SEMESTER AT SEA COURSE SYLLABUS
Voyage: Summer 2013 Discipline: Music MUSI 2570: Musical Cultures of the Mediterranean Division: Lower Division Faculty: Jonathan H. Shannon Pre-requisites: None
COURSE DESCRIPTION In this class we will explore a variety of musical cultures of the Mediterranean region, including North Africa, the Levant, and southern Europe. Themes will include music and national identity, gender and sexuality, emotion and meaning, and music and globalization in the Mediterranean region. Readings on specific musical cultures will be complemented by recordings, field trips, and concerts when possible.
COURSE OBJECTIVES Students will learn the main varieties of Mediterranean musics and how to analyze them as cultural practices, both in writing and orally. Field Labs will introduce students to aspects of historical and contemporary Mediterranean musical cultures.
REQUIRED TEXTBOOKS
AUTHOR: Goffredo Plastino TITLE: Mediterranean Mosaic: Popular Music and Global Sounds PUBLISHER: Routledge ISBN #: 041593656X DATE/EDITION: 2002
AUTHOR: Tullia Magrini TITLE: Music and Gender: Perspectives from the Mediterranean PUBLISHER: University of Chicago Press ISBN #: 9780226501666 DATE/EDITION: 2003
AUTHOR: Bernard Lortat-Jacob TITLE: Sardinian Chronicles. PUBLISHER: University of Chicago Press ISBN #: 9780226493411 DATE/EDITION: 1995 Readings available as electronic resources are marked “web”. Others are available online and are marked (“online at...”). Optional readings are marked “Opt.”
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OUTLINE OF COURSE
C1- June 19: Mediterranean Musics and Cultures: An Introduction • Questions: Where and What is the Mediterranean? What is “Mediterranean culture” and does it exist? What are some stereotypes of the Mediterranean, its peoples and cultures? • Readings: 1. Plastino, “Introduction,” Med. Mosaic • Writing: The Mediterranean Imagined and Experienced • Listening: Selections of Mediterranean musics
C2- June 20: The Mediterranean in Anthropological Perspective • Questions: How have anthropologists studied Mediterranean cultures? What are some of the problems with the idea of Mediterranean culture? How might music help us understand these dilemmas? • Readings: 1. Albera and Blok, “Introduction The Mediterranean as a Field of Ethnological Study: A Retrospective” (web) 2. Herzfeld, “The Horns of the Mediterraneanist Dilemma” (web) • Listening: Selections of Mediterranean musics
C3- June 21: The Mediterranean in Historical and Geographical Perspective • Questions: How have historians and geographers studied Mediterranean cultures? How can historical and geographical studies influence our analysis of Mediterranean musical cultures? • Readings: 1. Braudel, The Mediterranean ... (Part I pp. 25-102) (web) • Listening: Selections of Mediterranean musics
C4- June 22: Mediterranean Musics: Definitions • Questions: What are the varieties of Mediterranean musical cultures? How have they been studied? • Readings: 1. Fabbri, “Paint It Black, Cat.” Ch. 1 in Med. Mosaic 2. Seroussi, “Yam Tikhoniyut.” Ch. 7 in Med. Mosaic • Listening: Selections of Moroccan Andalusian music
June 23-June 26: Casablanca Optional Field Trip Visit to Dar al-Ala Andalusian Music Museum
C5- June 27: Mediterranean Musics and Identities: Nationalism and Music I • Questions: How have national subjectivities been constructed in Mediterranean musics? • Readings: 1. Frishkopf, “Some Meanings of the Spanish Tinge...” Ch. 6 in Med. Mosaic 2. Horowitz, “Israeli Mediterranean Music.” (web) 2
C6- June 28: Mediterranean Musics and Identities: Nationalism and Music II • Questions: How have national subjectivities been constructed in Mediterranean musics? • Readings: 1. Caleta, “Klapa Singing and Ca-Val.” Ch. 10 in Med. Mosaic. 2. Shannon, “Performing al-Andalus, Remembering al-Andalus.” (Web) • Listening: Klapa and Andalusi musics
C7- June 29: North African Musics • Questions: What are the features of North African Popular and Traditional musics? How are they Mediterranean? • Readings: 1. Davis, “‘New Sounds, Old Tunes’.” Ch. 5 in Med. Mosaic 2. Glasser, “Andalusi Music as Circulatory Practice.” (Web) 3. Virolle, “Representations and Female Roles...” Ch. 8 in Music and Gender • Listening: Selections of Mediterranean musics
June 30: No Classes
C8- July 1: Musics of the Levant I: The Classical Tradition • Questions: How was the classical Arab tradition formed? What are its major aesthetic elements? • Readings: 1. Danielson, “Min al-Mashayikh” (web) 2. Danielson, The Voice of Egypt, Chapter 1 (web/reserve) 3. Shannon, Among the Jasmine Trees, Chapter 1 (web/reserve) • Listening: Selections of classical Arab music • Class Presentations: Tunis Reports
C9- July 2: Musics of the Levant II: Popular Musics • Questions: What are some characteristic features of Levantine popular music? What is the role of music in revolution? • Readings: 1. Danielson, “New Nightingales of The Nile.” (web) 2. LeVine, “New Hybridities.” (online at http://www.jadaliyya.com/pages/index/3008/the- new-hybridities-of-arab-musical-intifadas) 3. Swedenburg. “Saida Sultan/Danna International.” (web) OR Post 9/11 World Music • Listening: Selections of Arab pop music and hip hop • Video: Selections from LaTlateh, The Syrian Bear, Omar Offendum, and other music videos
July 3-5: Antalya
C10- July 5: Turkish Music I • Questions: What are the classical and popular forms of music in Turkey? How have they been studied? 3
• Readings: 1. Özer, “Crossing the Boundaries.” Ch. 8 in Med. Mosaic 2. Potuoglu-Cook, “Sweat, Power, and Art: Situating Belly Dancers and Musicians in Contemporary Istanbul” (online at http://www.fondazionelevi.it/ma/index/number11/potuoglu/pot_0.htm) • Listening: Arabesk music • Writing: The sounds of Alexandria
C11- July 6: Turkish Music II • Questions: How has emotion come to be a defining component of Turkish nationalism, and what role does music play in this? • Readings: 1. Stokes, “The Tearful Public Sphere.” Ch. 13 in Music and Gender. 2. Stokes, “Beloved Istanbul.” Online at: http://tinyurl.com/StokesIstanbul. • Listening: • Arabesk, Zeki Müren, Bülent Ersoy
July 8-11: Istanbul Potential Field Trip: Concert, Musical Tour of Istanbul with Prof. Ozan Aksoy
C12- July 12: Greek Music I: Overview • Questions: What are the main features of the Mediterranean musics of Greece? • Readings: 1. Dawe, “Between East and West.” Ch. 9 in Med. Mosaic 2. Fabbri, “Tilos” (online at http://www.fondazionelevi.it/ma/index/number10/fabbri/fab_0.htm) 3. Holst-Warhaft, “Nisiotika.” (online at http://www.fondazionelevi.it/ma/index/number10/holst/holst_0.htm) • Listening: Greek folk and popular musics
C13- July 13: Greek Music II: Rebetika • Questions: What is rebetika (rebetiko) music? How are modern subjectivities performed through this music? • Readings: 1. Holst-Warhaft, “The Female Dervish & Other Shady Ladies.” Ch. 6 in Music and Gender 2. Monos, “Rebetico” (web) • Listening: Rebetika music; video: Rembetiko, by Kostas Ferris (selections)
July 14-17: Piraeus Optional Field Trip: Visit to Rebetika club • Writing: The Sounds of Piraeus
C14- July 18: Italian Mediterranean Music I • Questions: What is “Italian” Mediterranean music? How has this category of music been 4
constructed? • Readings: 1. Plastino, “Inventing Ethnic Music.” Ch. 11 in Med. Mosaic. 2. Plastino, “Come into Play.” Ch. 5 in Music and Gender. • Listening: Italian Mediterranean Music
C15- July 19: Mediterranean Musics and Identities: Gender and Music • Questions: How is gender performed through music? How are Mediterranean musics gendered performances? • Readings: 1. Magrini, “Introduction,” Music and Gender 2. Pettan, “Male, Female, and Beyond...” Ch. 12 in Music and Gender 3. Sugarman, “Those ‘Other Women’...” Ch. 3 in Music and Gender • Listening: Selections of Mediterranean Musics • Review for Midterm
C16- July 20: Mid-term Examination
July 21-23: Livorno July 24-26: Civitavecchia
C17- July 27: Musics of Mediterranean Islands I: Sardinia • Questions: What are the relationships among music, culture, and forms of representation? • Readings: 4. Lortat-Jacob, Sardinian Chronicles. • Listening: Sardinian song (from CD of Sardinian Chronicles). • Writing: The Sounds of Marseilles
C18- July 28: Musics of Mediterranean Islands II: Crete, Corsica, Malta, Sicily • Questions: What are some of the characteristics of the musics of Mediterranean islands? • Readings: 5. Bithell, “A Man’s Game?” Ch. 1 in Music and Gender
6. Fugazzotto, “A Musical Journey” (online at http://www.fondazionelevi.it/ma/index/number9/fuga/sic_0e.htm). 7. Magrini, “Manhood and Music in Western Crete.” (web) • Listening: Selections of Mediterranean Musics
July 29-31: Malta Field Lab: Maltese Music
C19- August 1: Musics of Spain I: Flamenco • Questions: What is Flamenco music and how did it develop into a contested symbol of the Spanish nation? 5
• Readings: 8. Labajo, “Body and Voice.” Ch. 2 in Music and Gender 9. Malefyt, “Inside and Outside Spanish Flamenco.” (web) 10. Washabaugh, “The Flamenco Music and Documentary.” (web) 11. Opt. Manuel, “Andalusian, Gypsy, and Class Identity.” (web) • Listening: Flamenco song
C20- August 2: Musics of Spain II: Minor Musics • Questions: What are the regional musics of Spain (Catalan, Basque, Arab-Andalusian, etc.) and how do they fit into the Mediterranean and national imaginary of modern Spain? • Readings: 12. Cohen et al, “Music in the Balearic and Pityusan Islands.” (online at http://www.fondazionelevi.it/ma/index/number9/cohen/coh_0.htm). 13. Martinez, “Seeking Connections through a Sea.” Ch. 2 in Med. Mosaic 14. Shannon, “Andalusian Music, Cultures of Tolerance...” (web) • Listening: Spanish Musics
August 3-5: Marseille August 6-8: Barcelona Field Lab: Visit to Music Museum/Museu de la Música, Barcelona
C21- August 9: Music and Religion in the Mediterranean • Questions: What are some of the ways that mediterranean musics invoke and create religious meanings? How is music associated with pilgrimage and religious transformation? • Readings: 15. Bohlman, “And She Sang a New Song.” Ch. 14 in Music and Gender 16. Seroussi, “Archivists of Memory.” Ch. 7 in Music and Gender 17. van Nieuwkerk, “On Religion, Gender, and Performing.” h. 11 in Music and Gender • Listening: Religious song of the Mediterranean • Class Presentations: Barcelona Reports
C22- August 10: Music, Politics, and Globalization in the Mediterranean • Questions: How has music been implicated in the political and economic transformations of globalization? How can musical practices illuminate aspects of globalization? How has music been affected by mass media, and how has it in turn changed the media that broadcast it? • Readings: 18. Gray, “Memories of Empire, Mythologies of the Soul.” (web) 19. Marranci, ch. 4 in Med. Mosaic 20. Stokes, “Music and the Global Order.” (web) • Listening: Mass mediated Mediterranean popular musics
August 11-13: Cadiz August 14-16: Lisbon 6
•Writing: Musics of Lisbon: Fado Culture
C23- August 17: Mediterranean Music: Final Class • Questions: What have we learned? Where are we headed? • Readings: Catch up! Prepare for Final Examination • Listening: The Best of the 2013 Semester at Sea Mediterranean Musics! • Discussion: Musics of Lisbon: Fado Culture
August 18: Study Day
C24-August 19: Final Examination
August 20-21: Packing and Reflection August 22: Southampton
FIELD WORK (At least 20 percent of the contact hours for each course, to be led by the instructor.) Attendance and participation in the Field Lab is MANDATORY.
PROPOSED FIELD LAB 1 • Visit to Centre d’Études Centre des Musiques Arabes et Méditerranéennes (CMAM), Ennejma Ezzahra, Tunis, a major research institute for Arab and Mediterranean musics. • Tour of museum and collections. • Concert of Tunisian Andalusian music (subject to scheduling).
FIELD ASSIGNMENTS · Students will take field notes on the museum, the presentation, and the concert. · Students will write a short (4-5) page report on their experiences at CMAM. · Students will report in class on their results in small groups on July 3rd. · Evaluation will be 80% written report, 20% group presentation for a total of 10 points.
PROPOSED FIELD LAB 2 • Visit to the Music Museum/Museu de la Música, in Barcelona. • Lecture by music researcher Paul Poletti on musical instrument collections and restoration. • Concert (subject to scheduling).
FIELD ASSIGNMENTS · Students will take field notes on the museum, the presentation. · Students will write a short (4-5) page report on their experiences at Museu de la Música · Students will report in class on their results in small groups on August 16th. · Evaluation will be 80% written report, 20% group presentation for a total of 10 points. 7
[Alternative Field Labs include visit to Dar al-Ala Andalusian Music museum, Casablanca, and musical tour of Istanbul. Subject to scheduling]
METHODS OF EVALUATION / GRADING RUBRIC • Midterm Examination: 25 points (25%) • Final Examination: 25 points (25%) • Writing/Participation: 20 points (25%) • Field Assignments: 20 points (20%) • Attendance: 10 points (10%)
Students are expected to attend all class sessions unless they have a valid excuse, and to come prepared to discuss all required readings for each class session. In addition to field lab assignments, students will write short exploratory and informal essays in class after each port visit where they do not have a field lab for this class. These essays will help generate discussion, hone students’ ethnographic skills, and will be considered part of class participation grade. We will devote a significant amount of time to listening to various Mediterranean musics, and performing them when possible.
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RESERVE LIBRARY LIST
AUTHOR: Shannon, Jonathan H. TITLE: Among the Jasmine Trees. PUBLISHER: Wesleyan University Press ISBN #: 0819567981 DATE/EDITION: 2006
AUTHOR: Danielson, Virginia TITLE: The Voice of Egypt. PUBLISHER: The University of Chicago Press ISBN #: 0226136124 DATE/EDITION: 1998
AUTHOR: Goldman, Michal TITLE: Umm Kulthum: A Voice Like Egypt FORMAT: DVD DATE: 2007 [1996]
ELECTRONIC COURSE MATERIALS
AUTHOR: Albera, Dionigi, and Anton Blok ARTICLE/CHAPTER TITLE: “Introduction The Mediterranean as a Field of Ethnological Study: A Retrospective” BOOK TITLE: L’anthropologie de la Méditerranée Anthropology of the Mediterranean. DATE: 2001 PAGES: 15-37
AUTHOR: Braudel, Fernand ARTICLE/CHAPTER TITLE: The Peninsulas; The Heart of the Mediterranean; Boundaries; The Mediterranean as a Human Unit. JOURNAL/BOOK TITLE: The Mediterranean and the Mediterranean World in the Age of Philip II, Vol. 1. DATE: 1996 PAGES: 25-102
AUTHOR: Danielson, Virginia ARTICLE/CHAPTER TITLE: “New Nightingales of The Nile: Popular Music in Egypt since the 1970s.” JOURNAL/BOOK TITLE: Popular Music VOLUME: 15(3) DATE: 1996 9
PAGES: 299-312.
AUTHOR: Danielson, Virginia ARTICLE/CHAPTER TITLE: “Min al-Mashâyikh: A View of Egyptian Musical Tradition” JOURNAL/BOOK TITLE: Asian Music VOLUME: 22(1) DATE: 1990/1991 PAGES: 113-127
AUTHOR: Danielson, Virginia ARTICLE/CHAPTER TITLE: “The Voice and Face of Egypt.” (Chapter 1) JOURNAL/BOOK TITLE: The Voice of Egypt. The University of Chicago Press VOLUME: DATE: 1998 PAGES: 1-20
AUTHOR: Glasser, Jonathan ARTICLE/CHAPTER TITLE: “Andalusi Music as a Circulatory Practice.” JOURNAL/BOOK TITLE: Anthropology News VOLUME: 51(9) DATE: 2010 PAGES: 9-14
AUTHOR: Gray, Lila Ellen ARTICLE/CHAPTER TITLE: “Memories of Empire, Mythologies of the Soul: Fado Performance and the Shaping of Saudade.” JOURNAL/BOOK TITLE: Ethnomusicology VOLUME: 51(1) DATE: 2007 PAGES: 106-130.
AUTHOR: Herzfeld, Michael ARTICLE/CHAPTER TITLE: “The Horns of the Mediterraneanist Dilemma.” JOURNAL/BOOK TITLE: American Ethnologist VOLUME: 11(3) DATE: 1984 PAGES: 439-454
AUTHOR: Horowitz, Amy ARTICLE/CHAPTER TITLE: “Israeli Mediterranean Music: Straddling Disputed Territories.” JOURNAL/BOOK TITLE: The Journal of American Folklore VOLUME: Vol. 112, No. 445 DATE: 1999 PAGES: 450-463. 1
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AUTHOR: Magrini, Tullia ARTICLE/CHAPTER TITLE: “Manhood and Music in Western Crete.” JOURNAL/BOOK TITLE: Ethnomusicology VOLUME: 44(3) DATE: 2000 PAGES: 429-459
AUTHOR: Malefyt, Timothy Dewaal ARTICLE/CHAPTER TITLE: “Inside and Outside Spanish Flamenco.” JOURNAL/BOOK TITLE: Anthro. Quarterly VOLUME: 71(2) DATE: 1998 PAGES: 63-73
AUTHOR: Manuel, Peter ARTICLE/CHAPTER TITLE: “Andalusian, Gypsy, and Class Identity in the Contemporary Flamenco Complex.” JOURNAL/BOOK TITLE: Ethnomusicology VOLUME: 33(1) DATE: 1989 PAGES: 47-65
AUTHOR: Monos, Dmitri ARTICLE/CHAPTER TITLE: “Rebetico: The Music of the Greek Urban Working Class.” JOURNAL/BOOK TITLE: International Journal of Politics, Culture, and Society VOLUME: 1(2) DATE: 1987 PAGES: 301-309
AUTHOR: Shannon, Jonathan H. ARTICLE/CHAPTER TITLE: “Among the Jasmine Trees” (chapter 1) JOURNAL/BOOK TITLE: Among the Jasmine Trees: Music and Modernity in Contemporary Syria. VOLUME: DATE: 2006 PAGES: 22-51
AUTHOR: Shannon, Jonathan H. ARTICLE/CHAPTER TITLE: “Andalusian Music, Cultures of Tolerance and the Negotiation of Collective Memories: Deep Listening in the Mediterranean.” JOURNAL/BOOK TITLE: Cuadernos de Etnomusicología VOLUME: 2 DATE: 2012 1
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PAGES: 101-116
AUTHOR: Shannon, Jonathan H. ARTICLE/CHAPTER TITLE: “Performing al-Andalus, Remembering al-Andalus: Mediterranean Soundings from Mashriq to Maghrib.” JOURNAL/BOOK TITLE: Journal of American Folklore VOLUME: 120(477) DATE: 2006 PAGES: 308-344
AUTHOR: Stokes, Martin ARTICLE/CHAPTER TITLE: “Beloved Istanbul: Realism and the Transnational Imaginary in Turkish Popular Culture.” JOURNAL/BOOK TITLE: Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond, ed. Walter Armbrust. Univ. California Press. VOLUME: Available as ebook at http://publishing.cdlib.org/ucpressebooks/view?docId=ft8k4008kx&chunk.id=ch10&toc.id=ch10& brand=ucpress DATE: 2000 PAGES: 224-242
AUTHOR: Stokes, Martin ARTICLE/CHAPTER TITLE: “Music and the Global Order.” JOURNAL/BOOK TITLE: Annual Review of Anthropology VOLUME: 33 DATE: 2004 PAGES: 47-72
AUTHOR: Swedenburg, Ted ARTICLE/CHAPTER TITLE: “Saida Sultan/Danna International: Transgender Pop and the Polysemiotics of Sex, Nation, and Ethnicity on the Israeli-Egyptian Border.” JOURNAL/BOOK TITLE: Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond, ed. Walter Armbrust. VOLUME: Univ. California Press DATE: 2000 PAGES: 88-119
AUTHOR: Washabaugh, William ARTICLE/CHAPTER TITLE: “Flamenco Music and Documentary.” JOURNAL/BOOK TITLE: Ethnomusicology VOLUME: 41(1) DATE: 1997 PAGES: 51-67
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HONOR CODE Semester at Sea students enroll in an academic program administered by the University of Virginia, and thus bind themselves to the University’s honor code. The code prohibits all acts of lying, cheating, and stealing. Please consult the Voyager’s Handbook for further explanation of what constitutes an honor offense.
Each written assignment for this course must be pledged by the student as follows: “On my honor as a student, I pledge that I have neither given nor received aid on this assignment.” The pledge must be signed, or, in the case of an electronic file, signed “[signed].”
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