DOCSLIB.ORG

View Music of Latin America. Syllabus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
View Music of Latin America. Syllabus 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: John Bimbiras [email protected] TA office: *** TA office hrs: *** Lab location: MRH 4.126 Unique numbers and labs for Music (MUS 334): Lab Mon 5-6pm (30185) Lab Thurs 5-6pm (30190) For African and African American Studies (AFR 374F): Lab Mon 5-6pm (29875) Lab Mon 6-7pm (29885) For Latin American Studies (LAS 326): Lab Mon 5-6pm (38840) Lab Mon 6-7pm (38845) 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 One textbook has been ordered for the course, Musics of Latin America (W.W. Norton, 2012); it is available for purchase in the Coop, and several copies have been placed on reserve in the Fine Arts Library. 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 Music of Latin America syllabus, p. 2 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 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 concert review, weekly postings to Canvas), 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. 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 try to 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. Music of Latin America syllabus, p. 3 Class Presentations You will prepare a final class presentation on Latin American music in a small group (usually 2-4 students) by researching a particular musical artist, genre, or national or regional musical style of your choice. The collective presentation should take about 15 minutes, with distinct segments presented by everyone in the group. Some portion of the presentation should discuss music per se: instruments, sounds, rhythms, etc., and the remainder should address topics such as historical background, contemporary social meanings, changes in style, accompanying dance, etc. The presentation should be accompanied by visual aids on Powerpoint or Keynote. These files should be given to the TA at the class meeting prior to the presentation so that they can be uploaded to a single computer. The talk may also include audio examples: recorded music, youtube video, or other sources (please also send these to the TA ahead of time as appropriate). Up to three minutes may be devoted to playing music. The presentations will be evaluated based on the following categories: clear organization, clear focus/framing of central issues, appropriate use of AV, incorporation of musical analysis/discussion, and staying within time constraints. 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 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 for Graduate Students Graduate students who enroll in the course as MUS 380 will complete an individual project on a topic of their choice that relates to course content, in addition to their collective oral presentation. The individual project may consist of a performance (learning a new piece of music), a composition, musical analysis, a transcription, a Music of Latin America syllabus, p. 4 research paper, or any other project approved by the instructor. If written, individual projects should be roughly 12-15 pp. in length, excluding notes and bibliography. In addition, graduate music students are required to complete two additional tasks: First, they must transcribe and analyze approximately one minute’s worth of music related to the class listening. This task may be incorporated into and/or support their final project, or it may be separate. Second, they must learn to play and/or sing a representative piece or rhythm of repertoire unfamiliar to them that relates to the course. Again, this may be incorporated into to their final project or not, as they choose. Students may demonstrate their performance skills to the class as part of final class presentations if they wish.
Load more

Recommended publications
  • Schooltime Study Guide
    2009—2010 Season SchoolTime Study Guide Ballet Folklorico “Quetzalli” de Veracruz Monday, May 3, 2010 at 11 a.m. Zellerbach Hall, University of California, Berkeley Welcome to SchoolTime! Your class will attend a performance of Ballet Folklorico “Quetzalli” de Veracruz on Monday, May 3 at 11am. For the past 20 years, “Quetzalli” has been one of Mexico’s most popular cultural exports, providing audiences worldwide with a “heady rush of tapping heels, dazzling costumes and insistent rhythms!” (Kansas City Star). Quetzalli’s programs offer a riveting mix of culture and folklore enfolded within the regional dances of old Mexico, particularly the company’s home state of Veracruz. The dancers are accompanied by Mexican traditional music performed by the acclaimed ensemble, Tlen-Huicani. Using This Study Guide You can use these materials to engage your students and enrich their Cal Performances field trip. Before attending the performance, we encourage you to: • Copy the student Resource Sheet on pages 2 & 3 and give it to your students several days before the show. • Discuss the information on pages 4-7 About the Performance & Artists with your students. • Read to your students from About the Art Form on page8 and About the Mexico on page 12. • Engage your students in two or more activities on pages 19-22. • Reflect with your students by asking them guiding questions, found on pages 2,4, 8, & 12. • Immerse students further into the art form by using the Glossary and Resource sections on pages 16 & 18. At the performance: Your students can actively
    [Show full text]
  • Music of Latin America (In English)
    Music of Latin America (in English) Class Code MUSIC – UA 9155 Instructor Juan Raffo Details Email: [email protected] Cell/WhatsApp: +54 911 6292 0728 Office Hours: Faculty Room, Wed 5-6 PM Class Details Mon/Wed 3:30-5:00 PM Location: Room Astor Piazzolla Prerequisites None Class A journey through the different styles of Latin American Popular Music (LAPM), Description particularly those coming from Argentina, Brazil and Uruguay. Their roots, influences and characteristics. Their social and historical context. Their uniqueness and similarities. Emphasis in the rhythmic aspect of folk music as a foundation for dance and as a resource of cultural identity. Even though there is no musical prerequisite, the course is recommended for students with any kind and/or level of musical experience. The course explores both the traditional and the contemporary forms of LAPM. Extensive listening/analysis of recorded music and in-class performing of practical music examples will be primary features of the course. Throughout the semester, several guest musicians will be performing and/or giving clinic presentations to the class. A short reaction paper will be required after each clinic. These clinics might be scheduled in a different time slot or even day than the regular class meeting, provided that there is no time conflict with other courses for any of the students. Desired Outcomes ● Get in contact with the vast music culture of Latin America ● Have a hands-on approach to learn and understand music ● Be able to aurally recognize and identify Latin American music genres and styles Assessment 1. Attendance, class preparation and participation, reaction papers (online): Components 20 % 2.
    [Show full text]
  • Historical Background
    Historical Background Lesson 3 The Historical Influences… How They Arrived in Argentina and Where the Dances’ Popularity is Concentrated Today The Chacarera History: WHAT INFLUENCES MADE THE CHACARERA WHAT IT IS TODAY? HOW DID THESE INFLUENCES MAKE THEIR WAY INTO ARGENTINA? The Chacarera was influenced by the pantomime dances (the Gallarda, the Canario, and the Zarabanda) that were performed in the theaters of Europe (Spain and France) in the 1500s and 1600s. Later, through the Spanish colonization of the Americas, the Chacarera spread from Peru into Argentina during the 1800s (19th century). As a result, the Chacarera was also influenced by the local Indian culture (indigenous people) of the area. Today, it is enjoyed by all social classes, in both rural and urban areas. It has spread throughout the entire country except in the region of Patagonia. Popularity is concentrated in which provinces? It is especially popular in Santiago del Estero, Tucuman, Salta, Jujuy, Catamarca, La Rioja and Cordoba. These provinces are located in the Northwest, Cuyo, and Pampas regions of Argentina. There are many variations of the dance that are influenced by each of the provinces (examples: The Santiaguena, The Tucumana, The Cordobesa) *variations do not change the essence of the dance The Gato History: WHAT INFLUENCES MADE THE GATO WHAT IT IS TODAY? HOW DID THESE INFLUENCES MAKE THEIR WAY INTO ARGENTINA? The Gato was danced in many Central and South American countries including Mexico, Peru, Chile, Uruguay, and Paraguay, however, it gained tremendous popularity in Argentina. The Gato has a very similar historical background as the other playfully mischievous dances (very similar to the Chacarera).
    [Show full text]
  • Colombian Nationalism: Four Musical Perspectives for Violin and Piano
    COLOMBIAN NATIONALISM: FOUR MUSICAL PERSPECTIVES FOR VIOLIN AND PIANO by Ana Maria Trujillo A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Major: Music The University of Memphis December 2011 ABSTRACT Trujillo, Ana Maria. DMA. The University of Memphis. December/2011. Colombian Nationalism: Four Musical Perspectives for Violin and Piano. Dr. Kenneth Kreitner, Ph.D. This paper explores the Colombian nationalistic musical movement, which was born as a search for identity that various composers undertook in order to discover the roots of Colombian musical folklore. These roots, while distinct, have all played a significant part in the formation of the culture that gave birth to a unified national identity. It is this identity that acts as a recurring motif throughout the works of the four composers mentioned in this study, each representing a different stage of the nationalistic movement according to their respective generations, backgrounds, and ideological postures. The idea of universalism and the integration of a national identity into the sphere of the Western musical tradition is a dilemma that has caused internal struggle and strife among generations of musicians and artists in general. This paper strives to open a new path in the research of nationalistic music for violin and piano through the analyses of four works written for this type of chamber ensemble: the third movement of the Sonata Op. 7 No.1 for Violin and Piano by Guillermo Uribe Holguín; Lopeziana, piece for Violin and Piano by Adolfo Mejía; Sonata for Violin and Piano No.3 by Luís Antonio Escobar; and Dúo rapsódico con aires de currulao for Violin and Piano by Andrés Posada.
    [Show full text]
  • FC List Through 20209
    1000000104 Central and South American/ Iberia (Spanish & Portuguese) CENTRAL AND SOUTH AMERICA ANT 310L INTRO TO JEWISH LATIN AMERICA ANT 310L 9-AZTECS AND SPANIARDS (LAS 315) ANT 324L GLOBALIZATION IN LATIN AMER (LAS 324L) ANT 324L MAYA ART AND ARCHITECTURE-GUA (ARH 347M, GRG 356T, LAS 327 [5]) ANT 324L ARAB LATIN AMERICAS ANT 324R DAILY LIFE IN MESOAMERICA (LAS 324Q) ANT 662 FIELD ARCHAEOLOGY-BLZ ARH 341S ART CINEMAS OF THE AMERICAS (LAS 327-7) ARH 347N AZTEC RT AND CIVILIZATION ARH 370 ARCH/SCULPTURE IN MAYA WORLD ARH370J 1-ANCIENT MAYA WRTG AND HIST ARH 370J 2-SCRD LNDSCPS PRECLMBN WRLD GRG 323K SOUTH AMER: NAT/SOCTY/SUST-ECU HIS 306N INTRO TO JEWISH LATIN AMERICA HIS 310K LATIN AMER CIV: COLONIAL EXP (LAS 310 [1]) HIS 328M MODERN BRAZIL (LAS 366 [12]) HIS 346V 20TH-CEN RURAL LATIN AMER (LAS 366 [19]) HIS 346W CHURCH & STATE IN LAT AMER (LAS 366 [21], R S 368 [1]) HIS 350L CHILE: REVLUTN TO CNTERREVLUTN (LAS 366) HIS 350L 68-AFRO-LATIN AMERICA (AFR 372G [10], LAS 366 [31]) HIS 363K CUBA IN QUESTION-CUB (SPC 320C, LAS 328, AFR 372G) HIS 363K POLITICS OF FOOD IN LATIN AMER (LAS 366) HIS 363K 4-MAPPING LATIN MAERICA (GRG 356T [12], LAS 330 [4]) LAS 301 KEY IDEAS & ISS IN LAT AMER LAS 310 AFRICANS IN THE ATLANTIC WORLD LAS 310 AFRO-BRAZILIAN DIASPORA LAS 310 ISRAEL/LAT AM/JEWISH DIASPORA LAS 310 SEX/REVLTN MODERN LAT AMER LAS 310 DRUG HISTORY IN THE AMERICAS LAS 310 INTRO RELIG/LAT AMER/CARIB LAS 310 RACE, DEPORTATION, DIASPORA LAS 310 1-LATIN AMERICAN CIVILIZATION: THE COLONIAL EXPERIENCE LAS 310 5-FILM/HIST LAT AM: COLONIAL LAS 310 6-FILM/HIST
    [Show full text]
  • The Global Reach of the Fandango in Music, Song and Dance
    The Global Reach of the Fandango in Music, Song and Dance The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by K. Meira Goldberg, Antoni Pizà and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9963-1 ISBN (13): 978-1-4438-9963-5 Proceedings from the international conference organized and held at THE FOUNDATION FOR IBERIAN MUSIC, The Graduate Center, The City University of New York, on April 17 and 18, 2015 This volume is a revised and translated edition of bilingual conference proceedings published by the Junta de Andalucía, Consejería de Cultura: Centro de Documentación Musical de Andalucía, Música Oral del Sur, vol. 12 (2015). The bilingual proceedings may be accessed here: http://www.centrodedocumentacionmusicaldeandalucia.es/opencms/do cumentacion/revistas/revistas-mos/musica-oral-del-sur-n12.html Frontispiece images: David Durán Barrera, of the group Los Jilguerillos del Huerto, Huetamo, (Michoacán), June 11, 2011.
    [Show full text]
  • Listado De Generos Autorizados.Xls
    POR SUBGENERO LISTADO DE GENEROS AUTORIZADOS ACTUALIZADO AL 10 / 10 / 2006 SUBGENERO CODIGO GENERO AFRO 500 INTERNACIONAL AGOGO 594 INTERNACIONAL AIRES ESPAÑOLES 501 INTERNACIONAL ALBORADA 502 INTERNACIONAL ALEGRO VIVACE 455 SINFONICO Y CAMARA ANATEADA 627 FOLKLORE ANDANTE 400 SINFONICO Y CAMARA ARIA 401 SINFONICO Y CAMARA AUQUI AUQUI 633 FOLKLORE BAGUALA 300 FOLKLORE BAILECITO 301 FOLKLORE BAILE 402 INTERNACIONAL BAILES 302 FOLKLORE BAION 503 INTERNACIONAL BALADA 100 MELODICO BALLET 403 SINFONICO Y CAMARA BAMBUCO 595 INTERNACIONAL BARCAROLA 504 INTERNACIONAL BATUCADA 505 INTERNACIONAL BEAT 101 MELODICO BEGUINE 102 MELODICO BERCEUSE 404 SINFONICO Y CAMARA BLUES 103 MELODICO BOCETO 405 SINFONICO Y CAMARA BOGALOO 105 MELODICO BOLERO 104 MELODICO BOMBA 506 INTERNACIONAL BOOGIE BOOGIE 106 MELODICO BOSSA NOVA 507 INTERNACIONAL BOTECITO 508 INTERNACIONAL BULERIAS 509 INTERNACIONAL CACHACA 615 INTERNACIONAL CACHARPAYA 302 FOLKLORE CAJITA DE MUSICA 406 SINFONICO Y CAMARA CALIPSO 107 MELODICO CAMPERA 303 FOLKLORE CAN CAN 510 INTERNACIONAL CANCION 108 MELODICO CANCION DE CUNA 453 SINFONICO Y CAMARA CANCION FOLKLORICA 358 FOLKLORE Página 1 POR SUBGENERO LISTADO DE GENEROS AUTORIZADOS ACTUALIZADO AL 10 / 10 / 2006 SUBGENERO CODIGO GENERO CANCION INDIA 643 FOLKLORE CANCION INFANTIL 407 SINFONICO Y CAMARA CANCION MAPUCHE 642 FOLKLORE CANDOMBE 1 POPULAR CANON 408 SINFONICO Y CAMARA CANTATA 409 SINFONICO Y CAMARA CANTE JONDO 511 INTERNACIONAL CANZONETTA 109 MELODICO CAPRICCIO 410 SINFONICO Y CAMARA CARAMBA 304 FOLKLORE CARNAVAL 348 FOLKLORE CARNAVALITO
    [Show full text]
  • Mood Music Programs
    MOOD MUSIC PROGRAMS MOOD: 2 Pop Adult Contemporary Hot FM ‡ Current Adult Contemporary Hits Hot Adult Contemporary Hits Sample Artists: Andy Grammer, Taylor Swift, Echosmith, Ed Sample Artists: Selena Gomez, Maroon 5, Leona Lewis, Sheeran, Hozier, Colbie Caillat, Sam Hunt, Kelly Clarkson, X George Ezra, Vance Joy, Jason Derulo, Train, Phillip Phillips, Ambassadors, KT Tunstall Daniel Powter, Andrew McMahon in the Wilderness Metro ‡ Be-Tween Chic Metropolitan Blend Kid-friendly, Modern Pop Hits Sample Artists: Roxy Music, Goldfrapp, Charlotte Gainsbourg, Sample Artists: Zendaya, Justin Bieber, Bella Thorne, Cody Hercules & Love Affair, Grace Jones, Carla Bruni, Flight Simpson, Shane Harper, Austin Mahone, One Direction, Facilities, Chromatics, Saint Etienne, Roisin Murphy Bridgit Mendler, Carrie Underwood, China Anne McClain Pop Style Cashmere ‡ Youthful Pop Hits Warm cosmopolitan vocals Sample Artists: Taylor Swift, Justin Bieber, Kelly Clarkson, Sample Artists: The Bird and The Bee, Priscilla Ahn, Jamie Matt Wertz, Katy Perry, Carrie Underwood, Selena Gomez, Woon, Coldplay, Kaskade Phillip Phillips, Andy Grammer, Carly Rae Jepsen Divas Reflections ‡ Dynamic female vocals Mature Pop and classic Jazz vocals Sample Artists: Beyonce, Chaka Khan, Jennifer Hudson, Tina Sample Artists: Ella Fitzgerald, Connie Evingson, Elivs Turner, Paloma Faith, Mary J. Blige, Donna Summer, En Vogue, Costello, Norah Jones, Kurt Elling, Aretha Franklin, Michael Emeli Sande, Etta James, Christina Aguilera Bublé, Mary J. Blige, Sting, Sachal Vasandani FM1 ‡ Shine
    [Show full text]
  • Facultad De Artes Y Diseño TESIS DE MAESTRÍA CINCO
    Facultad de Artes y Diseño TESIS DE MAESTRÍA CINCO PROPUESTAS LATINOAMERICANAS DE FLAUTA Y PERCUSIÓN: INTERSECCIÓN ENTRE LO POPULAR Y LO ACADÉMICO CARRERA DE POSGRADO Maestría en Interpretación de Música Latinoamericana del siglo XX Tesista: Virginia Mendez Director: Mgter. Octavio Sánchez Codirectora: Mgter. María Inés García Mendoza, Octubre de 2014. RESUMEN Esta investigación se centra en composiciones para flauta y percusión de compositores latinoamericanos nacidos en la segunda mitad del siglo XX. Dentro de las obras seleccionadas introducen elementos de la música popular de sus países de origen en intersección con la música académica del siglo XX. Este tipo de repertorio no es muy difundido en Argentina y sólo llega a un público muy reducido. La utilización de ciertos tópicos posiciona a las obras como producciones que manifiestan una identidad nacional y una pertenencia a la cultura latinoamericana. Las obras seleccionadas para el Concierto-Tesis pertenecen al repertorio de música de cámara y están presentes una gran variedad de recursos tímbricos y texturales tanto en la percusión como en la flauta. En cuanto a la metodología se realizaron entrevistas a los compositores; recolección y selección de material bibliográfico y partituras; análisis para dilucidar elementos populares; estudio técnico e interpretativo. Los objetivos principales de esta investigación son: Identificar mediante el análisis musical y de tópicos ciertos elementos pertenecientes a una zona de intersección entre los lenguajes populares y académicos. Proponer estrategias en relación al aspecto interpretativo. Poner en valor este repertorio propiciando su circulación mediante la realización de conciertos. 2 AGRADECIMIENTOS Me gustaría que estas líneas sirvieran para expresar mi más profundo y sincero agradecimiento a todas aquellas personas que con su ayuda han colaborado en la realización del presente trabajo.
    [Show full text]
  • The Songs of Mexican Nationalist, Antonio Gomezanda
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-5-2016 The onS gs of Mexican Nationalist, Antonio Gomezanda Juanita Ulloa Follow this and additional works at: http://digscholarship.unco.edu/dissertations Recommended Citation Ulloa, Juanita, "The onS gs of Mexican Nationalist, Antonio Gomezanda" (2016). Dissertations. Paper 339. This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2016 JUANITA ULLOA ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School THE SONGS OF MEXICAN NATIONALIST, ANTONIO GOMEZANDA A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Juanita M. Ulloa College of Visual and Performing Arts School of Music Department of Voice May, 2016 This Dissertation by: Juanita M. Ulloa Entitled: The Songs of Mexican Nationalist, Antonio Gomezanda has been approved as meeting the requirement for the Degree of Doctor of Arts in College of Visual and Performing Arts, School of Music, Department of Voice Accepted by the Doctoral Committee ____________________________________________________ Dr. Melissa Malde, D.M.A., Co-Research Advisor ____________________________________________________ Dr. Paul Elwood, Ph.D., Co-Research Advisor ____________________________________________________ Dr. Carissa Reddick, Ph.D., Committee Member ____________________________________________________ Professor Brian Luedloff, M.F.A., Committee Member ____________________________________________________ Dr. Robert Weis, Ph.D., Faculty Representative Date of Dissertation Defense . Accepted by the Graduate School ____________________________________________________________ Linda L. Black, Ed.D.
    [Show full text]
  • Donn Borcherdt Collection
    http://oac.cdlib.org/findaid/ark:/13030/kt0t1nc989 No online items Finding Aid for the Donn Borcherdt Collection 1960-1964 Processed by . Ethnomusicology Archive UCLA 1630 Schoenberg Music Building Box 951657 Los Angeles, CA 90095-1657 Phone: (310) 825-1695 Fax: (310) 206-4738 Email: [email protected] URL: http://www.ethnomusic.ucla.edu/Archive/ ©2007 The Regents of the University of California. All rights reserved. Finding Aid for the Donn 1966.01 1 Borcherdt Collection 1960-1964 Descriptive Summary Title: Donn Borcherdt Collection, Date (inclusive): 1960-1964 Collection number: 1966.01 Creator: Borcherdt, Donn Extent: 7 boxes Repository: University of California, Los Angeles. Library. Ethnomusicology Archive Los Angeles, California 90095-1490 Abstract: This collection consists of sound recordings and field notes. Language of Material: Collection materials in English, Spanish Access Archive materials may be accessed in the Archive. As many of our collections are stored off-site at SRLF, we recommend you contact the Archive in advance to check on the availability of the materials. Publication Rights Archive materials do not circulate and may not be duplicated or published without written permission from the copyright holders, collectors, and/or performers. For more information contact the Archive Librarians: [email protected]. Preferred Citation [Identification of item], Donn Borcherdt Collection, 1966.01, Ethnomusicology Archive, University of California, Los Angeles. Biography Donn Borcherdt was born in Montrose, California. Borcherdt was a composer and pianist. After he received his BA from UCLA in composition and conducting, he began his graduate studies in ethnomusicology in 1956, focusing first on Armenian folk music and, later, on the music of Mexico.
    [Show full text]
  • Karaoke Mietsystem Songlist
    Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind.
    [Show full text]