and how do they try to assert local sensibilities? Also: what is a danzón? How and when did it develop, and how is its history tied to that of Latin jazz?

Tues April 10. Classical music, film music, Latin jazz Reading: MOLA, 114-19, 217-21, 371-76, 393-95 Listening: Sinfonía india, Caribe, Overture to The Motorcycle Diaries

Thurs April 12. Reading: Madrid and Moore, Danzón, chpt. 4, 117-149 Listening: Raimundo Valenzuela, “La Patti negra,” Orlando Valle, “Almendra,” Arturo Márquez, “Danzón No. 2”

Week 13. 21st-Century Popular Music. Student Presentations. ***UT Ensembles performing, see earlier listings*** Music of Latin America syllabus, p. 12

Subjects to be addressed: Week 13 explores representative popular artists from Latin America who have distinguished themselves internationally, as well as the music of Latino artists within the United States. Discussion topics: What recent trends in music making does Daniel Party discuss in conjunction with this repertoire? How do hybridity and inter-Latino influences manifest themselves in the assigned repertoire? How are notions of Latinidad changing in the work of these individuals?

Tues April 17. Twenty-First Century Latin American and Latino Popular Musics Reading: MOLA, Chpt. 10, pp. 397-407, 429-33 Listening: “La tortura,” “Me enamora,” “Su veneno”

Thurs April 19. Student presentations Reading: none Listening: none

Week 14. Individual Student Presentations. Subjects to be addressed: Students will use Week 14 to continue brief individual presentations on regional forms of Latin American music, as assigned.

Discussion topics: How do the styles of music discussed relate to the central themes of this course as introduced in Week 1? How do they demonstrate unique local characteristics or incorporate broader regional or international elements?

Tues. April 24. Individual student presentations. Final review sheet to be circulated. Reading: none Listening: none

Thurs April 26. Individual student presentations. Reading: none Listening: none

Week 15: Student Presentations, Exam 3 **Completed Graduate Projects, Other Papers and Reviews Due** Subjects to be addressed: Week 15 devotes some class time to collective discussion about prominent course themes and materials covered in the final 5 weeks prior to Exam 3. Discussion topics: See final review sheet

Tues May 1. Collective review. Student presentations Reading: none Listening: none

Thurs May 3. Exam #3 (weeks 9 through week 15)