Eurovision Song Contest – SYLLABUS w w 1 The Eurovision Song Contest Spring Quarter 2019 – Tuesdays & Thursdays, 11:00–12:20 Logan 901 – Performance Penthouse Instructor: Philip V. Bohlman ([email protected]) Course Assistant: Florian Walch k THE EUROVISION SONG CONTEST SYLLABUS Week 1 INTRODUCTION – ON THE ROAD TO THE GRAND PRIX April 2 – Introductory Lecture by Philip Bohlman – The Eurovision Song Contest at 64 April 4 – Film presentation created for class – The Grand Tour to the Grand Prix • Hands-on acquisition of Eurovision resources – The EBU yesterday and today • Phil Bohlman blogposts on the Eurovision (Oxford Univ. Press) – 2011–2018 Week 2 NATIONALISM AND NATIONAL IDENTITY April 9 – The Eurovision as Nationalist Fantasy and Political Struggle • Readings on Eurovision themes – from Tragaki, ed., Empire of Song: Europe and Nation in the Eurovision Song Contest (2012) – Introduction and Chaps. 1, 2, & 9 (Tragaki, P. V. Bohlman, A. F. Bohlman & Polychronakis, Teixeira & Stokes) April 11 – Team presentations of videos for 1) Annual contests in single years and 2) star singers and hit songs • Annual Contest Team (Teams of three present past ESC conferences) – ____________ • Star / Hit Song Team – Teams of three present stars or hit songs from past and present ——————————————— Week 3 LOCAL AND REGIONAL IDENTITY – FESTIVALIZING EUROPEAN NATIONALISM April 16 – Whose Eurovision Is This? • Reading Assignment – 1) Anderson, Imagined Communities, Chaps. 4–6 April 18 – Other Eurovisions – Sopot, Doro, Intervision • Reading assignment: Vuletic, Chap. 3, “A Contest for Communism,” from Postwar Europe and the Eurovision Song Contest • Annual Contest Team – ______________________________________________ • Star / Hit Song Team – _______________________________________________ Week 4 STARDOM April 23 – Winners and Losers • Reading Assignment – Tim Moore, Nul Points April 25 – Break-through Biographies – Is There Life after Eurovision? Eurovision Song Contest – SYLLABUS w w 2 • First CD or MP3 compilation due (National Run-Up Competition – ca. 5 tracks) • Annual Contest Team – _______________________________________________ • Star / Hit Song Team – _______________________________________________ Week 5 FANDOM – EUROVISION COMMUNITIES April 30 – The Everyday Worlds of Eurovision Fans • Reading Assignment – Anderson, Imagined Communities, Chaps. 7–9 May 2 – DIY (Do It Yourself) Eurovision Production •Reading Assignment – Raykoff & Tobin 2007: Chaps. 9–11 (Ingvoldstad, Heller, Lemish) • Annual Contest Team – _______________________________________________ • Star / Hit Song Team – _______________________________________________ Week 6 THE EU, THE EBU, AND THE MAKING OR EUROPEAN COMMUNITIES May 7 – The Political, the Apolitical, the Media, the Immediate • Reading Assignment – Anderson, Imagined Communities, Chaps. 10, 11, & “Travel and Traffic” May 9 – Imperial Eurovision – Competitors beyond Europe’s Borders 2) From Raykoff and Tobin 2007: Chaps. 6–8 (Mutsaers, Pajala, Vuletic) • Annual Contest Team – _______________________________________________ • Star / Hit Song Team – _______________________________________________ Week 7 – EUROVISION WEEK! THE EUROVISION SONG May 14 – The Eurosong Formula • NB: The First Semi-Final takes place in the evening (European time). • Review Essay Due (National Culture and Identity in the New Europe – 3 pages) May 16 – Breaking the Rules • NB: The Second Semi-Final takes place in the evening (European time). • Annual Contest Team – _______________________________________________ • Star / Hit Song Team – _______________________________________________ • Class meets on Saturday, May 18th, in the afternoon for a live broadcast of the Grand Finale of the 64th Eurovision Song Contest, Logan Film Screening Center. Students are required to attend this “Eurovision Party.” • Week 8 POST-EUROVISION EUROPES – ECHOES AND ALTERNATIVES May 21 – A Eurovision for Every Europe • Reading Assignment – From Raykoff and Tobin: Chaps. 12, 14, 15 (Solomon, Meizel, Brunt) May 23 – The Eurovision Wannabe Phenomenon – Globalizing Talent • In-class presentations of the second CD or MP3 compilation due (Alternative Eurovisions 2019 – Sámi, Jr. Eurovision, Sanremo, Arab Icon, etc. – 3 tracks) Eurovision Song Contest – SYLLABUS w w 3 • Annual Contest Team – _______________________________________________ • Star / Hit Song Team – _______________________________________________ Week 9 SOUNDING THE FUTURE OF EUROPE May 28 – The Rise of the Right, Brexit, and the End of Europe as We Know It • Reading Assignment – From Tragaki 2013, Chaps. 6, 10, and 12 (Lampropoulos, Tragaki, A. F. Bohlman and Rehding) May 29 – When Difference Makes a Difference • Annual Contest Team – _______________________________________________ • Star / Hit Song Team – _______________________________________________ Week 10 GRAND FINALE June 4 – The Chicagovision 2019 Press Conference and Dress Rehearsal June 6 – The Performance of the Grand Finale of Chicagovision 2019 • Collective staging and performance of Chicagovision 2019, Performance Penthouse • & • June 12 – Three-page analysis of student’s role in the Grand Finale due at 5:00 pm • k Grade Requirements 1) 2 CD or MP3 compilations – 20% each 2) Review essay – 20% 3) Grand Prix – Participation + three-page analysis of role or creative component – 40% Eurovision Song Contest – SYLLABUS w w 4 THE EUROVISION SONG CONTEST Bibliography, Discography, Filmography Agostini, Roberto. 2007. “The Italian Canzone and the Sanremo Festival: Change and Continuity in Italian Mainstream Pop of the 1960s.” Popular Music 26, 3: 389–408. Anderson, Benedict. 2006. Imagined Communities: Reflections on the Origin and Spread of Nationalism. Revised ed. London: Verso. Applegate, Celia, and Pamela M. Potter, eds. 2002. Music and German Nationalism. Chicago: University of Chicago Press. Baumgartner, Michael. 2007. “Chanson, Canzone, and Song: Switzerland’s Identity Struggle in the Eurovision Song Contest.” In Raykoff and Tobin, A Song for Europe, 37–47. Aldershot: Ashgate. Beiner, Ronald, ed. 1999. Theorizing Nationalism. Albany: State University of New York Press. Belkind, Nili. 2010. “A Message for Peace or a Tool for Oppression? Israeli Jewish-Arab Duo Achinoam Nini and Mira Awad’s Representation of Israel at Eurovision 2009.” Current Musicology 89: 7–35. Bellier, Irène, and Thomas M. Wilson, eds. 2000. The Anthropology of the European Union: Building, Imagining and Experiencing the New Europe. Oxford: Berg. Berdahl, Daphne, Matti Bunzl, and Martha Lampland, eds. 2000. Altering States: Ethnographies of Transition in Eastern Europe and the Former Soviet Union. Ann Arbor: University of Michigan Press. Berger, Stefan, Linas Eriksonas, and Andrew Mycock, eds. 2008. Narrating the Nation: Representations in History, Media and the Arts. Oxford and New York: Berghahn. Bhabha, Homi, ed. 1990. Nation and Narration. London and New York: Routledge. Björnberg, Alf. 1992. “Musical Spectacle as Ritual: The Eurovision Song Contest.” In Antoine Hennion, ed., 1789–1989: Musique, Histoire, Démocratie, vol. 2, 373–82. Paris: Editions de la Maison des Sciences de l’Homme. Bohlman, Andrea F., and Ioannis Polychronakis. 2013. “Eurovision Everywhere: A Kaleidoscopic Vision of the Grand Prix.” In Tragaki, ed., Empire of Song, 57–77. Lanham, MD: Scarecrow. Bohlman, Andrea F., and Alexander Rehding. 2013. “Doing the European Two-Step.” In Tragaki, ed., Empire of Song, 281–97. Lanham, MD: Scarecrow. Bohlman, Philip V. 2002. World Music: A Very Short Introduction. Oxford: Oxford University Press. (Very Short Introductions) ______. 2004a. The Music of European Nationalism: Cultural Identity and Modern History. 1st ed. Santa Barbara, Calif.: ABC–CLIO. (World Music Series) ______. 2004b. “Popular Music on the Stage of a United Europe – Southeastern Europe in the ‘Eurovision Song Contest’.” In Bruno B. Reuer, ed., Vereintes Europa – Vereinte Musik? Eurovision Song Contest – SYLLABUS w w 5 Vielfalt und soziale Dimensionen in Mittel- und Südosteuropa, pp. 27–45. Berlin: Weidler Verlag. ______. 2007. “The Politics of Power, Pleasure, and Prayer in the Eurovision Song Contest.” Musicology/Musicologia 7: 39–67. ______. 2009. “Ex Oriente Lux: Islam and the Eurovision Song Contest.” In idem and Marcello Sorce Keller, eds., Antropologia della musica nelle culture Mediterranee, 171–90. Bologna: CLUEB. ______. 2011. Focus: Music, Nationalism, and the Making of the New Europe. 2nd, rev. ed. of Bohlman 2004a. New York: Routledge. ______. 2012. “On Track to the Grand Prix: The National Eurovision Competition as National History.” In Stefan Berger, Chris Lorenz, and Billie Melman, eds., Popularizing National Pasts: 1800 to the Present, 267–87. New York: Routledge, 2012. ______. 2013a. “Tempus Edax Rerum: Time and the Making of the Eurovision Song.” In Tragaki, ed., Empire of Song, 35–56. Lanham, MD: Scarecrow. ______. 2013b. “Journey to Utopia.” In idem, Revival and Reconciliation: Sacred Music in the Making of European Modernity, 237–51. Lanham, MD: Scarecrow. Bohlman, Philip V. – Blogposts, Oxford University Press. 2012 – Europe in Spite of Itself http://blog.oup.com/2012/06/europe-in-spite-of-itself/ 2013 – Europa borealis: Reflections on the 2013 Eurovision Song Contest Malmö http://blog.oup.com/2013/05/europa-borealis/ 2014 – “There Is Hope for Europe” – The ESC 2014 and the Return to Europe http://blog.oup.com/2014/05/eurovision-hope-for-europe/ 2015 – Tales of two Europes: Sameness and Difference at the Eurovision Song Contest 2015 Vienna http://blog.oup.com/2015/06/eurovision-song-contest-2015-vienna-two-europes/