Syllabus: Fall 2013 Course Title: Mexican & Chicano Music: CCS

Syllabus: Fall 2013

Course Title: Mexican & Chicano Music: CCS 310: Fall 2013 (Chicano Chicana Studies) Course Number: Section 01, Units 3, Enrollment Limit 90, Schedule #60004 Schedule/ Location: Mondays: 1925 – 2205, Rodney Auditorium, SDSU-IV Instructor: Dr. Fredrick B. Lanuza, Ph.D. Contact Information: (619) 200-1990, [email protected] Office Hours: One hour before or after class per week Description: This course is designed to provide the participants with a conceptual understanding of Mexican and Chicano music. Disclaimer: The instructor reserves the right to adjust the course design. Course Description: Specifically, the course is designed to: (1) present an overview of historical and other events that have led to the development of music in Latin America in general but in the USA southwest and Mexico in particular; (2) examine and analyze the sociocultural characteristics of the communities of these musicians, in particular the Chicano in the America referred to as Aztlan and their political experience, and how Mexico continues to influence Latino music in general – and vice-versa; (3) analyze states’ and countries’ musical contributions in both MX & USA addressing the social and political needs of the contemporary Latino; (4) examine the evolution of the contemporary media in general but music in particular in relationship to the Chicano/ Mexican experience; (5) teach participants how to listen critically using aesthetic methodologies in determining background information on the source, while learning how to appreciate Latino music from Mexico and the USA in general but the American southwest in particular; and (5) gain awareness at the expository level on how music notation has developed and how it functions in Latino musical forms. Participants will undergo a series of experiences that will empower them to better appreciate music in general through aesthetic methodologies while addressing Latino music in particular. Student Outcomes & Course Objectives: Over the course of the semester the participant will: 1. Describe and analyze the title, style and background information that supports the music that is being performed and/or played. 2. Examine, analyze the sociocultural characteristics of the music community from the style of music being performed and/or played, and develop a sociocultural profile of that genre. 3. Examine and analyze specific structures (instrumentation and lyrics), styles and guidelines that are both minimal and desirable in the implementation of that genre of music and how it addresses those communities’ needs. 4. Examine and analyze theoretical principles supporting that music while describing the major principles that support it. 5. Compare and contrast musical program designs that address the conceptual development of Latino music and their characteristics of these programs influencing the styles. 6. Distinguish diverse forms of music notation and how music notation functions in order to gain further insights on the formats, genres, clave, rhythms, melodies, harmonies, and the dynamics of several types of Chicano and Mexican musical forms.

Dr. Fredrick B. Lanuza, Ph.D., Principal ©FBL’13 Page 1 of 9

Bibliography: Diverse music CDs, DVDs, internet, and other digital-domains and formats but not limited to. Students will also be expected to research their own sources in determining their special class presentation towards the end of the course and include it in their own group report to be handed in. Required Texts: Mexican and Chicano Music, Jose “Pepe” Villarino, McGraw-Hill, College Custom Series, SDSU, 1996 (Buy $53/$68, Rent $33.55/$46.25) (Publisher: McGraw Hill, Limited Custom Editor 818-337-9935 – Kimberly). Barrio Rhythms: Mexican-American Music in Los Angeles, Dr. Steve Loza (Publisher: 1-800-621-2736 U of Chicago). Professor will also have assigned readings posted in digital domain and/or potential handouts, and sources for journal articles or key websites for further readings, listenings, and research. Course Requirements 1. Required Attendance: Must attend class punctually. First 15 minutes will always include a quickwrite on the readings and or subject to be covered. Each day of non-attendance will lower your grade (unless cleared by the professor prior to class). Same holds true for late arrivals and early departures. Actively participate in all classes. Read all material as outlined in the syllabus as well as any handouts and be prepared to discuss them in class.

2. With a small group be prepared to present a presentation to your colleagues on any one topic from the weekly class subjects. Your presentation should be well-rehearsed, well- articulated and may integrate multi-media platforms. Your group will hand-in a brief paper outlining your ideas prior to the presentation. a. Classroom Presentation/ Project Rubric i. Presentation/ Project responds to topic of assignment. ii. Relationship to curricular area is stated. iii. Rationale is explained. iv. Objectives are specified. v. Implementation procedures are described. vi. Content matches objectives. vii. Information is organized and linked pertinently. viii. Narrative is clear, coherent and well developed. ix. Text is technically polished (Free from spelling/grammatical errors.) x. Active/collaborative student participation is facilitated. xi. Technology and/or other housekeeping concerns/issues are addressed. xii. Scores: Advanced = 5, Proficient = 4, Basic = 3, Below Basic = 2, Far Below Basic = 1 (to be converted to percentiles). b. Term Paper (may be turned-in in-lieu of a classroom presentation and/or for extra credit but the student would still have to make a brief presentation to his/her colleagues explaining his/her research). The academic paper rubric will be as follows. i. Qualitative: Attention to the assignment. Does the paper meet the requirements of the assignment?

Dr. Fredrick B. Lanuza, Ph.D., Principal ©FBL’13 Page 2 of 9

ii. Qualitative: Argument: Does the paper have a main point? Is there a clear and logical progression of ideas expanding on the main point? Do the introduction and conclusion provide an adequate frame for the paper? iii. Qualitative: Evidence: Is the argument supported by an adequate number of concrete facts and details? Are points well enough developed to be convincing? iv. Qualitative: Research: Are there enough high quality sources? Are facts and theories presented convincingly? v. Qualitative: Intellectual Rigor: Does the paper demonstrate an understanding of the concepts being presented in the course? Is there evidence that the author has been reflective? vi. Quantitative: Style: Are all words spelled correctly and chosen appropriately? vii. Quantitative: Style: Are grammar and syntax correct? Are the sentences concise? Can the reader easily understand what is being said? viii. Quantitative: Are sentences varied in length and smoothly connected? Are paragraphs unified, coherent and fully developed? Does the paper flow with a beginning, middle and end? ix. Quantitative: Mechanics: Is bibliography information accurate and correctly cited? Is there an informative title? x. All papers are to be typed, double-spaced, emphasizing quality rather than quantity of material covered, and are to follow either the APA or MLA format. xi. Rubrics: Advanced = 5, Proficient = 4, Basic = 3, Below Basic = 2, Far Below Basic = 1

3. Be prepared to take a mid-term ½-way through the course specifically identifying, analyzing, and discussing multi-cultural/ musical aspects of Latino music covered up to this point in time to demonstrate your knowledge and understanding.

4. Be prepared to take a final examination covering the 2nd ½ of the course specifically identifying, analyzing, and discussing multi-cultural/ musical aspects of Latino music throughout the periods covered to demonstrate your knowledge and understanding.

Required Multi-Media: Overhead Projector w/ Screen, Computer Plug-In w/ WWW capabilities, Video Camera Recorder & digital 2-way communication system, 2-L Series Bose systems w/mics, i-Pod, i-Phone, i-Pad, diverse synthesizers/ keyboards, percussion instruments, & ethnic instruments.

Required Needs: Teacher Assistant to set-up/tear-down & help with duties as assigned, and Dancers & Musicians (as needed) in the areas of Flamenco, Mexican (Jarocho & Jalisciense) & contemporary styles supplemented by IRA (instructional related activities) grant proposal funding and other sources.

Dr. Fredrick B. Lanuza, Ph.D., Principal ©FBL’13 Page 3 of 9

Required Assignments: (1) Weekly quickwrites and assigned readings; (2) One student group project presentation at end of course and/or a term paper; (3) One mid-term examination; (4) One final examination.

Grading: 25% Attendance & Participation; 25% Student Group Presentation; 25% mid-term, 25% final (90 – 100% = A, 80 – 89% = B, 70 – 79% = C, 60 – 69% = D, 59% and below = F). Plus (+) and minus (-) will be included if your grade falls within the parameters of 3 points. Weekly Meeting Format Unless a holiday falls on one of our meeting dates, the class will meet once per week for 2.5 hours every Monday throughout the semester. Class will involve lectures, presentations, multiple media formats, active listening sessions, and on occasion, special performers including musicians and dancers. Note-taking is encouraged and classroom participation is encouraged through questions, discussions, observations, dancing and playing, and other. The class structure will involve some small group interaction and incorporate experiences of the participants in their various communities. Learning Theory Significant learning takes place when the subject matter is perceived by the learners as having relevance for his/her own purposes. Learning which involves a change in the perception of oneself is threatening and tends to be resisted. However, when threats to oneself are low, the individual makes use of opportunities to learn in order to enhance himself/ herself. Learning is facilitated when the learner participates in the learning process. When she/he chooses his/her own direction, helps to discover his/her own learning resources, formulates his/her own problems, decides his/her own course of action, lives with consequences of each of these choices, then significant learning is maximized. Music is a very powerful aural medium and is a strong instrument of change and institutionalization. Dance is also a very powerful visual discipline and is a natural partner to music. Both have much to do with social and political status, multi-cultural awareness, and policy decision-making at various levels throughout our communities. With the current values and recognition given to the arts, the globalization of the economy, and our current policies with ICE and our southern border regions- this course is ultimately a stepping stone towards your studies no matter what your career aspirations are as you progress towards your goals and objectives to be more informed, literate, and educated. Role of the Instructor In order to facilitate learning and a climate for sharing ideas and experiences in music in the Latino genre, the instructor will make presentations and facilitate the interaction among participants through weekly discussions and small group activities. It is assumed that each participant brings to the course a wealth of knowledge and resources that will be pooled to experience and examine the study of Latino music in general but Mexican and Chicano music in particular through the eyes and ears of more than one person.

Dr. Fredrick B. Lanuza, Ph.D., Principal ©FBL’13 Page 4 of 9

Tentative Schedule I. Day 01 (082613M) [next Monday- Labor Day Holiday – 090213M) a. Introduction to Course i. Welcome/Attendance/ Orientation ii. Summary/ Synopsis of Syllabus iii. Review of Major Assignments/Requirements b. Introduction to Professor i. The Mexican National Anthem ii. Ace of Gold – a musical (Emiliano Zapata) iii. The Desert Rose – a musical from the trilogy: Máscaras Mexicanas (Farmworker Migrant Families) c. Other Business i. Student Assessments (instruments, experiences, knowledge, wants…) ii. Student Multi-Cultural Assessment (identification, analyses and discussion) iii. Student Assigned Sign-Ups for Special Presentations on Below Agendas iv. Question & Answer Period, General Discussion & Closure 1. Randomized Teams/ Groups

II. Day 02: Quickwrite (090913M) a. European Influences i. Spanish ii. Flamenco iii. Others b. Pre-Columbian Music i. Aztec ii. Maya iii. Others c. Music Notation i. Rhythm ii. Improvisation iii. Performance (sequences) d. Villarino: Chapters 1 & 2: Precortesian Period & The Romance Corrido

III. Day 03: Quickwrite. (091613M) a. [Mexican Independence Day: local fieldtrip] b. Meet in the classroom for quickwrite & leave as a group. c. Re-convene in classroom at 2200 hours. (10:00 p.m.) d. Write a one-page observation paper on your experience to be handed in next M

IV. Day 04: Quickwrite. (092313M) a. Traditional Folk (A)

Dr. Fredrick B. Lanuza, Ph.D., Principal ©FBL’13 Page 5 of 9

i. Conjunto Jarocho ii. Conjunto Huasteco iii. Conjunto de Marimba b. Multi-Media i. Performances ii. Participation iii. Play c. Music Notation i. Melody ii. Composition iii. Performance (creation) d. Villarino: Chapters 3 & 4: A World Called Mexican Music & Mexican Musical Genres e. Loza: Chapter 1: Society and Music in Mexican Los Angeles

V. Day 05: Quickwrite. (093013M) a. Traditional Folk (B) i. Son ii. Ranchera iii. Corrido (Corridos- Remix/ Nortec/ Nueva Canción) b. Multi-Media i. Poetry ii. Stanzas iii. Performance c. Music Notation i. Harmony (I-IV-V) ii. Song Writing iii. Performance d. Villarino: Chapters 5 & 6: El Son Jarocho & Highlights of Mexico’s Operatic 19th & 20th Centuries & 20th Century Operatic Composers e. Loza: Chapter 2: Barrio Rhythm: Social Development since the Postwar Period

VI. Day 06: Quickwrite. + Special Performance (100713M) a. Types of Ensembles i. Mariachi ii. Conjunto Norteño iii. Banda b. Multi-Media i. Special Performances ii. Analyses iii. Discussion c. DART i. Dynamics ii. Articulation iii. Rubato

Dr. Fredrick B. Lanuza, Ph.D., Principal ©FBL’13 Page 6 of 9

iv. Tempo d. Villarino: Chapters 7 & 8: La Rondalla: An Emerging Mexican Musical Form & Notes About the Vicious Cycle the Undocumented Go Through…, Los Mandados e. Loza: Chapter 4: Profiles of the Artists: The War Veterans

VII. Day 07: Quickwrite + Special Performance * (101413M) [Columbus Day & Día de la Raza] a. 1492 Revisited (Dr. Paul Espinosa- KPBS) b. Blood Wedding (Carlos Saura Film with Antonio Gades & Cristina Hoyos) c. Dance Forms – Eastern i. Hindu ii. Bollywood iii. Flamenco d. Dance Forms - Latin i. Latin-Jazz ii. Salsa iii. Cumbia iv. Rumba v. Norteño

VIII. Day 08: Quickwrite & Mid-Term. (102113M) a. Modern (A) i. Jazz ii. Latin-Jazz iii. Salsa b. Modern (B) i. Bolero/Cha-Cha-Cha ii. Cumbia iii. Rumba c. Modern (C) i. Rock ii. Pop iii. Electronic. d. Reflections of the Professor i. TJ2LA ii. Church & Theater iii. Mom & Dad & Brother e. Villarino: Chapters 9 & 10: Drug Smuggling Balladas, Contrabando y Tradición, Carga Blanca, The Instruments, & various corridos f. Loza: Chapter 5: Profiles of the Artists: Papa’s Got a Brand New Bag

IX. Day 09: Quickwrite. (102813M) a. Classical i. Chavez ii. Revueltas

iii. Julian Carrillo iv. Others b. Extended Listening & Analyses i. Movements ii. Themes iii. Harmonies c. Music Notation i. Overview ii. Styles iii. Mediums d. Villarino: Chapters 11 & 12: The Blending of Two Cultures Through Music & The New Chicano Heroic Corrido, Homenaje a Tomas Rivera, El Corrido de Mayor Roger Hedgecock, La Masacre en San Ysidro e. Loza: Chapter 6: Change, Conflict, and Childhoods

X. Day 10: Quickwrite. (110413M) [Next Monday: Veterans’ Holiday 111113M] a. Chicano Music (A) i. Overview ii. History iii. Oldies iv. Punk & Rock b. Chicano Rockers i. Bands ii. Personnel iii. Activities c. Discussion i. Forms ii. Styles iii. Mediums d. Villarino: Chapters 13 & 14: Canciones Antiguas Populares… & Canciones Infantiles – Grados K-6 e. Loza: Chapter 7: Reflections of a Homeboy

XI. Day 11: Quickwrite. (111813M) a. Chicano Music (B) i. Chicano Rap/Hip-Hop ii. Chicano Contemporaries iii. Chicano Others b. Chicano Contemporary i. Forms ii. Others c. Villarino: Chapter 15: Compositions by Students

XII. Day 12: Quickwrite. (112513M) * a. Special Presentation

i. Mexican & Chicano Musicians 1. Musical Forms 2. Music Improvisation 3. Musical Songs 4. Musical Instruments 5. Musical Equipment

XIII. Day 13 (120213M) a. Student Presentation on II b. Student Presentation on III c. Student Presentation on IV d. Student Presentation on V e. Student Presentation on VI f. Student Presentation on VII g. Student Presentation on VIII h. Student Presentation on IX i. Student Presentation on other topics and/or research papers.

XIV. Day 14 (120913M) a. Final Examination b. Celebration!