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MUSIC of LATIN AMERICA (3 Credit Hours) There Are No Pre- Or Co-Requisites for This Course

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MUSIC of LATIN AMERICA (3 Credit Hours) There Are No Pre- Or Co-Requisites for This Course UNIVERSITY OF UTAH SCHOOL OF MUSIC WORLD MUSIC: MUSIC OF LATIN AMERICA (3 credit hours) There are no pre- or co-requisites for this course. T, H 2:10 - 3:20 Room 270 DGH Instructor: Cathy Clayton, D.M.A. Office Number: 801-699-3446 Office: Rm 158 DGH Email: Through Canvas Inbox (preferred) or [email protected] Office Hours: by appointment T,H 4:00-6:00 or via email or phone Welcome to Music of Latin America! Through the study of the music of Latin America, this course will not only examine the issues common to many Latin American countries including colonialism, cultural fusion, urbanization, and modernization, but also consider the unique traditions and cultural identities of each area. The blending of cultural influences becomes identifiable through the study of the musical traditions and genres. In this course will make a detailed analysis of the music of different areas of Latin America while identifying the role music plays in each culture. From Mexico to Cuba to Central America, Columbia, Venezuela, and from Chile to Brazil, this course will examine the musical portrait that has developed there. This course will look at the music from a number of viewpoints including the music itself, (its rhythms, forms, and styles), the traditions that define it, the people who perform it, and the instruments used to express it. This course will identify the music of not only one culture, but the mixture of cultures and traditions that are a part of shaping that music throughout its history and in modern times. Learning Outcomes: Highlighted below are the learning outcomes and the assignments that have been devised to help you achieve these objectives. Each assignment will also enhance your ability to think critically. Learning Outcome 1: You will be able to identify and explain cross- cultural issues that impact a specific country or region of Latin America. Assignment: You will choose a region or country in Latin America and identify the effect of colonialism, and cross-cultural traditions that developed throughout history. In a 5-6 page-paper you will identify the cultures that had the greatest influence on the musical traditions of the region, address historical issues of migration, slavery, and/or colonialism, and identify the issues of nationalism within the music that became their own. Further, you will examine one work in particular and show how this work exemplifies many of the issues you have addressed. Finally, give a detailed analysis of the musical elements of the work itself. Learning Outcome 2: You will be able to explain how the music of Latin American countries has had a global influence and how popular genres from America and Europe have influenced musical styles of Latin America. Assignment: In a presentation to the class, you will choose a work that has become popular in a country other than the country in which the composer originated. This must be a work that is not covered in the textbook. In a 10-minute presentation, you will address the following questions. Where did the music or composer originate? What country, and area of that country? Was this music a significant part of the nation’s culture? What is the social history of this music? What traditions, if any are associated with this music? Is this style of music a recent development? What were the initial influences on this music? To where (what country and region) did the music or composer emigrate? Are there influences heard in this music from this new place? Did the music transmit to a diaspora initially? How has this music changed? Are there musicians that are not of original descent that are performing this music today? How popular has this music become? Who is listening to it today? Describe the music. What are the texture, form, melody, rhythms, and meter like? Has this music led to an understanding or education of its original culture? If so, how? Learning Outcome 3:You will be able to identify and explain political, economic, social, and/or cultural connections between the Latin American music and culture and the world today. Assignment: You will post a response to ten different discussion questions posed to the class throughout the semester addressing specific cross-cultural, political, economic, urbanization, or contemporary issues. Textbook/Required Materials: Musics of Latin America, Robin Moore, ed. WWNorton Publishing (2012). Listening is available in Spotify. To access course listening materials search “professorclayton” under users, and scroll to the bottom of the list. Additional readings placed on electronic reserve in the Marriott Library will be accessible through Canvas. Grading: Grades are broken down as follows: Map Assignment and Map Quiz 10 points Class Participation in Discussion postings 40 points Symposium Presentation 15 points Term Paper 25 points Midterm Exams 200 points Final Exam 100 points Total Points Possible 390 points Grading Scale: % out of 390 A 93-100 C+ 77-79 D- 60-62 A- 90-92 C 73-76 E< 60 B+ 87-89 C- 70-72 B 83-86 D+ 67-69 B- 80-82 D 63-66 Attendance: Since this is a lecture course, attendance is expected. To achieve a satisfactory grade in this course, attendance is highly recommended. Calendar: Weekly assignments listed above. For exact assignment due dates, please scroll to the bottom of this page in Canvas. I will try to follow this calendar throughout the semester, however there are often guest artists who may come and perform for the class, and this may alter the schedule slightly. --------------------------------------------------------------- Calendar : Week 1: Reading Assignment: Chapter 1, Musics of Latin America, Introduction and Themes: Colonialism, Race and Mestizaje, Urbanization and Modernization, Cross-culturalism. Week 2: Reading Assignment: Chapter 2, Musics of Latin America, Music conquest and the colonialism of Latin America, Indigenous culture and music. Listening Guide 2.1 through 2.10. Week 3: Reading Assignment: Chapter 3, Musics of Latin America, Mexico, Traditional Dance Repertoire, Son jarocho, The Corrido, Mariachi Music, Agustin Lara and the Bolero, Música Norteña, Classical Music, Manuel M. Ponce, and Carlos Chávez. Listening Guides 3.1 through 3.10. Additional Reading: (Excerpt from) LA Musica De Los Viejitos: Hispano Folk Music of the Rio Grande Del Norte. Loeffler, Jack with Katherine Loeffler and Enrique R. Lamadrid, Ph.D. Published by University of New Mexico Press, Albuquerque, New Mexico, U.S.A., 1999 Week 4: Midterm Exam 1. Begin reading assignment in Chapter 4, Musics of Latin America. Week 5: Reading Assignment: Chapter 4, Musics of Latin America, Central America, Colombia, and Venezuela, Marimba Music, Nicaraguan baile de la marimba, Música Tropical, Vallenato, Música Llanera, Gaita. Listening Guidees 4.1-4.10. Week 6: Reading Assignment: Chapter 5, Musics of Latin America, Cuba and the Hispanic Caribbean, Música Guajira, Rumba, Cuban Son, Salsa, Merengue, Bolero, Latin Jazz, Listening Guides 5.1-5.10. Additional Reading: “Contesting culture: a case study of commodification in Cuban music” John Finn. GeoJournal, Vol. 74, No. 3, New directions in media geography (2009), pp. 191-200. Additional Reading: (Excerpt from) Latin Jazz: The First of the Fusions, 1880’s to Today. John Storm Roberts. Shirmer Books. 1999. Additional Reading: (Excerpt from) My Music is My Flag: Puerto Rican Musicians and Their New York Communities. Ruth Glasser. University of California Press, 1997. Week 7: Reading Assignment: Chapter 6, Musics of Latin America, Brazil, Japanese influences, Amerindian Music, Bunba-meu-boi, Bião, Música caipira, Música sertaneja, Afro-Brazilian Traditions, Samba and Samba-Reggae, Bossa Nova, Heitor Villa-Lobos. Listening Guides 6.1-6.10. Additional Reading: “The Defense of Tradition in Brazilian Popular Music: Politics, Culture and the Creation of Música Popular Brasileira” by Sean Stroud Popular Music, Vol. 29, No. 1 (Jan., 2010), pp. 173- 176. Week 8: Reading Assignment: Chapter 7 in Musics of Latin America, Argentina and the Rioplatense Region, Music of the Pampas, Milonga, Paraguayan Harp, Afro-Uruguayan Candombe, Rioplatense tango, Astor Piazzolla, Alberto Ginastera, Listening Guides 7.1-7.10. Additional Reading: “Music and Youth Culture in Latin America: Identity Construction Processes from New York to Buenos Aires” Pablo Vila ed. Currents in Latin American and Iberian Music. 2014. Week 9: Chapter 7 cont. Midterm Exam 2 SPRING BREAK Week 10: Reading Assignment: Chapter 8 in Musics of Latin America, Peru, Chile, and the music of the Andes, Harawi, panpipe music, the charango, Nuevo canción, Criollo, cueca, technocumbia, Pedro Humberto Allende, Daniel Alomia Robles, Celso Garrido- Lecca, . Listening Guides 8.1-8.10. Week 11: Reading Assignment: Chapter 8 in Musics of Latin America, Peru, Chile, and the music of the Andes. (Cont.) Additional reading “The Making of a Social History of Popular Music in Chile: Problems, Methods, and Results” Juan Pablo González. Latin American Music Review / Revista de Música Latinoamericana. Vol. 26, No. 2 (Autumn - Winter, 2005), pp. 248-272. Week 11: Reading Assignment: Chapter 9 in Musics of Latin America, Latin American Impact on Contemporary Classical Music, Composers in Latin America today, Babriela Lena Frank, Tania León, Gabriela Ortiz, Paul Desenne, Roberto Sierra, 9.1-9.6 Week 12: Reading Assignment: Chapter 9 in Musics of Latin America, cont. Electronic Music, Mario Davidovsky, Paulo Chagas, Gustavo Santaolalla. Listening Guides 9.7-9.8. Week 14: Reading Assignment: Chapter 10 in Musics of Latin America, Twenty-First Century Latin American and Latino Popular Music, Shakira, Juanes, Musica norteña, Los Tigres del norte, Julieta Venegas, Hip-hop en Español, Twenty-First Century Cumbia Tejana, Aventura. Listening Guides 10.1-10.8. Week 15: Class symposium. Presentations on Musics of Cross Culturalism. Week 16: Final Exam List of Additional Readings: (on electronic reserve) “The Making of a Social History of Popular Music in Chile: Problems, Methods, and Results” Juan Pablo González.
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