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Home , Banda music, Chacarera, Mariachi, Me Enamora, Music of Latin America, Son jalisciense

Syllabus MUS 334/MUS/380/AFR 374/LAS 326 of

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 (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 (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 . 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 per lecture will be 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 , if known —The approximate time it was written, within a decade —The culture area/country with which it is associated —The 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 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. A two-page description/outline for the project and an accompanying bibliography is due during week 5, and a draft of the project is due week 11. The final version of the paper (assuming additional revisions are necessary) as well as the transcriptions and recording of musical performance (in the case of graduate music students) will be due on Tuesday of the last week of classes. This schedule will ensure that the instructor has time to interact with you as you define the project and conduct your research. Graduate students are welcome to combine the topic of their individual research paper and/or musical transcriptions and performance work with their final class presentation. For graduates, the exams will constitute 25% of the overall grade, the final 15%, the individual project 30%, the transcription and performance/recording 10%, the postings/oral presentation 10%, and attendance 10%.

Extra Credit Options 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 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 related to Latin America: (1) Ensemble, (T-Th 4-5pm, MRH 2.118) [email protected] (2) Steel Pan Ensemble (MW 5-6pm, MRH 6.222) [email protected] (3) 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.

—Austin School (samba : www.austinsambaschool.org) —Richard Huntley offers Latin drumming lessons: [email protected] —UT’s Ballet Folklórico offers Mexican dance lessons : https://www.facebook.com/UTBalletFolklorico/ —Puerto Rican Folkloric Dance (http://www.prfdance.org/) Music of Latin America syllabus, p. 5

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 will be accepted 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.

UT Mariachi Ensemble: Sun Nov 10, 7:30pm, Recital Studio (MRH 2.608) UT Hispanic Caribbean Ensemble: Wed Nov 13, 7:30pm, Bates Recital Hall UT Tex-Mex Conjunto Ensemble: Sun Nov. 3, 7:30pm, Recital Studio (MRH 2.608)

— is played regularly at Flamingo Cantina (www.flamingocantina.com) and elsewhere. —The Sahara Lounge (http://saharalounge.com/) regularly features steel pan, reggae, artists, Brazilian artists, and others. —Salsa Bands in the area include: O Positivo, Grupo Fantasma, Cienfuegos, El Tule, La Moña Loca, Cienfuegos, and The Brew. —Joel Guzmán, co-instructor of the Conjunto ensemble, plays regularly in Austin: http://www.guzmanfox.com/ —Cerronato is a local Colombian . They can be contacted about upcoming shows: http://cerronato.com/contact.htm —Esquina schedules frequent Latin American music and dance events: see their calendar at http://www.esquinatangoaustin.com/ —Info about conjunto performances in Austin can be found at: https://www.facebook.com/ranchoalegretx/?eid=ARAxmDUvGd2kgMmAmTk65wU AdLMuokXnsOMECblFFw1nBhW5qmNRcdzgQm8fwoxVdAxr5uJJaJE524Uw&tim eline_context_item_type=intro_card_work&timeline_context_item_source=10000043 4761650&fref=tag

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.

Music of Latin America syllabus, p. 6

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

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.

Thurs Aug. 29. Introductions Reading: none Listening: none

Week 2. Latin America as a Cultural Region. Music of the Colonial Era. Subjects to be addressed: Week 2 provides an introduction to Latin American musical study, and to the colonization of Latin America.

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 ? 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 Sept. 3. Latin America as a Cultural Region Reading: Musics of Latin America (MOLA) Chpt. 1, “Introduction,” pp. 2-23. Listening: “Los dos”

Thurs Sept. 5. Latin American musics of the colonial era. Reading MOLA 25-39, 50-53, 64-74 Listening: Hanacpachap cussicuinin/Bliss of Heaven, Salve Regina, Hand out music for Mexican son performance?

Week 3. Mexican sones. Música norteña, , and . Subjects to be addressed: Week 3 focuses on the history and stylistic elements of mestizo dance music in , as well as on northern border musics.

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?

Music of Latin America syllabus, p. 7

Tues Sept. 10. Mexican sones. Musical performance? Reading: MOLA 77-81 (an intro to Mexican music), 93-96 (on and ). Madrid, Music in Mexico Chpt. 2, 11-36 (on ) Listening: La María Chuchena (son jarocho), La jota/La María Chuchena, La negra

Thurs Sept. 12. The corrido/música norteña and banda. 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: Máquina 501, La matanza de El Paso,

Week 4. Mexico, Con’t. Sentimental . 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 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 Sept. 17. Mexican sentimental song. Reading: MOLA 103-04. Madrid, Music in Mexico Chpt. 4, 56-72. Listening: “Pa’ todo el año,” Esperaré, “Yo no nací para amar”

Thurs Sept. 19. Mexican rock and canto nuevo Reading: MOLA 108-11 Listening: Eres, Sale sobrando, Vienen cantando

Week 5. Central America. Exam 1. Abstract/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 Sept. 24. Central America: , , Panama Readings: MOLA 125-38 Listening: Luna de Xelajú, Credo/La misa campesina, Rosa de los vientos

Thurs Sept. 26. EXAM 1 (through week 4)

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

Music of Latin America syllabus, p. 8

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 Oct. 1. Venezuela Reading: MOLA 154-74 Listening: El indio, Sueños de Guillermo, Fuga con pajarillo

Thurs Oct. 3. 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, con’t. 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 in the Caribbean? How might Cuban son, New York salsa, and Dominican all 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 Oct 8. Son, salsa, merengue Reading: MOLA 194-206 Listening: Beso discreto, Ritmo en el corazón, Píntame

Thurs Oct 10. Practicum, salsa musical style. Musical performance? Rueda de casino. Reading: none Listening: Cáscara patterns with clave, patterns, salsa bell patterns

Week 8. . Guest Artist Dayramir González. Subjects to be addressed: Week 8 considers the tremendous diversity of musical styles in Brazil, the largest and most populous country in Latin America. It also includes a conversation with a young Latin composer.

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?

Tues Oct. 15. Traditional and regional musics Reading: MOLA 225-230, 234-46 Listening: Pássaro sonhador, Asa branca, Rei Zumbi dos Palmares

Thurs Oct. 17. Guest presentation by keyboardist Dayramir González Vicet.

Reading: none Listening: TBD

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 MPB, , and axé music. Music of Latin America syllabus, p. 9

Discussion topics: What tensions between local and international repertoire are found in musical forms like bossa nova or MBP? How do issues of class and race manifest themselves? How are these genres best defined?

Tues Oct. 22. Popular musics: bossa nova, MPB, Axé Reading: MOLA 246-63. Listening: A garota de Ipanema, Fato Consumado, O canto da cidade

Thurs Oct. 24. **Exam 2** (weeks 5 through 8)

Week 10. /Southern Cone Subjects to be addressed: Week 10 is devoted to an overview of music from Argentina, including its regional forms, , 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 Oct. 29. Regional and popular musics Reading: MOLA, 275-92, 305-10 Listening: Milonga para una niña, del paisano, Los sobrevivientes

Thurs Oct. 31. Tango. Guest presentation by Dr. John Turci-Escobar Reading: MOLA, 295-305 Listening: Por una cabeza, Quejas de bandoneón, La camorra I

Week 11. The Andes **Draft of any individual writing/graduate projects due** **Conjunto show Sun Nov. 3** Subjects to be addressed: Week 11 uses case studies from and 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 Nov. 5. 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 Nov. 7. Nueva canción Reading: MOLA, 355-62 Listening: , Plegaria a un Labrador, El pueblo unido

Week 12. Classical music, film music. Danzón. **Mariachi concert Sun Nov. 10. Hispanic Caribbean concert Wed Nov 13** Music of Latin America syllabus, p. 10

Subjects to be addressed: Week 12 considers how conservatory-trained 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 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 and other musics of the ?

Tues Nov. 12. Classical music, film music. Reading: MOLA, 371-76 (general), 214-21 (Caribbean), 393-95 (Santaloalla) Listening: Caribe, Overture to The Motorcycle Diaries, Un día de noviembre

Thurs Nov. 14. Danzón 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*** 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? How are notions of Latinidad changing in the work of these individuals?

Tues Nov. 19. Twenty-First Century Latin American and Latino Popular Musics Reading: MOLA, Chpt. 10, pp. 397-407, 416-19, 429-33 Listening: “,” “Me enamora,” “Su veneno,” “La perla”

Thurs Nov. 21. Student Presentations, Day 1. Reading: none Listening: none

Week 14. Individual Student Presentations. Thanksgiving. 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. Nov. 26. Student presentations, Day 2. Final review sheet to be circulated. Reading: none Listening: none

Thurs Nov. 28. Thanksgiving Holiday.

Week 15: Student Presentations, Day 3. Exam 3 Music of Latin America syllabus, p. 11

**Completed Graduate Projects, Other Papers and Reviews Due**

Tues Dec. 3. Collective review in section. Student presentations. Reading: none Listening: none

Thurs Dec. 5. Exam #3 (weeks 9 through week 15)