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Syllabus MUS 334/AFR 374F/LAS 326 Music of the African Diaspora

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Syllabus MUS 334/AFR 374F/LAS 326 Music of the African Diaspora Syllabus MUS 334/AFR 374F/LAS 326 Music of the African Diaspora Instructor: Robin Moore Instructor's office: MBE 3.210 Voice mail—471-0373 Email: [email protected] Office hrs: Tues-Thurs 3-4pm, or by appt. Class times: Tues-Thurs 2-3:15pm, Class location: MRH 2.610 Teaching assistant: Iris Blake [email protected] Unique numbers and labs for Music (MUS 334): Lab Mon 5-6pm (21785) Lab Wed 5-6pm (21786) Lab Mon 6-7pm (21788) For African and African American Studies (AFR 374S): Lab Mon 5-6pm (30437) Lab Wed 5-6pm (30438) Lab Mon 6-7pm (30439) For Latin American Studies (LAS 326): Lab Mon 5-6pm (40347) Lab Wed 5-6pm (40348) Lab Mon 6-7pm (40349) Description This course examines the musical legacy of the African slave trade in the Americas, the social contexts in which black musical forms have developed, and their varied forms. It considers particular African ethnic groups represented prominently in the New World (especially the Caribbean and Brazil), the traditions they brought with them, and the ways they have been adapted to new ends. Emphasis will be placed on the similarities and differences between the music of black communities in North America and those in the Caribbean/South American. Other themes include the shifting meanings of “black music” in various contexts, the notion of hybridity, and the uses of African- influenced music as a political or oppositional tool. Students will be provided an opportunity to sing and/or play music whenever possible. Those especially interested in performance are encouraged to participate in UT ensembles. Music of the African Diaspora, p. 2 “Music of the African Diaspora” carries the 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 book has been ordered for the class, John Storm Roberts’ Black Music of Two Worlds, 2nd edition (Schirmer, 1998). It is available for purchase in the Co-Op East bookstore at Dean Keaton and Medical Parkway. In addition, a selection of other assigned reading and listening has been assembled from other sources. These have been placed on Blackboard. Listening Students are asked to listen to assigned musical examples each week and to be responsible for recognizing and identifying them on exams; approximately three songs per lecture will be expected of you and should be reviewed before class if possible. You will be asked to remember something about the histories, contexts, functions, and social significance of assigned music. For each example assigned, I suggest making a list for review that includes the following information: —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; i.e. its social meanings —The formal musical characteristics that define the genre Assignments Students will be expected to attend all classes and labs, to keep up with the required reading and listening, to participate in discussion, to take exams on the assigned day, and to complete all other work punctually. See the course schedule below for a listing of exam dates. Assignments for Graduate Students Graduate students enrolled in MUS 334 should expect to write a research paper on a topic of their choice that relates to the focus of the course. Individual written projects should be 12-15 pp. in length. In addition, graduate music students are required to complete two additional assignments: First, they must transcribe and analyze at least one minute’s worth of music from one of the examples provided on their class listening tapes. This work may be incorporated into and/or support their final written project, or it may be entirely separate. Second, they must learn to play and/or sing a representative piece or rhythm of Latin American traditional repertoire unfamiliar to them. This may be accomplished on their own, or with the help of private instruction. The piece may relate Music of the African Diaspora, p. 3 to their final project or not, as they choose. Students may either demonstrate their performance abilities to the class if they wish. A two-page description/outline for the written project and an accompanying bibliography is due during week 7, and a draft of the project is due week 12. 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 the last day of classes. This schedule will ensure that I have time to interact with you as you conduct your research. Grading Policy Grades will be determined on the basis of three in-class exams, attendance, postings to the class Blackboard site, and class participation. For undergraduates, the first two exams will constitute 50% of the student’s overall grade, the third exam 30%, the postings 10%, and attendance and class participation 10%. Exams will consist of three parts: a listening quiz, a term ID section, and an essay segment. Undergraduates may opt to write an 8-10 pp. paper instead of taking one of the midterm exams or the final. If they choose this option, they should refer to the guidelines above for graduate students. Those planning to write a paper should request a meeting with the instructor by week 5 and provide a proposed abstract, outline, and bibliography no later than week 7. They should expect to submit a draft of their work by week 12 to receive additional feedback. For graduates, the first two exams will constitute 30% of the student’s overall grade, the third exam 20%, the individual project 30%, the postings 10%, and the transcription and performance/recording 10%. Extra Credit Options (Undergraduates) Performance Ensembles It is the intention of this course to encourage active participation in musical experiences to the greatest extent possible. Therefore, any student interested in enrolling and participating in a one-unit world music performance ensemble at the University of Texas in conjunction with this course will have their lowest test score raised to an A. If you decide to pursue this option, please notify your instructor and TA as soon as possible. You will need to formally enroll by the 12th day of classes. Appropriate ensembles at UT include: (1) the African American vocal ensemble (not offered in the Spring of 2013) (2) the Steel Pan ensemble (meets MW 5-6pm in MRH 6.222, unique #25710) (3) Caribbean Ensemble (meets W 6-9pm in MRH 6.252, unique #25625) Other groups such as jazz combos may be appropriate to enroll in as well, in consultation with the instructor. Alternately, students may opt to join a group outside of UT for the semester, or to take private lessons on an instrument related to course subject matter. If participation or instruction of this sort is duly documented, you will receive substantial extra credit Music of the African Diaspora, p. 4 depending on the extent and length of the commitment. Students must attend rehearsals regularly, or take at least five private lessons. A list of possible groups/contacts for such activity is included below. —Academicos da Opera (samba batucada:www.austinsambaschool.org) —Buscando el Monte (Cuban comparsa: http://www.myspace.com/buscandoelmonte) —Djembabes (awful name, but they have a website –www.djembabes.com —Drumz appears to offer percussion classes and workshops: www.drumzaustin.com —Gerard Villanueva offers hand drumming lessons: [email protected] —Lannaya West African Drum & Dance: http://www.lannaya.com/) —Puerto Rican Folkloric Dance (http://www.prfdance.org/) —Rattletree / Zimbabwean marimba lessons:http://www.rattletree.com & http://austin.craigslist.org/cls/507587861.html) Concert Reviews Those interested in attending a concert of music related to the African diaspora and writing a review of their experiences will receive up to seven additional points added to one of their exam scores. The reviews should be 3-4pp. in length. They should discuss many of the same things required of those discussing musical examples during exams. In addition, it students should do some library work to fill in background information on the styles of music heard at the concert; at least two written sources should be formally cited and referenced in the review. Up to two reviews may be submitted by any student and must be received by Tuesday of week 15. 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. A “$” after the listing indicates that a fee is charged for the event. UT Performances Black History Month concert: Friday Feb 8th, 7:30pm Bates Recital Hall UT Jazz Orchestra: Friday, Feb 22nd, 7:30pm Bates Recital Hall ($) Dafnis Prieto Cuban jazz quartet: Sunday March 24th, 7pm, Bass Concert Hall ($) Maria Schneider with the UT Jazz Orchestra: Sat April 13th, 7:30pm, Bass Hall ($) Hispanic Caribbean ensemble: Wed April 16th, 7:30pm, Bates Recital Hall Jazz combos: Monday April 22nd, 7:30pm Recital Studio (MRH 2.610) Jazz combos: Monday April 29th, 7:30pm Recital Studio (MRH 2.610) Community Performances Brazilian Bands in the area include the Crying Monkeys, and Seu Jacinto. Scan the Chronicle for local listings. Central Market has many world music events; check their monthly calendar: www.centralmarket.com Jazz events are held regularly at the Elephant Room.
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