1 Introduction to Music in the Middle East

Home , Turkish music (style)

INTRODUCTION TO MUSIC IN THE MIDDLE EAST - Spring 2014 MUS342/ISL373/MEL321/MES342 Unique numbers 22323/42179/42278/42516 Instructor: Prof. Sonia Seeman Meetings: T-Th 12:30-1:45 pm MRH 2.634 [email protected] office phone 471-2854 Office: MBE 3.204 Office hours: Tues 3:30-5:30, and by appointment

The region of the world labeled as “the Middle East” encompasses a myriad of linguistic, ethnic, and religious communities. This course provides an introduction to the complex history of classical, traditional and popular music genres from this region. While this geographic area is populated by a variety of communities, there are several common factors which underlie the variety cultural practices of the communities in these regions. As the birthplace of the dominant Abrahamic traditions (Judaism, Christianity, Islam) these areas are the seat of significant religious discourses that effect and shape musical practice. Contemporary musical practices are informed by elaborate musical theoretical systems that continue a legacy of neo-platonic Hellenic philosophy. Political changes have also significantly had an impact on musical performances and ideas about music. Late 18-19th century modernization trends from colonization and from local political institutions have shaped pedagogy, musical style, musical forms, and instrumentation. Local models of nation-states accelerated these processes through the 19-and early 20th century. Despite Western portrayals of the Middle East as “backwards”, regional participation in developing media, technology have imprinted changes in political ideology, religious debates and class formations, as in other world regions. These factors have intertwined to produce new forms of musical expression and fueled social and political movements. This course will introduce you to music of the Middle East by surveying shared musical features, then focusing on particular communities and regions: Islamic, Christian and Jewish communities; Ottoman Empire; Turkey, and one example from the former Ottoman territory of Macedonia; Egypt; Iran; North Africa; Israel; Palestine.

While we will conduct our survey by area, we will look at regional musical practices in light of the following topics: 1. Court, urban/popular and rural-regional traditions 2. Relationship between music and ritual in religious traditions 3. 19th-20th century nation state formation, identity practices and musical change 4. Media and mass-reproductive technology in the development of new forms 5. Post-1960s musical changes: changes in class formations; cross-regional alliances; post-colonial states; emergent political discourses.

This course carries two flags: the Writing Flag and the Global Cultures Flag. Writing Flag courses are designed to give students experience with writing in an academic discipline. In this class, you can expect to write regularly during the semester, complete substantial writing projects, and receive feedback from your instructor to help you improve your writing. You will also have the opportunity to revise one or more assignments, and to read and discuss your peers' work. You should therefore expect a substantial portion of your grade to come from your written work. 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 non-U.S. cultural groups, past or present.

1 Assignments and grading Assignments will consist of reading, active listening, and film viewing. Students will write 4 short essays based on readings, and a final paper. Students should also be aware of the opportunity to enroll in an ensemble course, Middle Eastern Music Ensemble, which meets Thursday evenings 7-10 pm. Guest lectures/performances given by visiting musicians and local scholars are being planned as part of the course curriculum as well. You will be expected to demonstrate your grasp of the reading, listening and/or viewing assignments in preparation for participation in the sessions. You will also prepare a final paper (8-10 pages, double spaced, plus a bibliography) that will incorporate your short writing assignments. The emphasis will be on clarity of writing as well as accurate inclusion of musical information.

Reading Materials Readings and other required materials will be posted on blackboard under “course documents.” Listening examples will also places in a “listening” folder. You are expected to read the accompanying materials that go with each lecture. During the lecture I will invite discussion, and there will be sessions which will involve participation and active engagement. It is advisable to read or print out readings early so that last-minute technical problems can be avoided. Whenever possible, I have also put hard copy of readings on two-hour reserve in the Fine Arts Library in case you would prefer to access them there.

Listening: You will be required to listen to music each week and to be responsible for recognizing and identifying examples which we have listened to and discussed in class for your exams; approximately three pieces per lecture will be expected of you. Students 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 test review that includes as much of the following information as possible: —The title of the piece and the composer, if known —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 function — The formal musical characteristics that define the genre

Assignments for Graduate Students Graduate students enrolled in MUS 342 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. of body text 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 separate from it. Second, they must learn to play and/or sing a representative piece or rhythm of frm Middle Eastern repertoire unfamiliar to them. This may be accomplished on their own, or with the help of private instruction. The piece may relate to their final project or not as they choose. Students may demonstrate their performance abilities to the class if they wish. They also have the option of lecturing on a subject of their choice to the class during one session.

Research paper assignment for undergrads and grads To prepare for your final paper, both undergrads and grads are required to prepare and submit an outline proposal with an accompanying bibliography with min. 5 entries (see below for deadlines). Undergrad writing assignments are designed to help you write your final paper, and will require applying a class concept to your research topic. Undergrads are expected to include those assignments into your final paper,

2 with revisions. You may revise your assignments for a better grade, but the revision must be submitted NO LATER than one week after you received it back from me. Your proposal and outline is due 3/8, and a draft of the project is due 4/5. The final version of the paper (as well as the transcriptions and recording of musical performance in the case of graduate music students) will be due by 5 pm on the day of this class’ scheduled final. This schedule, the short assignments and the opportunity for revisions will ensure improved writing, that I have time to interact with you as you conduct your research, and is designed to fulfill the writing flag.

Undergrad grades will be calculated according to the following points system: Short writing assignments 4 assignments @ 10 pts each; total 40 pts (1/28; 2/27; 3/27; 4/17 assignment sheets to be handed out in class) 3 in-class short answer+listening quiz 1 @5 pts; 2 @10 pts each 25 pts Concert or listening report 5 pts report (2-3pp); 5 pts Proposal+outline+bibliography for final paper 3/4 10 pts NOTE: PROPOSAL REQUIRED FOR GRADE ON FINAL PAPER Draft of final paper due 4/24 NO GRADE, BUT REQUIRED Final paper due during finals week 20 pts

Extra credit is available for attending either the T 6-7:30 Turkish choir rehearsals in preparation for 4/17 concert, or for participating in the Th 7-10 pm instrumental rehearsals of Middle Eastern Ensemble, Bereket. Please see instructor for more information. 5 pts

Grad grades will be calculated according to the following points system: 2 in-class short answer+listening quiz 2 @10 pts each 20 pts Music transcription 10 pts Preparation and demonstration of music 10 pts Proposal for final paper+annotated bibliography (due 3/6) 20 pts Final paper due during finals week 40 pts

CONCERT EVENTS FOR REPORT: 1) Noruz event at Central Market 4001 N. Lamar Blvd. Date TBA, usually in March 2) Middle Eastern Ensemble, “Bereket” Th 4/17 @ 7:30 pm Bates Auditorium Butler School of Music I will announce other possible events; please also inform me if there is another appropriate musical event for this class.

Laptops; electronic equipment During all class meetings, please put away all electronic devices—cell phones, iPhones, iPods, etc.—and turn your phone ringer off (including vibrate). You make take notes on your laptops, but you may not use them to distract yourself or those sitting near you. If you need to use another device for translation or disability-related purposes, please let the instructor know.

Students with disabilities Any student with a documented disability who requires academic accommodations should contact Services for Students with Disabilities at 471-6259 (voice) or 1-866-329-3986 (Video Phone) as soon as possible to request an official letter outlining authorized accommodations. The University recommends that students bring letters verifying their disabilities to the instructor during office hours or by special appointment. At that time, arrangement of accommodations can be discussed in private.

3 Plagiarism University of Texas has strict regulations concerning plagiarism. Plagiarism is defined as representing as your own work any material that was obtained from another source, regardless how or where you acquired it. You can be held accountable for plagiarizing material in either a final submission of an assignment or a draft that is being submitted to an instructor for review, comments, and/or approval. For further clarification, see url: http://deanofstudents.utexas.edu/sjs/scholdis_plagiarism.phpoccurs. To avoid unintentional plagiarism, in this course you will be expected to cite all sources used according to the citation format listed in the assignment guidelines.

Emergency Evacuation Policy Occupants of buildings on The University of Texas at Austin campus are required to evacuate buildings when a fire alarm is activated. Alarm activation or announcement requires exiting and assembling outside. Familiarize yourself with all exit doors of each classroom and building you may occupy. Remember that the nearest exit door may not be the one you used when entering the building. Students requiring assistance in evacuation shall inform their instructor in writing during the first week of class. In the event of an evacuation, follow the instruction of faculty or class instructors. Do not re-enter a building unless given instructions by the following: Austin Fire Department, The University of Texas at Austin Police Department, or Fire Prevention Services office.

Schedule of Topics -may be subject to change- *designates optional readings; required for grad students

IA T 1/14 Student intro and discussion; Soundscape and visions of the Middle East What are the sounds of the Middle East? What do they tell us about a variety of social contexts: religious, court, urban, rural, national and transnational? Ex. from Ezan (adhan) from Turkey; Sufi dikhr from Egypt; Ottoman mehter from Turkey+Western European style march for Sultan; North African Moroccan nauba suite.

IB Th 1/16 Overview of the Middle East Read the following, listen to examples. Submit 2 questions for Thurs on Blackboard by 11:00 am What 2 questions could you ask about the social, political, economic or historical context of the musical features outlined in Racy 1988? Racy, Ali Jihad. 1988. “Music in Middle Eastern Societies.” In The Cambridge encyclopedia of the Middle East and North Africa. Trevor Mostyn, ed. Cambridge: Cambridge University Press. pp. 244-250. *Marcus,

IIA T 1/21 Background and demonstration of Middle East-rhythms, modes, instruments. Learning to play frame drum. WRITING ASSIGNMENT #1 HANDED OUT; DUE 1/28 Listening and playing in class How are rhythms structured in the Middle East? What are the concepts of modes; rhythmic modes; iqa/usul? How are patterns created out of dum, tek and es? Marcus, Scott. 2007. “The Eastern Arab rhythmic modes: ” In Music in Egypt. New York; Oxford: Oxford University Press. pp. 60-70. Musical ex. of rhythmic patterns. *D’Erlanger, Baron Rudolphe. La Musique Arabe. Survey all 6 volumes; make list of treatises, dates, survey contents. FAL RESERVES.

4 IIB Th 1/23 Music theory, melodic modes and cosmology How are melodies structured in the Middle East? How do musicians structure their improvisations? What common principles underlie Middle Eastern music theory? Marcus, Scott. 2007. “The Eastern Arab melodic modes: ” In Music in Egypt. New York; Oxford: Oxford University Press. pp. 16-42. Musical ex. of maqamat; introduction to maqam rast; waslah in maqam rast. *Shiloah, Amnon. 1981. "The Arabic Concept of Mode." Journal of the American Musicological Society. 34(1): 19-42

IIIA T 1/28 Music and Orthodox Islam What are the basic tenets, time period and locations of various branches of Islam? How is music used in religious rituals? Why is the use of music controversial? Sam’a polemic. Hourani, Albert. 1991. “Chapter 9: Ways of Islam.”; Chapter 11 [Selections]: Divergent Paths of Thought.” In A History of the Arab Peoples. Cambridge MA: Belknap. Pp. 147-157; 172-179. Marcus, Scott. “Islam and Music: Is music haram?” In Music in Egypt. New York; Oxford: Oxford University Press. pp. 89-95. Listening: call to prayer; qu’ranic chant; mevlud.

IIIB Th 1/30 Music and Sufism/Mystical Islam What is Sufism, and how does it differ from Orthodox Islam? What is the role of music in expressing love for the divine? How is music used to reach the divie in ritual zikhr/dikhr ceremonies and sema? Feldman, Walter. 2002. “Music in Performance: Who are the Whirling Dervishes?” Garland Encyclopedia of World Music – Volume 6 The Middle East. New York: Garland. pp. 107-111. Listening and readings on blackboard: Turkish Mevlevi sufi ayın; Egyptian sufi Madh in-nabi (hymn in praise of the Prophet) Grads: précis of readings and listening.

IVA T 2/4 Judaism and Jewish minorities in the Middle East What are the common roots between the Abrahamic religions? What are the musical characteristics of Jewish music in the Middle East? Stillman, Norman. 1988. “Judaism in the Islamic period.” In The Cambridge encyclopedia of the Middle East and North Africa. Trevor Mostyn, ed. Cambridge: Cambridge University Press. pp. 184-186. Listening: Middle eastern Jewish pismonim liturgical songs; versions of piyyut “Adon Haselichot”

IVB Th 2/6 Christianity and Christian minorities in the Middle East What kinds of Christian communities live in the Middle East? What are the musical characteristics of Christian music in the Middle East? Hourani, Albert. 1988. “Christians in Muslim Societies.” In The Cambridge encyclopedia of the Middle East and North Africa. Trevor Mostyn, ed. Cambridge: Cambridge University Press. pp. 190-195. Listening: Arab Christian religious music. Quiz #1 In class: key terms, concepts, music theory

Grads: Precis of readings+critique of lacunae+supplemental materials

VA T 2/11 Ottoman Court traditions: Music of Ottoman Turkey What is “art” music? What was the role of the Ottoman court and patronage in Ottoman art/classical music? What were the mutual influences between court music and urban music? What is a fasıl? Feldman, Walter. “Ottoman Music.” Ottoman Suite. Music of the Sultans, Sufis and Seraglios. Liner notes. Traditional Crossroads CD 80702-43-4-2. Posted on Blackboard.

5 *Feldman, Walter. 1990/1991. “Cultural Authority and Authenticity in the Turkish Repertoire.” Asian Music 22(1): 73-111. JSTOR Listening: Rast fasıl examples.

VB Th 2/13 Ottoman imperialism and multicultural contributions to classical and urban music What were the contributions of minorities to Ottoman court music? Aksoy, Bulent. 2003. “The Contributions of Multi-nationality to Classical Ottoman Music.” http://www.goldenhorn.com/display.php4?content=library&page=golden_aksoy02.html (9/21/03) Listening: Huseyni sirto “Çeçen kızı” by Tamburi Cemil bey, }ehnaz Longa by Santuri Ethem Efendi, mandıra in Mesut Cemil Tel’s Nihavent saz semaisı.

VIA-B T 2/18 - Th 22 From the Ottoman Empire to National Refashioning in the Turkish Republic WRITING ASSIGNMENT #2 HANDED OUT ON 2/22 How did the Turkish Republic create a new national identity through music? And, Metin. 1984. “Atatürk and the Arts with Special Reference to Music and Theatre.” In Atatürk and the Modernization of Turkey. Jacob M. Landau and E. J. Brill, eds. Leiden: pp. 215-223. Listening: Cemil Resit Rey’s Scenes turques; ezan in Turkish.

Grads: Synthesis of past readings/materials+theoretical works or précis on this weeks readings+Oxford encyclopedia entry for additional info.

VIIA T 2/25 19th-early 20th century Turkish popular music and mass media: kanto; tango; jazz. WRITING ASSIGNMENT #2 DUE Proposal Assignment Handed out; discussion of proposal How did popular music continue from the Ottoman period to the Turkish period? How did musicians mediate older styles with newer Western European genres? What was the role of mass media in supporting these genres? Tekelioglu, Orhan. 1996. “The Rise of a Spontaneous Synthesis: The Historical Background of Turkish Popular Music.” Middle Eastern Studies 32 (2): 194-216. Listening/viewing: kanto chapbooks; “Woman driver” kanto; “Are you mad at me, my beloved” kanto; Papatya tango; “Misty” cover by Sevinç Tez; “It's evening and again I am melancholy” by Erdo©an Özdemir.

VIIB Th 2/27 Commodification and mass media: Arabesk and Anatolian pop What new forms of popular music have developed in Turkey in the 1960s and 1970s? How did these forms express Turkish, Eastern, Anatolian identity? How were these forms forged through mass media? DEBATE EXERCISE Bates, Eliot. “Arabesk.” In Music in Turkey. Oxford: Oxford University Press. Pp. 88-91. Stokes, Martin. 1989. “Music, Fate and State: Turkey's Arabesk Debate.” Middle East Report, No. 160, Turkey in the Age of Glasnost. pp. 27-30 Anatolian pop article TBD. *Stokes, Martin. 1992. The Arabesk Debate: Music and Musicians in Modern Turkey. Oxford: Clarendon Press. Pp. 89-132. FAL RESERVE. Skim for overview; key points. Listening: Arabesk examples from Orhan Gencebey; Ibrahim Tatlises; studio example from string ensemble Kempa Keman on youtube; Anatolian pop song “Hard work” from The Mongolians. -OR- Stokes The Republic of Love.

Grads: Precis of Manual encyclopedia entry “world popular music” in Oxford Encyclopedia w/ critique or elaborations from this week’s readings.

VIIIA T 3/4 Former Ottoman Territories and Ottoman legacies: Macedonian Chalgia

How did former Ottoman territories forge new national identities? What aspects of Ottoman music were retained, and which were changed? Seeman, Sonia. 2010. “Macedonian Calgija: Refashioning national indentity and community belonging through music.” Listening: 4 versions of “Song of Gorgi Sugare.”

Grads: 1-2 page outline or prose on a “periphery”---1) how you might teach or incorporate into your class; 2) what parallels, what differences do you see from the mainstream definitions used in this course?

VIIIB Th 3/6 Quiz #2

IXA 3/18 Music in/of Egypt WRITING ASSIGNMENT #3 HANDED OUT What are the similarities and differences between Ottoman and Egyptian music in the 19th-early 20th century? What was the takht ensemble? How did takht ensembles organize their performances? 19th-early 20th century art music: takht and waslah Marcus, Scott. 2007. “Art music in late 19th/early 20th centuries: takht ensembles.” In Music in Egypt: Experiencing Music, Expressing Culture. London: Oxford. Pp. 96-116. Listening: Selections from waslah in maqam Rast in “course documents”: taqsim; dulab; layali; mawwal.

IX B 3/20 20th century musical nationalism and modernization in Egypt How did Egypt form a national identity around the symbol of Umm Kulthoum? How did the ughniya song form replace the waslah? What features were retained? Marcus, Scott. 2007. “Art music of the mid-20th century: Umm Kulthum and the long-song tradition.” In Music in Egypt: Experiencing Music, Expressing Culture. London: Oxford. Pp. 117-138. Listening: Ughniya “Ghani li shwaye shwaye” sung by Umm Kulthoum.

Grads: Precis about “modernization” and “westernization” with examples from Egypt and Egyptian music.

X A-B 3/25 - 3/27 Music and Ecstasy in Secular Traditions-structuring emotion in performance contexts How does music structure affect/emotion? What is the relationship between the melodic mode and musical ecstasy? WRITING ASSIGNMENT #3 DUE ON 3/29 Shared urban practices of musical ecstasy; secular and sacred traditions Racy, A. J. Chapter 5: Saltanah." In Making Music in the Arab World: The Culture and Artistry of Tarab. Cambridge: Cambridge University Press. pp. 43-74; 120-146. For more detail on musical forms, instrumental roles and ensemble textures, read "Chapter 4: Music" pp.75-119. Listening and musical analysis: 1) Structure of a tarab performance: see Sabah Fakhri in Las Vegas 1 (http://www.youtube.com/watch?v=XPZkecHwr-M) 2) Sabah Fakhri’s performance of Habibi Alad'dounya (Sabah Fakhri Au Palais Des Congres) (maqam bayati). Why did Fakhri stop singing, and repeat? Can you identify the moment of high tarab, and why the audience broke out in applause? 3) Umm Kulthoum’s two versions of Ghani li shwaye shwaye (maqam suznak[rast+hijaz]) 6 minute vs. 20 minute version.

Grads: Precis on musical ecstasy literature or musical analysis of music event or work w/ ecstasy chart.

XIA T 4/1 Egyptian popular forms-sha’abi and Hakim How did youth and lower classes establish their own genre, and how did it differ from ughniya? What are the characteristics of sha’abi? What elements derive from Western European pop music, what from Egyptian ? Marcus, Scott. 2007. “Present day pop music: Hakim and the Sha’bi and Shababi genres.” In Music in Egypt. New York; Oxford: Oxford University Press. pp. 155-174. Ex. of sha’abi; Ahmad Adawiya “Zahma ya dunya”; Hakim “Il kalam da kabir”; “I’s salam aleykum”;

XIB Th 4/3 Lebanese, Egyptian, and Turkish film music UNDERGRADS: Draft of final paper DUE How did films promote Lebanese, Egyptian and Turkish music? What was the role of singing stars in such films? How did these films reach transnational audiences? Historical overview; viewing of film excerpts TBA. GRADS: Final paper proposal+bib DUE

XIIA T 4/8 Spain-North Africa; Music in multiple diasporas What were the characteristics of Western Arabic court traditions from Spain? How was this tradition maintained in North Africa? How was North African nawba structured? What instruments do they use? Eyre, Banning. 2004. “al-Andalus: Interview-Dwight Reynolds. Afropop. http://www.afropop.org/multi/interview/ID/57/Al- Andalus%20with%20Dwight%20Reynolds%20as%20your%20guide Eyre, Banning. 2005. The Legacy of Al-Andalus part 2: Interview with Dwight Reynold. Afropop. http://www.afropop.org/multi/interview/ID/63/The+Legacy+of+Al- Andalus+part+2:+Interview+with+Dwight+Reynolds Available online. *Beckwith, Stacy N. 2000. Charting Memory: Recalling Medieval Spain. New York; London: Garland. Listening: North African nawba.

XIIB Th 4/10 From North Africa to France and back: Rai and rap How have lower classes and youth formed musical responses to marginality and the experience of diaspora? Which musical features have been adopted into popular forms? How has technology transformed rai? What musical resources are used in contemporary rap? Al-Taee, Nasr. 2002. “Running with the Rebels: Politics, Identity, and Sexual Narrative in Algerian Rai.” Echo. http://www.humnet.ucla.edu/echo/volume5-issue2/archives/index.html ONLINE Gross, Joan; McMurray, David; Swedenberg, Ted. 1992. Rai, Rap and Ramadan Nights: Franco-Maghribi Cultural Identities. Middle East Report 178, 1492+500: 11-16+24. Jstor. *Beckwith, Stacy N. ed. 2000. Charting Memory: Recalling Medieval Spain. Stacy N. Beckwith, ed. New York/London: Garland. Listening: Rachid Taha “Ya Rayah”; Wahrane; Sting and Cheb Mami “Desert Rose”; Rachid Taha “Rock the Casbah”; Excerpts from “I love hip hop in Morocco”

Grads: Precis on diaspora theories in relation to this week’s material Clifford or Cohen; or musical analysis of these examples for how diasporic identities and affect are expressed; or analysis of current event from Middle Eastern community diasporic community in relation to music.

XIIIA T 4/15 From Persia to Iran WRITING ASSIGNMENT #4 HANDED OUT

8 How are modes structured in Persian art music? What is the difference between radif and dastgah? How are dastgah used to structure performances? Lawergren, Bo., et al. 2014. “Iran.” In Grove Music Online. Oxford Music Online. Oxford University Press. http://www.oxfordmusiconline.com.ezproxy.lib.utexas.edu/subscriber/article/grove/music/13895?q=dastgah &search=quick&pos=8&_start=1#S13895 (accessed 1-10-2014). SKIM FOR OVERVIEW.

*Farhat, Hormoz. 1991. “Western musical influences in Persia.” Muzikoloski Zbornik 27: 87-96. *Farhat, Hormoz. 1990. The dastgah concept in Persian Music. Cambridge: Cambridge University Press. Survey the contents, make outline of categories of information; distinctions between avaz, dastgah, Listening: structure of performance of dastgah: pishdaramad; avaz; chaharmezrab; tasnif; reng.

XIIIB Th 4/17 Modern music from Tehran to Tehrangeles: Iranian popular music in diaspora How has Iranian music developed in diaspora? What is the role of mass media in developing this genre? What are the continuities with Persian classical music? Shay, Anthony. 2000. “The 6/8 Beat Goes on: Persian Popular Music from Bazm-e Qajariyyeh to Beverly Hills Garden Parties.” In Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond. Walter Armbrust, ed. Berkeley: University of California Press. *Youssefzadeh, Ameneh. 2000. “The Situation of Music in Iran since the Revolution: The Role of Official Organizations.” British Journal of Ethnomusicology 9 (2): 35-61. JSTOR Listening: Modern Tasnif (composed song) performed by Marziyek; Iranian 6/8 pop disco song, “Tehran Tehran” performed by Fara Parsi, recorded in Los Angeles.

Grads: Precis of Iranian music based on this week’s readings.

XIVA T 4/22 Israeli music and national identity WRITING ASSIGNMENT #4 DUE How are new national identities fashioned from diasporic communities? What musical choices are made in creating a new national identity? Regev, Moti and Seroussi, Edwin. 2004. “Shirei Eretz Yisrael (Songs of the Land of Israel). In Popular Music and National Culture in Israel. Berkeley: California University Press. Pp. 49 – 70. Listening: TBA.

XIVB Th 4/24 Israel/Palestine: New National Identities and Practices of Resistance How are new national identities fashioned from diasporic communities? How are musical practices used in expressing resistance? What is the role of media and alternative forms of inscriptions in both processes? McDonald, David A. 2006. “Performing Palestine: Resisting the Occupation and Reviving Jerusalem’s Social and Cultural Identity through Music and the Arts.” Institute of Jerusalem Studies 25. http://www.jerusalemquarterly.org/details.php?cat=2&id=138 online Listening: TBA.

Grads: Precis on Israeli and Palestinian music as lecture material; identity construction vis a vis an “other” using this week’s readings.

XVA T 4/29 Musical negotiations: Viewing “West bank story” by Ari Sandel, music by Yuval Ron; Review for Quiz #2 How does the film’s composer use music to tell a narrative? What are the points of intersection between the two communities represented? How are male and female gender roles represented?

XVB Th 5/1 Quiz #2; discussion of paper.

9 FINAL PAPER DUE AT 5 PM ON SCHEDULED FINALS DAY THURSDAY MAY 8, 2014

Writing Resources: Undergraduate Writing Center http://www.uwc.utexas.edu/

The Undergraduate Writing Center (UWC) offers free, individualized, expert help with writing for any UT undergraduate, by appointment or on a drop-in basis. The writer works with a trained consultant to define goals for the session, for example: • deciding on a topic • clarifying and organizing ideas • researching, drafting, and revising • improving grammar, punctuation, and usage • citing sources properly We encourage students to develop strategies to improve their writing and become more confident writers.

Fall 2013 - Spring 2014 Hours

Monday—Thursday 9:00 AM—7:00 PM, last appointment at 6:00 PM. Friday 9:00 AM—3:00pm, last appointment at 2:00 PM. You can make an appointment at: http://uwc.utexas.edu/appointments/ Last consultations begin 1 hour before closing. If your paper is due in two hours or less, you cannot meet with a consultant. You will not have enough time to revise after your consultation.

Research Resources: Contact librarian for references: http://www.lib.utexas.edu/services/reference/ Email Us Chat (IM) with Us (EID required for off-campus users) Call or Visit Us Make an Appointment Middle East Studies Librarian: Uri Kolodney [email protected]

AND ASK YOUR INSTRUCTOR!