Syllabus MUS 334/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: Tues-Thurs 3:30-4:30pm, or by appt. Class times: Tues-Thurs 11am-12:30pm Class location: MRH 2.634

Teaching assistant: Katie Chapman [email protected] TA office hrs: TBA Lab location: MRH 2.610

Unique numbers and labs for Music (MUS 334): Lab Mon 5-6pm (22275) Lab Wed 5-6pm (22280) Lab Mon 6-7pm (22285)

For African and African American Studies (AFR 374F): Lab Mon 5-6pm (30605) Lab Wed 5-6pm (30610) Lab Mon 6-7pm (30615)

For Latin American Studies (LAS 326): Lab Mon 5-6pm (40565) Lab Wed 5-6pm (40570) Lab Mon 6-7pm (40575)

Description This survey course considers Latin American musics 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 contested through performance. These inquiries are framed by a range of theoretical concepts that become particularly pertinent in Latin American contexts such as diaspora, neo-colonialism, mestizaje, hybridity, migration, and globalization.

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 East across from the Law School. In addition, a few assigned readings have been assembled from others sources. These are available through the course Canvas site. Music of the African Diaspora, p. 2

Listening Students are asked to listen to musical examples each week and to be responsible for recognizing and identifying them on exams; approximately three songs per lecture will be assigned and should be reviewed before class. You will be asked to remember something about the histories, contexts, functions, and social significance of assigned music. Assigned listening can be downloaded for .99 cents a song, or the music can be heard for free via streaming access on Canvas, or by checking out the CDs on 2-hr. reserve in the Fine Arts Library.

For each example, consider making a list 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 —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 required reading and listening, to participate in discussion, to take exams on the assigned day, and to complete all other work punctually. Grades for undergraduates will be determined on the basis of three in-class exams, two small assignments (a group song analysis, a concert review), a final brief oral presentation, and class participation/attendance. The three exams will constitute 70% of the student’s overall grade, the minor assignments 10%, the oral presentation 10%, and class participation/attendance 10%. 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, or to replace a midterm grade they were unsatisfied with. 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 Music of the African Diaspora, p. 3

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 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 and referenced in the review. You should also 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.

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 will be assigned 30 points, and after the first 3 unexcused absences by a given student, each absence will result in 3 lost points.

Assignments and Grading for Graduate Students Graduate students enrolled in MUS 334 as an independent study (MUS 385J) 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 approximately 12-15 pp. in length, double- spaced. In addition, graduate students must complete two additional assignments: First, they are to 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. 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 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 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 the last day of classes. This schedule will ensure that I have time to interact with you as you conduct your research. For graduates, the exams will constitute 30% of the overall grade, the individual project 30%, the transcription and performance/recording 10%, the final oral presentation 10%, postings and other assignments 10%, and attendance 10%.

Extra Credit Options Music of the African Diaspora, p. 4

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 in the ensemble by the 12th day of classes.

Ensembles in the Music School: (1) Mariachi Ensemble, (meets W 6-9pm in MBE 2.106, unique #25915) (2) Steel Pan Ensemble (meets MW 5-6pm in MRH 6.222, unique #25955) (3) Hispanic Caribbean Ensemble (meets W 5-8pm in MRH 6.252, unique #25890) (4) Conjunto Ensemble (meets T-Th 5-6:30pm in MRH 6.252, unique #25870)

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 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. Note that 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 list of possible 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) —Gerard Villanueva offers Latin hand drumming lessons: [email protected] —Puerto Rican Folkloric Dance (http://www.prfdance.org/)

Extra Credit Concert Reviews. Although one concert review is required, those interested in attending additional concerts of music related to the music of Latin America 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 may be submitted by any student through Thursday of week 15 unless late 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.

Hispanic Caribbean ensemble: Wed Nov. 5th, 7:30pm, Bates Recital Hall Mariachi Ensemble: Tues Nov. 11th, 7:30pm, Recital Studio Tex-Mex Conjunto Ensemble: Sun Nov. 9th, 7:30pm, Recital Studio Steel Pan Ensemble: Contact David Saad, the director of the group, for performance times: [email protected] —Reggae is played regularly at Flamingo Cantina (www.flamingocantina.com) and elsewhere. —Salsa Bands in Austin include: O Positivo, Grupo Fantasma, Cienfuegos, El Tule, and The Brew. Music of the African Diaspora, p. 5

—Joel Guzmán, the instructor of the Conjunto ensemble, plays regularly in Austin: http://www.guzmanfox.com/ —Live conjunto music played by Los Pinkies is often heard on Sundays beginning around 5pm at the White Horse Saloon. —Cerronato is a local Colombian vallenato band. They can be contacted about upcoming shows: http://cerronato.com/contact.htm

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.

Undergraduate Writing Center In addition assistance offered by your TAs and instructor, take advantage of writing help on campus if you plan to hand in written assignments. The UGC 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).

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.

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

Week 1. Introductions Subjects to be addressed: Week 1 provides an overview of the course content.

Thurs Aug 28th Introductions Music of the African Diaspora, p. 6

Reading: none Listening: none

Week 2. Intro to the Musics of Latin America. Musical Terms and Concepts. Discussion topics: How is Latin American best defined culturally and geographically? What are creolization and mestizaje? What is ethnomusicology? How effective are Western terms used to describe aspects of melody, rhythm, and form when applied to non-Western popular music?

Tues Sept. 2nd Latin America as a Cultural Region Reading: Musics of Latin America Chpt. 1, “Introduction,” pp. 2-23. Listening: none

Thurs Sept. 4th Musical Terms and Concepts Reading: [optional] Musics of Latin America appendix, “The Elements of Music,” pp. 434-53. Listening: none

Week 3. Colonial-era Music, Mexico Discussion topics: What different kinds of colonial-era music existed in Latin America and how do they reflect broader social realities? Does the music sound Latin American? Why or why not? In what ways do early traditional dance music styles incorporate unique stylistic elements from diverse sources?

Lab assignment: Generate verbal commentary on top of a piece of music from our assigned listening from Week 3 in the form of an mp3, identifying what is going on, textures, form, sectional changes, etc. This assignment will be discussed in section.

Tues Sept. 9th Latin American musics of the colonial era Reading: MOLA 25-39, 50-53, 65-69 Listening: The Bliss of Heaven, Salve Regina, Fandango

Thurs Jan 11th Mexican sones Reading: MOLA 77-81. Madrid, Music in Mexico Chpt. 2, pp. 11-36 Listening: “La María Chuchena,” “La jota,” “El son de la negra”

Week 4. Mexico, Con’t. Subjects to be addressed: Week 4 continues discussion of Mexico with discussion of repertoire including the corrido, the bolero, banda, and rock.

Discussion topics: How do themes of migration, mass mediation, and ethnic identity manifest themselves in Mexican music? What is local in these styles, what has resulted Music of the African Diaspora, p. 7 from influences abroad? How has the expression of sentimentality changed over the years, and why?

Tues Sept. 16th The corrido and banda Reading: MOLA 90-93, 105-07. Optional: Madrid, Music in Mexico, 90-103. Listening: El siete lenguas, Maquina 501, El sinaloense. **Collective posting assignment.

Thurs Sept. 18th The Mexican bolero and balada Reading: MOLA 103-04. Optional reading: Madrid, Music in Mexico, 56-72. Listening: Solamente una vez, Esperaré, Simplemente amigos

Week 5. ***. Exam 1. Outline/bibliography for optional writing projects due Subjects to be addressed: Week 5 concludes discussion of Mexican musical forms with an overview of rock music’s development and current manifestations.

Discussion topics: Why have Mexicans shown such an interest in rock music from its earliest years? How do they alter the music to reflect local perspectives or interests? How would you define canto nuevo?

Tues Sept. 23rd Mexican rock and canto nuevo Readings: MOLA 108-11. Listening: Eres, Sale sobrando, Vienen cantando

Thurs Sept. 25th EXAM 1 (through week 4)

Week 6. Central America, Venezuela Subjects to be addressed: Week 6 considers repertoire from Central America and northern South America, countries with decidedly understudied yet fascinating musical heritage

Discussion topics: What does the history of the marimba imply about tensions between pride in local version international traditions? How have Liberation Theology and other political movements affected music making in Central America and Venezuela?

Tues Sept. 30th Central America Reading: MOLA 125-38. Listening: Luna de Xelajú, Credo/La misa campesina, Rosa de los vientos

Thurs Oct. 2nd Venezuela Reading: MOLA 155-74. Listening: El indio, Sueños de Guillermo, Fuga con pajarillo

Music of the African Diaspora, p. 8

Week 7. The Hispanic Caribbean Outlines for optional research papers due Subjects to be addressed: Week 7 uses the music of the Caribbean islands as a means of exploring notions of cultural fusion.

Discussion topics: What cultural influences are found in Cuban music today and how does this reflect the island’s history? How does creolization manifest itself musically? How might Cuban son be considered a point of contact between distinct cultural groups?

Tues Oct. 7th West African and Iberian influences Reading: MOLA 177-85, 189-94. Listening: “Controversia,” “Elegguá, Oggún, Ochosi II,” “En opuestas regiones”

Thurs Oct. 9th Son, salsa, merengue Reading: MOLA 194-206. Listening: Beso discreto, Ritmo en el corazón, Píntame

Week 8. Brazil Subjects to be addressed: Week 8 considers the tremendous diversity of musical styles in Brazil, the largest and most populous country in Latin America.

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? What tensions between local and international repertoire are found in musical forms like bossa nova or MBP?

Tues Oct. 14th Traditional and regional musics Reading: MOLA 225-230, 234-46. Listening: Pássaro sonhador, Asa branca, Rei Zumbi dos Palmares

Thurs Oct. 16th Popular musics: bossa nova, MPB, Axé Reading: MOLA 251-63. Listening: A garota de Ipanema, Flor de lis, O canto da cidade

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 the Tropicália movement, and of Brazilian hip hop.

Discussion topics: What were Tropicália artists reacting against artistically and politically? How did their philosophy manifest itself through music?

Tues Oct. 21st [Discussion of individual presentations] Tropicália. Brazilian rap Reading: MOLA, 263-66. Listening: Tropicália, Gereis geral, Capítulo 4, versículo 3 Music of the African Diaspora, p. 9

Thurs Oct. 23rd **Exam 2** (weeks 5 through 8)

Week 10. Argentina Subjects to be addressed: Week 10 is devoted to an overview of music from Argentina, including its regional forms, popular music, and 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. 28th Regional and popular musics Reading: MOLA, 275-92, 305-10 Listening: Milonga para una niña, Chacarera del paisano, Los sobrevivientes

Thurs Oct. 30th 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 graduate projects due Hispanic Caribbean Ensemble show Wed. Nov. 5th, 7:30pm, Bates Hall Conjunto Show Sun. Nov. 9th, 7:30pm, Recital Studio (MRH 2.608) Mariachi Ensemble show Mon. Nov. 10th, 7:30pm, Recital Studio (MRH 2.608)

Subjects to be addressed: Week 11 uses case studies from Peru and Chile 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 song? How is the history of nueva canción tied to leftist politics in the region?

Tues Nov. 4th Traditional indigenous, mestizo, and criollo music Reading: MOLA, 325-44, 346-51 Listening: Panpipe music from Taquile, Adios pueblo de Ayacucho, Flor de la canela

Thurs Nov. 6th Nueva canción Reading: MOLA, 355-62 Listening: Gracias a la vida, Plegaria a un Labrador, El pueblo unido

Music of the African Diaspora, p. 10

Week 12. Classical music, film music Subjects to be addressed: Week 12 considers how conservatory-trained musicians 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, and if so how? What varied approaches do contemporary composers take to formal composition, and how do they try to assert their “Latin-ness”? Also: what do the New York protagonists of Soy Andina learn about their heritage through their travels to the Peru?

Tues Nov. 11th Classical music, film music Reading: MOLA, 114-19, 217-21, 371-76, 393-95 Listening: Sinfonia india, Caribe, Overture to The Motorcycle Diaries

Thurs Nov. 13th Film: Soy Andina Reading: none Listening: none

Week 13. 21st-Century Popular Music. Student Presentations. 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 in the assigned repertoire? How are notions of Latinidad changing in the work of these individuals?

Tues Nov. 18th Twenty-First Century Latin American and Latino Popular Musics Reading: MOLA, Chpt. 10, pp. 397-407, 429-33 Listening: “La tortura,” “Me enamora,” “Su veneno”

Thurs Nov. 20th Individual student presentations Reading: none Listening: none

Week 14. Individual Student Presentations. Thanksgiving. Subjects to be addressed: Students will use the last class day before Thanksgiving to continue giving 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 discussed in Week 2? How do they demonstrate unique local characteristics or incorporate broader regional or international elements? Music of the African Diaspora, p. 11

Tues. Nov. 25th Individual student presentations Reading: none Listening: none

Thurs Nov. 27th Thanksgiving

Week 15: Review of Central Themes/Terms. Exam 3 Completed graduate projects, other papers and reviews due World Music Show, Friday Dec. 5th, The Clay Pit, 8pm-1am

Subjects to be addressed: Week 15 devotes a class session to collective discussion about prominent course themes and materials covered in the final 5 weeks prior to Exam 3. Discussion topics: See final review sheet

Tues Dec. 2nd Student presentations/Review Reading: none Listening: none

Thurs Dec. 4th Exam #3 (weeks 9 through week 15)