Course ID: MUS R109 Curriculum Committee Approval Date: 03/14/2018 Catalog Start Date: Fall 2019 COURSE OUTLINE OXNARD COLLEGE I. Course Identification and Justification: A. Proposed course id: MUS R109 Banner title: Music of Latin America Full title: Music of Latin America B. Reason(s) course is offered: This course would be a valuable addition to Oxnard College's offerings in humanities for transfer. It covers musical aesthetics, concepts, and history in a similar vein to History of Rock or Music Appreciation, but through a lens that is more attuned to OC's student demographics. It would also have the ability to span several disciplines, making it a fitting course for programs in Spanish, or perhaps Anthropology. This course is intended to satisfy CSU GE-Breadth area C1 and IGETC area 3A, and local GE in area C1 where comparable courses in music and art appreciation are approved. C. C-ID: 1. C-ID Descriptor: 2. C-ID Status: D. Co-listed as: Current: None II. Catalog Information: A. Units: Current: 3.00 B. Course Hours: 1. In-Class Contact Hours: Lecture: 52.5 Activity: 0 Lab: 0 2. Total In-Class Contact Hours: 52.5 3. Total Outside-of-Class Hours: 105 4. Total Student Learning Hours: 157.5 C. Prerequisites, Corequisites, Advisories, and Limitations on Enrollment: 1. Prerequisites Current: 2. Corequisites Current: 3. Advisories: Current: 4. Limitations on Enrollment: Current: D. Catalog description: Current: This course is a survey of the diverse and rich musical traditions of Latin America from pre-colonialism to the present day. The course will focus on the origins, influences, and styles within specific countries and regions such as Mexico, Brazil, the Andes, the Caribbean, the United States, and others. The course will highlight consistencies throughout Latin American musical culture, as well as the aesthetic and stylistic differences that make these varied musical traditions unique. E. Fees: Current: $ None F. Field trips: Current: Will be required: [ ] May be required: [X] Will not be required: [ ] G. Repeatability: Current: A - Not designed as repeatable H. Credit basis: Current: Letter Graded Only [ ] Pass/No Pass [ ] Student Option [X] I. Credit by exam: Current: Petitions may be granted: [ ] Petitions will not be granted: [X] III. Course Objectives: Upon successful completion of this course, the student should be able to: A. Explain and define the basic elements of music B. Explain and define stylistic historical periods in Latin American music from pre­ colonialism to the present day. C. Synthesize acquired listening skills to analyze musical components of Latin American music D. Compare Latin American regional traditions in terms of aesthetic value, history, and style IV. Student Learning Outcomes: A. Explain and define the basic elements of music such as harmony, melody, rhythm, tone color, and dynamics. B. Explain and define the stylistic historical periods of Latin American music from pre­ colonialism to the present day. C. Compare Latin American regional traditions, including a discussion of their histories, aesthetics, instruments, and stylistic features. V. Course Content: Topics to be covered include, but are not limited to: A. The Elements of Music 1. Sound: Pitch, Tone Color, and Dynamics 2. Instrumental Categories and Vocal Types 3. Melody 4. Harmony 5. Texture 6. Form B. Colonialism and Hybridity 1. Spanish Secular Musical Styles and Dances, Sacred Music, the Moorish Conquest, and the Flamenco Tradition 2. African Influences 3. Other European Influences C. Regional Styles 1. Mexico a. Indigenous Cultures: Maya and Aztec b. Colonialism c. Charro Culture d. Women in Charro Culture e. Regional and Stylistic Forms i. Cancion Ranchera ii. Dances iii. Son Jarocho iv. Son Huapango v. Son Jaliscience vi. Jarabe vii. Corrido viii. Nortena and Conjunto f. Instrumentation i. Marimba, Arpa, Mariachi Instrumentation, etc. g. The United States and 20th Century Mexican Styles 2. Cuba and Caribbean Styles a. Indigenous Culture: The Caribs b. Colonialism and the Slave Trade c. Santeria and other African Connections d. Counterculture in Cuba e. Musical Styles i. Rumba ii. Danzon iii. Son iv. Mambo v. Nueva Trova vi. Salsa and other 20th century developments f. Instrumentation i. Tres, Clave, Guiro, Timabales, Maracas, etc. g. The United States and other effects of globalization on Cuban music 3. Brazil a. Indigenous Culture b. Portuguese Colonialism and the Slave Trade c. Religious Syncretism: Candomble, Umbanda d. Musical Styles i. Samba, Carnaval, and Entrudo ii. Bossa Nova iii. Capoeria iv. Modihna, Lundu, and Maxixe v. Choro vi. Baiao, Fossa, and Forro vii. Counterculture in Brazil viii. MPB e. Instrumentation i. Cuica, Pandeiro, Surdo, Atabaque, f. The United States and other 20th century developments 4. Argentina a. Indigenous Culture b. Spain and Colonialism c. Rural vs. Urban: The Gaucho d. Musical Styles i. Tango 1. La Guardia Vieja 2. La Guardia Nueva - Tango Cancion 3. Nuevo Tango and Astor Piazzolla 4. Contemporary developments ii. Payada iii. Malambo iv. Milonga v. Classical Music: Ginastera e. Instrumentation f. The United States and other 20th century developments 5. Peru and the Andes a. Indigenous Culture: The Inca b. Music in Inca Culture - The Haravecs and the Yaravis c. Colonialism d. Dance and Song: Yaravi and Huayno, Danca de las Tijeras, e. Musical Styles by Geography i. European derived music in urban contexts ii. The African influence in coastal regions iii. Native music of the Amazon iv. Native/Mestizo music of the highlands f. Instrumentation i. Runatinya, charango, flutes and panpipes, Zamponas, shells, other drums, the Zampona ensemble, etc. g. Modern Andean Music and Globalization h. Afro-Peruvian Music i. Musica Criolla: Songs and Dances 6. Central America, Colombia, and Venezuela a. Indigenous Culture: The Maya b. Instrumentation i. Tun, Shakers, Rattles, and Marimba variants c. Central American Popular Music i. Punta and the Garifuna ii. Other popular music - Romulo Castro and Ruben Blades D. 21st Century Latino Popular Music VI. Lab Content: None VII. Methods of Instruction: Methods may include, but are not limited to: A. Lecture and Discussion B. Analytical listening exercises utilizing various media, such as audio recordings, music recording software, and videos C. Documentary videos followed by instructor-guided discussion and analysis D. Instructor-led group exercises VIII. Methods of Evaluation and Assignments: A. Methods of evaluation for degree-applicable courses: Essays [X] Problem-Solving Assignments (Examples: Math-like problems, diagnosis & repair) [ ] Physical Skills Demonstrations (Examples: Performing arts, equipment operation) [ ] For any course, if "Essays" above is not checked, explain why. B. Typical graded assignments (methods of evaluation): 1. In-class questions on assigned reading 2. Listening assignments both in and out of class. These include written or oral responses to questions on fundamental aspects of relevant musical selections, such as rhythm, tempo, and instrumentation, and ask students to explain how these elements enhance the meaning of the musical work. 3. Participation: includes discussions in response to documentaries, films, music related news, and the subject matter of the lectures, as well as evaluates student's preparedness and comprehension via reading and class review questions. 4. Written and/or online examinations which consist of multiple choice, short answer, and essay questions. 5. Listening examinations based on the selected examples for each regional style. 6. If available, attendance at a live Latin American musical event with corresponding reflection paper. 7. A term paper. Examples might include: a. Comparing two of the Latin American musical traditions studied, including music's role in society, the role of indigenous music post­ Colonialism, and the effects of globalization. b. A historical paper focused on a specific region and including the development of popular, classical, and folk styles, taking into account the influence of indigenous music, European styles, and globalization. C. Typical outside of classroom assignments: 1. Reading a. Students may be required to do reading that is made available via the LMS or other publicly available source. b. Library materials will be referenced and there may be assigned group exercises that require these materials. c. Students will have assigned reading in their textbook 2. Writing a. Written responses in response to relevant documentaries, podcasts, movies, or other popular music coverage in the news. b. Written reflection papers on concerts attended. c. Some quizzes may be given within the district approved LMS and will often require short answer and essay responses. IX. Textbooks and Instructional Materials: A. Textbooks/Resources: 1. Moore, R. (2012). Musics of Latin America ((Latest Edition)/e). W.W. Norton. 2. Any further readings will be available via the district approved LMS B. Other instructional materials: X. Minimum Qualifications and Additional Certifications: A. Minimum qualifications: 1. Music (Masters Required) B. Additional certifications: 1. Description of certification requirement: 2. Name of statute, regulation, or licensing/certification organization requiring this certification: XI. Approval Dates Curriculum Committee Approval Date: 03/14/2018 Board of Trustees Approval Date: 04/10/2018 State Approval Date: Catalog Start Date: Fall 2019 XII. Distance Learning Appendix A. Methods of Instruction Methods may include, but are not limited to: 1. The instructor will