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Ethnomusicology of the Closet ! 1 Check the Recommended GE Foundation Area(S) and Subgroups(S) for This Course ETHNOMUSICOLOGY 98T General Education Course Information Sheet Please submit this sheet for! each proposed course Department & Course Number Department of Ethnomusicology 98T Course Title Ethnomusicology of the Closet ! 1 Check the recommended GE foundation area(s) and subgroups(s) for this course Foundations of the Arts and Humanities • Literary and Cultural Analysis x • Philosophic and Linguistic Analysis • Visual and Performance Arts Analysis and Practice x Foundations of Society and Culture • Historical Analysis • Social Analysis Foundations of Scientific Inquiry • Physical Science With Laboratory or Demonstration Component must be 5 units (or more) • Life Science With Laboratory or Demonstration Component must be 5 units (or more) ! 2. Briefly describe the rationale for assignment to foundation area(s) and subgroup(s) chosen. The course includes extensive reading and critical analyses on ethnographic works on musical practices in non-Western cultures, critical analyses of music and dance practices, and the creation of a final written project on the same subject matter. ! 3. List faculty member(s) who will serve as instructor (give academic rank): Jeff Roy (Teaching Fellow); Daniel Neuman (Faculty Mentor) ! 4. Indicate when do you anticipate teaching this course: 2014-2015 Winter Spring x Enrollment Enrollment !GE Course Units 5 Page !1 of !3 PAGE 1 of 19 ETHNOMUSICOLOGY 98T 5. Please present concise arguments for the GE principles applicable to this course. ❑ General Knowledge This course will give students a spectrum of learning in the arts and humanities. This knowledge will extend beyond facts to include theories methodologies within and surrounding the fields of ethnomusicology, anthropology, performance studies, women and gender studies, LGBT studies, subaltern studies, and others. ❑ Integrative Learning Students will learn to compare and synthesize different disciplinary and theoretical perspectives in order to discover the ways in which contrasting approaches can illuminate issues of performance in different cultures. ❑ Ethical Implications This course will inform students about important issues in the arts, humanities, and social sciences, and prepare them to evaluate ethically and critically the implications of these developments as scholars, citizens and leaders. ❑ Cultural Diversity Through the study of music performance in culture, students will contextualize issues of race, ethnicity, gender and multicultural interactions worldwide. This course will provide a diversity of cultural perspectives with the aim of enhancing understanding and tolerance of difference while illuminating the values, ideas, and goals that individuals and groups hold in common. ❑ Critical Thinking Through weekly lectures and discussions, as well as the development of a final ethnographic research project, students will develop the ability to make critical and logical assessments of literary and ethnographic material. ❑ Rhetorical Effectiveness Through weekly writing assignments and a final research project, students will develop the ability to frame and deliver a reasoned and persuasive argument in speech and writing. ❑ Problem-solving Students will develop the ability to determine what knowledge is needed, how to acquire it, and how to use it in the development of weekly writing assignments and a final research project. ❑ Library & Information Through the development of a final research project, students will utilize Literacy critical research skills including the ability to search, select, organize, and Page !2 of !3 PAGE 2 of 19 ETHNOMUSICOLOGY 98T critical research skills including the ability to search, select, organize, and manage relevant information from a variety of sources, both traditional and digital. Students will also develop the ability to make critical and logical assessments of the material gathered in the development of the final paper. ! (A) STUDENT CONTACT PER WEEK (if not applicable write N/A) 1. Lecture: 3 (hours) 2. Discussion Section: N/A (hours) 3. labs N/A (hours) 4. Experiential (service learning, internships, other): N/A (hours) 5. Field Trips: N/A (hours) ! (A) TOTAL Student Contact Per Week 3 (HOURS) (B) OUT-OF-CLASS HOURS PER WEEK (if not applicable write N/A) 1. General Review & Preparation: 1 (hours) 2. Reading 8 (hours) 3. Group Projects: N/A (hours) 4. Preparation for Quizzes & Exams: N/A (hours) 5. Information Literacy Exercises: 1 (hours) 6. Written Assignments: 1 (hours) 7. Research Activity: 2 (hours) (B) TOTAL Out-of-class time per week 13 (HOURS) GRAND TOTAL (A) + (B) must equal at least 15 hours/week 16 (HOURS) Page !3 of !3 PAGE 3 of 19 ETHNOMUSICOLOGY 98T Ethnomusicology of the Closet Instructor: Jeffrey C Roy Email: [email protected] Office Hours: TBA, Schoenberg 2418 Course Description: A new era in our understanding of gay and lesbian studies began in 1990 with the publication Epistemology of the Closet, by E.K. Sedgwick. However, a major shortcoming of this text is that its treatment of gender and sexuality is confined to a Western context. In this class, we will explore other kinds of “closets” and investigate different cultural constructions of gender using ethnomusicological ma- terials as a point of entry. What are the ways in which gender and sexuality participate in culture through music? How does music intervene and challenge cultural constructs of gender and sexuality? Drawing on a variety of critical approaches, this class will be an investigation of the diverse ways in which the world’s cultures perform gender––both metaphorically and literally––though music. The study of the relationship between music and sexuality is a developing field. In this class, we will look at recently released ethnomusicological works by Anna Morcom (2013) and James Kippen (2013), and unpublished fieldwork notes and recordings in order to investigate the latest trends in ethno- graphic research on music, gender and sexuality. We will read foundational texts by E.K. Sedgwick, Ju- dith Butler, Michel Foucault, and Douglas Crimp; ethnographic works by Lila Abu-Lughod, Gayatri Red- dy, and Huseyin Tapinc; and review musical and artistic works ranging from Mumbai’s The Dancing Queens, Shanghai’s Jin Xing, to Britney Spears. Each week, we will examine representations of gender and sexuality in music and dance-related projects, some of which were created by UCLA professors and/ or students. These will provide models for the development of your own ethnographic research project, leading to your participation in a final class showcase during finals week. Each week’s topics build on those from the week before as we investigate the multivalent meth- ods of ethnography and the diverse ways it represents music, gender and sexuality in cross-cultural con- texts. Our interdisciplinary discussions will include perspectives from the fields of ethnomusicology, an- thropology, gender studies, performance studies, and in some cases, film studies. We will address further questions such as: In what ways are gender and sexuality, and other categories of identity, mobilized in music and dance? What are the moral and political implications of artistic representation? What can music and dance performance tell you about the nation, culture, or musician’s beliefs about gender and sexuali- ty? Finally, we will ask what our own interpretations and project creations tell us about ourselves. Course Objectives: - Understand key theoretical and (ethno)methodological approaches to the study of music, gender and sexuality - Analyze the ways in which music reifies and/or resists cultural conceptions of gender and sexuality - Utilize interdisciplinary modes of learning and research, particularly those from feminist, critical race, and queer theories - Identify and practice elements of critical scholarly engagement, including the maintenance of a weekly online, peer-reviewed journal, critical analyses and in-class presentations - Successfully utilize theory and practice using materials discussed in the course through the creation of a final research project PAGE 4 of 19 ETHNOMUSICOLOGY 98T Course Requirements: Active Participation Our class discussions are shaped by student participation and active involvement with class materials. This seminar depends on you and your commitment towards class. Active Participation means that you have read the required assignments for the day and are ready to discuss them with the group. You should be able to come to class ready to summarize the readings as well as pose further questions and draw con- nections to other concepts or issues discussed in class. Write down any questions you have or topics you wish to discuss ahead of time. Weekly Critical Analyses, In-Class Blog Contributions and Responses Each week, students are expected to write a 2-3 page critical analysis responding to a specific set of prompts. The reports should critically engage the week’s readings and other media, thoughtfully raising further questions and drawing connections to other concepts, issues or examples discussed in class. These reports should be uploaded on the class website under the “Critical Analysis” heading, and a copy should also be printed and brought to class. We will use your analyses as a spring board upon which to engage our class discussions. For a guide, refer to the course reading worksheet on the final page of this syllabus. The class website also contains a section for students to contribute a blog post. Students are responsible for contributing a blog post in response to the weekly arts projects, readings
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