Writing on Music (WRTG 3020), Spring 2010

Writing on Music (WRTG 3020), Spring 2010 Section 051 meets Monday and Wednesdays in HUMN 160 from 4:30-5:45 p.m. Section 052 meets Monday and Wednesdays in HUMN 186 from 6:00-7:15 p.m.

Instructor: Daniel Brigham Office: ENVD B 27C Office hours: Mondays from 2—2:50 p.m. and Wednesdays from 1 to 2:50 p.m. and by appointment Voice mail: 303.735. 4776 Email: [email protected] (My preferred method of communication.)

Brief Course Overview As a course within the program for writing and rhetoric, the broad objectives of WRTG 3020 are:  to develop your writing so that the rhetorical situation, audience, and purpose are clear and appropriate  to develop your skills in generating, developing, and revising your ideas and your writing  to develop your strategies in critically analyzing a text1

What you will write about is music and the experience thereof. But not just music -- you will also write about sounds (e.g., the sounds of the city or of the mountains), taking a foray into the field of acoustic ecology.

I have created a theme for the course – living texts. For much of the content for the course will be found in places beyond the University, places where people are actively engaged in musical behavior. The first assignment explores you-as-text: you will write a personal narrative in which you analyze a musical experience that continues to be important to you. You will then write a music review of a recently released CD, hopefully giving your readers insight into the genre. Next, you will write an ethnography in which you explore a musical sub-culture that intrigues you – e.g., Punks or Goths, Ravers, Music Majors, Members of CU Marching Band, Members of Boulder’s Bluegrass Community, etc. The last major assignment describes and analyzes the soundscape of an environment (e.g., CU basketball game, sorority party, coffee shop, community pool, library) with the hopes of gaining a bit of insight into what is occurring in that environment.

The living text theme makes your job more difficult and time-intensive; you’ll have to plan to make repeated visits to these places, do observations, take field notes, set up and conduct interviews. But I think you’ll find that observing and talking with people who love music a worthwhile thing.

I don’t assume you have any technical knowledge about music, though I do assume you are interested in learning more about it.

Key Learning Objectives:

Extend your rhetorical knowledge How will we meet this objective? One of the main ways is through class lectures and handouts on rhetorical concepts – e.g., the qualities of an arguable opinion, the structure of arguments, the different types of rhetorical appeals, the credibility and validity of sources, etc. You will then apply this rhetorical knowledge by analyzing the arguments of the writers and thinkers we study, as well as writing and defending your own analyses and arguments.

Chapters from Rossenwasser and Stephen’s Analytical Thinking, fourth edition will help you develop sophisticated strategies regarding your musical topics and also help you apply rhetorical knowledge to your writing. This is the only text you need buy for the class.

1 Of course, I am using “text” in a wide sense. A “text” can be a song, a film, a locale or place (e.g., open mic night at a Boulder club), as well as a traditional piece of writing. You will learn some reflective strategies – such as many different types of brainstorming, in-class reflective writing, and post-workshop discussion – that will help you synthesize the rhetorical and communicative knowledge you have gained.

To extend your experience in different writing processes How will we meet this objective? Throughout the semester, you will get the opportunity to write multiple drafts for major assignments, as well as learn new strategies for generating and revising your ideas. You will learn the latter primarily through the following means: responding to the brainstorming and self-reflective prompts provided to you for the major writing assignments; having your papers discussed in-class or online; and writing multiple drafts of the larger assignments. You also have the opportunity to revise one of your major assignments. So the learning process, in some ways, is over when you say it’s over.

In the process of writing your own analytical papers, you will also learn (through class lecture and handouts) how to better evaluate your sources for accuracy and credibility. This is especially applicable to the ethnography, which will require secondary sources, as well as primary. In addition, you will use a variety of technologies: you will use electronic databases; critique classmates’ papers online (through the culearn learning management system); discuss papers in-class on laptops, instead of the making photo copies. I also encourage the use of Powerpoint or other programs and a.v. equipment when you are giving your oral presentations. In-class discussions will cover the finer points of using such presentation technologies.

To extend your mastery of writing conventions (genre conventions, specialized vocabulary, document design, grammar, style) Through class lecture and analyzing sample articles, you will learn about genre conventions appropriate to the field of music and/or to your audience, about how to draw on specialized vocabularies in ways that still make your work accessible to secondary audiences, and about the role of textual features and document design as persuasive tools. Crucial musical vocabulary (e.g., timbre, tempo, etc) will be covered in lecture. Via in-class exercises and online grammar and style resources (e.g., the nationally recognized Purdue Owl site), you will learn matters of grammar and style that will make your writing more effective. Do you want to learn how to make your paragraphs more unified and coherent? How to achieve greater sentence variety? To create more artful transitions between paragraphs? Well, you’ve come to the right place.

To demonstrate comprehension of the assigned readings and lectures at an advanced level You demonstrate you comprehend the material at an advanced level when you apply the material in creating your own in-depth analyses, and are able to respond to the needs of different audiences and rhetorical situations – e.g., writing to a music critic vs. a layperson interested in music. To give you a specific example: When you read Rossenwasser and Stephen’s chapter on the five moves of analysis and then you apply their techniques to help you find a focus for your music ethnography, you demonstrate comprehension of the reading at an advanced level.

To extend your knowledge of some of the fundamentals of music (e.g., dynamics, tempo, timbre, form) These fundamentals of music will be covered in-class.

To expose you to some “new” music You will give at least one informal presentation. This will be entitled “Music you really need to check out,” and concerns music that you feel is exceptional and deserves to be better known. It usually runs about five minutes or so. Don’t let the presentation freak you – it’s informal, and whose primary purpose is to spread the word about good music. Plus, I’ll give you a template to work from.

To introduce you to the field of acoustic ecology, and hopefully, as a result, make you more aware of the sounds in a given environment You will read introductory articles on the field of acoustic ecology, as well as at least three chapters from The Tuning of the World written by the man who created the field, R. Murray Schafer. The information contained therein will help with your Soundscape project.

To help you move beyond the obvious in your thinking and writing Good non-fiction writing says something new. How will I get you doing this? By asking you the following related questions while you are drafting your major assignments:  What have you discovered in your brainstorming, observations, or research that readers need to know?  What can you teach your readers about this topic or experience?  What can you say that hasn’t already been said?  What have you observed that others haven’t?  What unique angle could you take on this topic?

Course Delivery We will explore the main topics of the course in eight, basic ways: 1. by reading the Writing Analytically text and other scholarly articles, and responding to the written prompts I post for each reading 2. by completing in-class brainstorming and reflective writing prompts that respond to a reading or topic 3. by experiencing (in and out of class) different genres of music 4. by writing analytical papers that explore each topic in detail 5. by observing and then reflecting on various “musical” environments and activities in the greater Boulder/Denver community 6. by critiquing the major papers of your classmates online (through the culearn site) 7. by “workshopping” (that is, discussing as a class) the drafts of your major papers 8. by discussing grammatical and stylistic issues – e.g., paragraph unity and coherence, achieving conciseness, and so on.

Expectations My expectations of you: 1. that you show up on-time and don’t ask to leave early 2. that you complete all of the assignments 3. that you give all assignments and papers an honest effort (we’ll discuss what this means) 4. that you ask me for clarification if you are confused 5. that you treat classmates and me with respect.

In return, you can expect me to: 1. treat you respectfully 2. start and end class on-time 3. get your work back to you within a reasonable amount of time (within a week or so) 4. use class time efficiently 5. give a clear explanation of what I’m looking for in major assignments, as well as a clear indication of due dates 6. respond to email inquiries within 24 hours (excepting holidays and weekends).

Writing Center If you want additional help with your writing, the Writing Center in Norlin Library is a great place to go to talk about ideas, improve your thesis or essay organization, or just generally work on your writing skills. And it’s free to CU students. Check the Writing Center website for more information about hours and services, or request an appointment online at: http://www.colorado.edu/pwr/writingcenter.html.

Technologies employed To successfully complete this course, you will need to check your CU email account at least once a day (during week), and always have reliable access to the internet so that you can access the culearn website, where you will post your critiques of classmates’ drafts, as well as see revisions to schedules and assignments.

If you wish to access e-reserve material from an off-campus location, you will find it necessary to download a VPN client. Contact ITS for help (303-735-HELP) or check the UCB libraries’ website for information on setting up remote access: http://ucblibraries.colorado.edu/research/remote.htm.

You may also find it handy to procure a laptop for in-class workshops.

On checking Facebook in class:

I only allow laptops to be open only if we are workshopping a paper. Otherwise, you must go old school and use pen and paper. Why? Because no matter what a professor says, a few students are going to look at non-class stuff during class, and that is distracting and demoralizing for engaged students.

Revising Graded Assignments At the end of the semester, if you would like to resubmit one of your major assignments, you may. If you resubmit work you must:  Choose one of the major assignments and revise your work. (You are welcome to schedule an appointment with me to discuss some strategies for revision.)  Attach the original graded version and drafts of the assignment so that I can better evaluate your revisions.  Write a one-page reflective statement describing why this latest draft is better than the previous one.  Submit any time before the last class period.

The Larger Assignments Personal Narrative on a musical theme (approx. four pages) This assignment kicks off our living text theme by exploring your experience. The narrative assignment concerns a meaningful experience (or set of experiences) you have had with music or sound. This narrative must do more than tell a detailed story: it should analyze (try to make sense of) the experience, and give readers at least a small insight into its meaning. The best narratives often have a sense of discovery about them.

Music Review (approx. four pages) Using the three main components of evaluation (judgment, criteria, and evidence), you will review a recently released CD (no more than two months old). As well as demonstrating the opinion put forth, the best reviews teach us a little something about music or the genre the CD falls into.

Ethnographic essay (approx. seven to ten pages) This time-intensive assignment continues your analysis of people’s behavior, but asks you to enter the field and conduct primary research on a sub-culture (a group of people who identify themselves as group members). This essay will demand repeated visits to the places the sub-culture visits. Want to research punks? Singer-songwriters? STS9 community? The goal of this assignment is to observe a culture as it behaves normally in typical situations, and to gain some insight into the way this group views the world.

Soundscape Observations (approx. four to five pages) This assignment calls upon your observational and descriptive powers. After reading introductory articles in the field of acoustic ecology, you will visit a place of your choosing that promises to have an interesting soundscape (e.g., professional baseball game, Pearl Street mall, tailgate party at Red Rocks, etc.). The first part of the assignment asks you to richly describe the sounds heard; the second, asks you to explore the sounds’ various meanings: might they teach us a little something about ourselves? (Do they highlight our values or our attitudes towards certain activities or rituals?) Our rhetorical readings will help you with the second half of this assignment.

Texts and materials For final papers, please staple, double-space, and use 12-font. I do not accept late homework or papers. I will not accept any class material via email.

Required text: Rossenwasser and Stephen’s Writing Analytically, 4th ed. Additional readings for the course will be placed on culearn or e-reserve. You will also receive other course materials in the form of handouts. Essential tools for writing are a good dictionary and thesaurus; I recommend Webster’s Collegiate and Roget’s, respectively.

We will refer on an ongoing basis to writing materials on the nationally-recognized rhetoric and composition website, The Purdue University OWL (on-line writing lab): http://owl.english.purdue.edu/owl/

Attendance Regular attendance and active participation are crucial to this course. It matters to me if you miss class. Because life sometimes gets in the way of scholarly pursuits, I allow (but do not encourage) you to miss three class periods. Please note that I do not differentiate between excused and unexcused absences.2 For every additional absence, your participation grade (worth 20% of overall grade) will be lowered five points. Six absences will result in an F for the course. If, for reasons beyond your control, you cannot meet these standards, you have the right to ask me for an IF – essentially, an incomplete. Students who miss two classes in the first two weeks will be administratively dropped.

Tardiness and leaving early is unacceptable. Do not ask to leave early. Two late arrivals/early departures count as one absence. If you are late, please take responsibility for that fact, and make sure I haven't marked you absent.

Grading standards For each major assignment, I will post a grading rubric on the culearn website, but, if you are curious, here are some general benchmarks:

90-100: Consistently insightful; opinions are clearly stated and backed up with sufficient evidence; style is graceful and error-free. Want an A? Teach me something.

80-90: Spots of genuine insight; opinions are mostly clearly stated and demonstrated, though there may be a spot or two where more evidence or detail is needed; writing style is general clear, though there may be minor, non-recurring grammatical issues.

70-80: It fulfills the assignment, but that’s about it. There may be a spot of insight here and there, but, generally the paper consists of ideas that have already been discussed by others, or are self-evident; as a general rule, the evidence lacks detail and depth; there may be recurring grammatical or stylistic issues.

60-70: Only marginally meets the criteria for the assignment; lacks focus, and thus depth.

0-50: Formless, incoherent, or not turned in when due.

2 The one exception is the observance of religious holidays. Should this be an issue, let me know beforehand, and you and I will work together to achieve a mutually satisfying arrangement. Participation grading standards (attendance, promptness, in-class participation, comments on classmates’ drafts, timely submission of work)

90-100: Excellent participants are always prepared for class and offer their insights freely. (This does not mean they dominate class discussion; they are more discrete than that.) Moreover, they understand the strengths and weaknesses of the paper at hand, and consistently suggest ways to make the author’s point clearer and/or more persuasive. As well as always being in-class and turning everything in on-time, they are noted as excellent critics by their classmates.

80-90: Above average participants are usually prepared for class. Regularly, they offer their insights. They often understand the strengths and weaknesses of the paper at hand and usually suggest ways to make the author’s point clearer and more persuasive. They are noted as good critics by their classmates. They rarely miss class and generally turn all assignments in on time.

70-80: More often than not, average participants are prepared for class. Occasionally, they will offer their insights freely, but usually they wait to be called on. These critics may have some trouble discerning the strengths and weaknesses of the paper in front of them; thus, they may not be sure how to make it clearer, more interesting, or more persuasive. They are noted as average critics by their classmates, and sometimes don’t turn in all that was assingned.

60-70: Below average participants are generally not prepared and generally do not participate in class discussion. They have difficulty determining the strengths and weaknesses of the work in front of them. They are noted as below average critics by their classmates.

0-50: These critics are not prepared and do not participate in class discussion.

Approximate Calculation of Grades 20% Participation (attendance, oral and written critiques, timely submission of work, class discussion) 10% Personal Narrative 15% Music Review 25% Ethnography (study of musical sub-culture) 20% Soundscape Observations 10% Miscellaneous homework (reading responses, critiquing responses, grammar/style assignments, etc.)

Special Notes If you speak English as a second language, you should contact me before the third class meeting so that I can better assist you in the course, advise you about special ESL courses, and/or refer you (if needed or desired) to appropriate services on campus.

Learning disability: Let me know before the end of the second class period. If you qualify for accommodations because of a disability, please submit to me a letter from Disability Services in a timely manner so that your needs be addressed. Disability Services determines accommodations based on documented disabilities. Contact: 303-492-8671, Willard 322, and http://www.Colorado.EDU/disabilityservices

I am happy to accommodate students who, because of religious obligations, have conflicts with scheduled exams, assignments or required attendance. See me well in advance of any conflict.

Plagiarism will not be tolerated; the paper will receive an automatic F, and your case reported, consistent with the procedures of the new Student Honor Code. We’ll discuss a good deal more about learning from and using the words of others during the course. This writing seminar provides an opportunity to understand issues of intellectual property and the appropriate use and citation of sources. All students of the University of Colorado at Boulder are responsible for knowing and adhering to the academic integrity policy of this institution. Violations of this policy may include: cheating, plagiarism, aid of academic dishonesty, fabrication, lying, bribery, and threatening behavior. All incidents of academic misconduct shall be reported to the Honor Code Council ([email protected]; 303-725-2273). Students who are found to be in violation of the academic integrity policy will be subject to both academic sanctions from the faculty member and non-academic sanctions (including but not limited to university probation, suspension, or expulsion). Other information on the Honor Code can be found at http://www.colorado.edu/policies/honor.html and at http://www.colorado.edu/academics/honorcode/

Learning environment: Students and faculty each have responsibility for maintaining an appropriate learning environment. Those who fail to adhere to such behavioral standards may be subject to discipline.

Spring 2010 Daily Schedule (Check this frequently – it will change.)

NB: HW is always due the next class period. Please bring your writing notebook to each class.

M 1/11: In-class activities:  Go over syllabus: course material, expectations, policies

 In-class reflective writing (“At what point did you realize music was important to you?”)

HW for next class (W 1/13): 1. Read syllabus carefully. Showing up to next class means you’ve agreed (or at least accepted) my policies.

W 1/13: In-class activities:  Finish syllabus review, if need be

 Discuss freewrite of prior class

 Getting to know each other

 Quick and dirty on culearn (all threads are found under “Discussions” on left-hand side of page)

 What’s going down next class

HW for next class (W 1/20): 1. In campus bookstore, buy Rossenwasser and Stephen’s Writing Analytically, fourth edition.

2. In Writing Analytically (WA), carefully read section 1 (pp. 1-10), and then complete ex. 1.8, Writing the Self. (Ignore the last three lines of the shaded 1.8 box – they are implied in the exercise itself.) Post your two-page response to the “Writing the Self” thread on culearn, making sure you’ve applied the techniques found in pp. 1-10.

3. Carefully read section 2 of WA (pp.11-24).

4. Bring a laptop with wireless capability to next class.

M 1/18: No class, MLK day, University Closed W 1/20: In-class:  Review of WA’s sections 1 and 2, “Seeing the Details” and “Opening Things Up”

 In groups, discuss your “Writing the Self” responses

 Heads-up about ex. 1.16

HW for next class (M 1/25): 1. WA: carefully read section 3 (pp. 24-34), “The Basic Analytical Strategies: From Observations to Ideas.” 2. Complete exercise 1.16. I suggest going to a certain place (coffee shop, library, rec center, bus) a few times and listening in. If you want to focus further (though you don’t have to), you could hone in on the conversations of certain groups of people: women, men, couples, etc. As you are revising your piece keep in mind what an “idea” is, because, ultimately, that’s what you are after. (See bottom of p.25.) Read the exercise carefully a few times: make sure to include your observations, your freewrites, and your two pieces of revised (shaped and ordered) writing. Print one copy.

M 1/25: In-class:  Review WA’s section 3, “The Basic Analytical Strategies: From Observations to Ideas”

 Discussing your “ideas” regarding the conversations you listened in on

 Introduce to the personal narrative assignment

HW for next class (W 1/27): 1. Read the narrative packet. There’s a lot of helpful stuff in there.

2. Read Epstein’s “Personal Discovery” on culearn. Epstein is a well-regarded essayist, and this article comprises some of his thoughts on writing personal narratives. Write down (in your notebook is fine) what you find interesting or striking.

3. Read the two examples of personal narratives on culearn homepage. Analyze each of the essays, using the “questions for peer review” found in the personal narrative packet that I handed out. (It’s also on culearn). Print one copy.

4. Get started on brainstorming ideas for your narrative. See the many “Generating Ideas” prompts in the narrative packet.

W 1/27: In-class:  Discuss Epstein’s “Personal Discovery”

 Discuss sample narratives

 Determine narrative group one (who will post sketches on Sunday)

 Quick-n-dirty on critiquing and posting papers (length of responses, placing all your responses in one doc, etc.)

HW for next class (M 2/1): 1. Group one (volunteers): post your sketch to the “group one narrative” thread on culearn Sunday by noon. Make sure to check out the sketch criteria in the guidelines. Heads-up group two: your sketches will be due Tuesday by noon.

2. Everyone: on culearn read “how to post and critique papers on culearn,” and then, using the questions for peer review, critique and post your responses to group one thread by classtime Monday.

3. Bring your laptop to Monday’s class.

M 2/1: In-class:  Discuss group one’s sketches

 Determine group two small groups

HW for next class (W 2/3): 1. Group two: post your sketches to culearn Tuesday by noon. 2. Critique and post responses to those in your group two by next class. Use questions for peer review in the narrative packet.

W 2/3: In-class:  Discuss group two’s sketches

 Some thoughts on moving from sketch to draft

HW for next class (M 2/8): 1. In narrative packet, carefully read “moving from sketch to draft.”

2. We will not be meeting as a class tomorrow so that if you want to speak to me in my office about your piece, you can.

M 2/8: Individual meetings with students about their papers HW for next class: 1. Narrative due next class.

W 2/10: In-class:  Narrative due

 Most helpful critic nominations (which classmates helped you the most with your narrative?)

 Reflecting on the narrative: what you learned, how you might use that knowledge

 Music fundamentals: timbre, and in particular, describing the timbre of unique singers

HW for next class (M 2/15): 1. To next class, bring in what you think is a good love song or break-up song. Have at least two reasons for why it is so.

2. V-day is Sunday. Take a chance.

M 2/15: In-class:  Listen to love songs and break-up songs and discuss criteria for such things

 Music fundamentals: basics of rhythm (beat and tempo); dynamics

 Daniel gives example of the “bands you should check out” presentations

o Daniel gives the presentation groups

W 2/17: In-class:  Bands you should check out, group A presents

 Introduction to the music review

 Heads up: you may want to read ahead in the Writing Analytically book. The upcoming sections will really help you with your review.

 Heads up: bring your laptop with wi-fi (capability) next class.

HW for next class (M 2/22): Please place your responses to 2, 3, and 4 below in one document. One copy, typed. 1. Try to narrow down the cd you’d like to review.

2. Culearn: read Ballenger’s “Writing a review.” For the “Pirates of the Caribbean” piece, respond to prompts 1, 2, and 3 that follow that example. True, this doesn’t totally relate to music, but the dude writes well (far better than most music reviewers.) For the “Lost Highway” piece, respond to prompts 1 and 3 that follow that example.

3. Using the questions for peer review in the review packet given to you, critique the sample music review on culearn.

4. Writing Analytically: carefully read pp.41-61 (What is analysis and how does it work). This section will help you analyze the cd you choose. The authors talk much about the “five moves of analysis.” For each of the five moves, I would like you to take a paragraph or so and describe the move, as well as why that move helps you understand the thing you are analyzing.

5. Please bring a laptop with wi-fi capability next class.

M 2/22: In-class:  Discuss the five moves of analysis

 Discuss sample reviews

 Exploring musical databases (helping you with your music review research)

HW for next class (W 2/24): 1. Writing Analytically: carefully read pp. 137 – 153 (Analyzing evidence in depth). Understand what the functions of evidence are and how to analyze it in an in-depth manner (e.g., doing a “10 on 1”). Also pay close attention to the 10 on 1 examples on pages 151-153. This section should help you get the most out of the evidence in your review.

2. Group one: post sketch of music review to culearn by Tuesday at noon.

3. Everyone: using the questions for peer review in the review packet, critique group one’s pieces and post your responses by classtime Wednesday.

W 2/24: In-class:  Briefly review Writing Analytically reading (evidence: its function, doing a 10 on 1, etc.)

 Workshop group one’s reviews

 Briefly introduce and handout the ethnography assignment

o The process and timetable of the assignment

HW for next class (M 3/1): 1. Group two: post your sketches Saturday by noon.

2. Everyone: using questions for peer review in the review packet, critique your group’s sketches and post your responses by next class.

3. On culearn, read Ballenger’s “Writing the ethnographic essay, part one.” The two examples here don’t have to do with music, but they’ll give you a feel for the ethnographic form. On Ballenger p. 379 respond to prompts two and three. On Ballenger p. 387, respond to prompt 2. One copy, typed. 4. Carefully read the Ethnography packet (guidelines), and complete the chart exercise towards the beginning. Handwritten is fine. Settle on a group that you could observe, and hold your potential sub-culture against the criteria on the page two of the guidelines. It’s a waste of time to research a s-c that doesn’t meet the criteria.

M 3/1: In-class:  Workshop group two’s reviews

 Explaining ethnographies: the features of the form

 Discuss what makes a feasible musical sub-culture

HW for next class (W 3/3): 1. Finish your review.

2. Start researching your s-c. Start making contacts.

W 3/3: We won’t meet as a class, but stop by my office if you have concerns about your review or your potential sub-culture. HW: 1. Review due next class.

2. Set up/do observations of your s-c.

3. Read the sample musical ethnography on culearn. Critique them using the questions for peer review in the ethnography guidelines. One copy, typed.

4. “Bands you should check out” group B: you are up next class.

M 3/8: In-class:  Review due

 Reflecting on the review

 Most helpful critic nominations

 Bands you should check out presentations, group B presents

 Discuss sample musical ethnography

HW for next class (W 3/10): 1. On culearn, read Ballenger’s “Writing the ethnography, part two” pp. 394-400. Pay special attention to “Questions Ethnographers Ask” (p.395) and constructing good field notes. You will turn in your field notes with your final draft.

2. Observe your s-c. Analyze your field notes for patterns (five analytical moves). This assignment cannot be rushed.

W 3/10: In-class:  Questions ethnographers ask

 Research considerations (conducting primary research)  Constructing good field notes

 Tips for interviewing

 Determine group one for ethnography

HW for next class (M 3/15): 1. Work on your ethnography.

2. In Ballenger’s writing the ethnography, part two (on culearn), read pp. 400-403 (Writing the Sketch)

M 3/15: In-class:  Tips for constructing a coherent ethnographic sketch

o Remembering what we’ve learned: five moves of analysis

 How to create engaging opening paragraphs( revisited)

 Bands your should check out group C presents

HW for next class (W 3/17): 1. Group one, post ethnographic sketch to culearn by 5 p.m. Tuesday. Make sure to follow the sketch guidelines in the packet.

2. Everyone: using the sketch questions for peer review in the ethnography packet, read and post your responses on group one.

W 3/17: In-class:  Workshop group one’s sketches

 Bands you should check out group D presents

HW: 1. Group two, post your ethno sketch by noon on Friday.

3/22-3/26 Spring Break

M 3/29: In-class:  Workshop group two’s sketches

 Moving from sketch to draft

HW: 1. Ballenger (culearn) read pp. 401—405 (Moving from sketch to draft).

W 3/31: We won’t meet as a class. If you have questions about your ethnography, feel free to stop by my office. HW: 1. Ethnography due next class.

M 4/5: In-class:  Ethnography due

 Reflecting on the ethnography

 Most helpful critics

 Introduction to the field of Acoustic Ecology

HW for next class (4/7):

1. Carefully read “Introduction to acoustic ecology” article (pdf file) on culearn homepage. There may be a quiz on it.

W 4/7: In-class:

• Introduction to acoustic ecology continued (if need be)

• In-class practice at describing non-musical sounds

• Introduce the Guidelines for the Soundscape project (and why it’s crucial to choose an appropriate soundscape)

HW for next class (M 4/12): NB. Please place your responses to 1,2, and 3 below in one document. One copy, typed.

1. Using the questions for peer review in the Soundscape project packet, please critique the sample soundscape projects on culearn.

2. Culearn: read selections from Schafer’s Tuning of the World: “Introduction” (pp.3-12) and “The Natural Soundscape” (15-28). You’ll notice the chapters are broken down into many sub-headings – e.g., “From Industrial Design to Acoustic Design” or “Orchestration is a Musician’s Business.” For each of these sub-headings, in your own words give a two sentence summary of the core ideas contained within.

3. Culearn: read Diane Ackerman’s “Hearing, part one” (which is the first half of a chapter from her best-seller “A Natural History of the Senses”). Please write down verbatim at least three descriptions of sounds that you think are particularly good. Also note any ideas that seem interesting, helpful, or insightful.

4. Settle on a soundscape for your project.

M 4/12: In-class activities:

• Discuss ideas from Schafer reading that struck you as interesting or helpful

• Clarify key acoustic ecology terms – e.g., keynote, soundmark, etc.

• Discuss ideas and places of first-rate description in Ackerman chapter

• Analyze sample Soundscape projects • Describe listening walk next class

HW for next class (W 4/14):

Please place responses to 1 and 2 below in one word doc. One copy, typed.

1. Culearn: Read Schafer’s “Listening” from Tuning of the world. Observe (and also think about) the interesting sounds that you experience on a semi-regular basis. Which of those sounds would be worth preserving, if they were somehow on the verge of extinction? (See the bottom of p.209 for an example of sounds that are either extinct or on the verge.) Try to come up with ten sounds.

2. Culearn: read Diane Ackerman’s “Hearing, part two.” Please write down verbatim at least three descriptions of sounds that you think are particularly good. Also note any ideas that seem interesting, helpful, or insightful. Please include these responses with your “interesting sounds list” above.

3. We’ll be going on a listening walk next class, so check the weather report.

W 4/14: In-class activities:

• Go on listening walk around campus

HW for next class (M 4/19):

1. Work on your Soundscape project.

• Discuss your interesting, everyday sounds that you would wish to preserve

• Lecture: how music and sound affect our perception of space

HW for next class (W 4/21): 1. Group one, please post sketch by 5 p.m. Tuesday.

2. Everyone: read and post responses to group one by next class.

W 4/21: In-class activities: • Workshop group one

• Determine reading groups for group two • Bands you should check out, group E presents

• FCQs

HW for next class (4/26):

1. Group two post sketches by Friday at five p.m.

2. Everyone: read and post comments on your small group two.

• Workshop group two

• Bands you should check out, group F presents

W 4/28: In-class activities:

• Reflect on what you learned this semester

Soundscape project due in my box Friday by noon.