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SEMESTER AT SEA COURSE SYLLABUS
Colorado State University, Academic Partner
Voyage: Fall 2020
Discipline: Music
Course Number and Title: MU 132 Exploring World Music
Division: Lower
Faculty Name: Fugan Dineen
Semester Credit Hours: 3
Prerequisites: None
COURSE DESCRIPTION
From the CSU catalog: Global aspects of music and its meaning with connections to the
environment, sound, and world cultures.
Additional description:
Our intimate engagement with music, alongside its ubiquity in the world, supports the
familiar notion articulated by Henry Wadsworth Longfellow; “music is the universal language
of [hu]mankind” (in Outre-Mer, 1833). But it’s not so simple. While music, like language, is a
universal feature of human societies, specific musics (like languages) can be unintelligible
across cultures. And while music always has meaning, its meanings vary dramatically from
place to place.
In each port of call and region we visit, we will directly encounter the multiplicity of musical
lives that humans embody. Our explorations of these diverse music cultures—as
ethnomusicologists, ethnographers, and as music makers (no previous experience
required)—will focus on musical praxis, on the lives and experiences of artists and
audiences, and on music’s varied cultural and social meanings. The joy and intimacy of
musicking with others, and the deep connections it fosters, resides at the heart of our
journey. Over the course of the semester, we will discover how music cultures intertwine,
where they overlap, and in what ways they inform our understanding of music as a human
endeavor and, perhaps, as a human imperative.
LEARNING OBJECTIVES
Understand how music operates in culture, as culture, and across cultures
o Appreciate the varieties of perspectives people have about what “music” is
o Understand the diversity of purposes and meanings people give to musical
performance and consumption
Gain insight into music’s roles in identity formation on personal, interpersonal,
communal, national, and international levels
Learn the special attributes and sonic identifiers of the music cultures we encounter
in our ports of call
Appreciate the historic and political influences shaping individual music cultures
Develop listening and analytical skills for music through intimate engagements with
diverse forms and styles
Cultivate a toolkit for conducting musical fieldwork with hands-on explorations
Delve into transnational musical connections underlying our journey
Refine skills in critical reading, academic research, and scholarship
Develop or hone music making skills through in-class practicums.
REQUIRED TEXTBOOKS & SOFTWARE
There is not a required textbook for this class.
Students are required to have basic audio-editing software on their laptops prior to
departure. You may use a program you already own and to which you are accustomed, such
as GarageBand, Logic, Ableton, or Pro Tools. Or download a simple platform like Audacity,
which is a free and intuitive.
TOPICAL OUTLINE OF COURSE
Depart Hamburg, Germany – September 9
A1—September 11: Introduction—Music Culture
Questions:
What is music, musical form, and music culture? How will we approach the diversity of music
cultures we encounter on our journey? What does the centrality of the human voice to South
Indian music culture mean for rhythm? How do we embody our conceptual understanding of
this relationship?
Readings:
Nelson, David. 2008. “Introduction.” In Solkaṭṭu Manuel: An Introduction to the
Rhythm Language of South Indian Music, 1-13. Middletown: Wesleyan
University Press.
Titon, Jeff Todd. 2016. “The Music-Culture as a World of Music.” In Worlds of Music: An
Introduction to the Music of the world’s Peoples (6th ed.), 1-15. Ed. Jeff Todd Titon.
Cengage: Boston.
A2— September 13: Ethnomusicology, Ethnography, and Reflexive Scholarship in Morocco
Questions:
What is ethnomusicology and how do ethnomusicologists approach the diversity of
musical instruments, playing contexts, and meanings in the world? What are social,
historical, and musical characteristics of Gnawa music as described by Witulski? How
does he weave ethnography, reflexive scholarship, and musical analysis into his
account?
Readings:
Rice, Timothy. 2014. “Defining Ethnomusicology.” In Ethnomusicology: A Very Short
Introduction, 1-10. Oxford: Oxford University Press.
Witulski, Christopher. 2018. “One Minute in Meknes.” In The Gnawa Lions, 1-19.
Bloomington: Indiana University Press.
Additional Resources:
Witulski, Christopher. 2018. “Light Rhythms and Heavy Spirits.” In The Gnawa Lions, 94-
114. Bloomington: Indiana University Press.
Casablanca, Morocco – September 15-19
A3—September 20: “World Music”? Universals, Hybridity, and Authenticity
Questions:
Is music universal or non-universal (hint: yes!)? How can we interpret, evaluate, and
engage with diverse musical sounds and meanings?
Readings:
Weiss, Sarah. 2014. “Listening to the World but Hearing Ourselves: Hybridity and
Perceptions of Authenticity in World Music.” Ethnomusicology 58(3):506-25.
Additional Resources:
Nettl, Bruno. 2005. “The Universal Language: Universals of Music.” In The Study of
Ethnomusicology: Thirty-one Issues and Concepts, 42-49. New ed. Urbana; Chicago:
University of Illinois Press.
—————. 2005. “The Nonuniversal Language: Varieties of Music.” In The Study of
Ethnomusicology: Thirty-one Issues and Concepts, 50-59. New ed. Urbana; Chicago:
University of Illinois Press.
A4—September 22: An Introduction to Ewe Music—Listen to the Bell!
Questions:
What are the general characteristics of African music making described by Locke and
how does the example he offers support his claims? How can we productively
evaluate generalizations about the diversity of music cultures present on the
continent of Africa? What are the social, historical, and musical characteristics of
agbekor?
Readings:
Gilman, Lisa and John Fenn. 2019. “Defining Fieldwork.” In Handbook for Folklore and
Ethnomusicology Fieldwork, 7-22. Bloomington: Indiana University Press.
Locke, David. 2016. “3. Africa/Ewe, Mande, Dagbama, Shona, BaAka.” In Worlds of
Music: An Introduction to the Music of the World’s Peoples (6th edition), 99-
126. Ed. Jeff Todd Titon. Cengage: Boston.
A5—September 24: Metaphor, Time-Cognition, and Balance in African Drumming
Questions:
Are our senses culturally conditioned? How do we evaluate Guerts’ argument on
including balance as a sense among the Anlo-Ewe? Can we relate this to our
embodied experiences navigating 3:2 in the gankogui pattern?
Readings:
Geurts, Kathryn Linn. 2002. “Is There a Sixth Sense?” In Culture and the Senses, 3-20.
Berkley: University of California Press.
Additional Resources:
Zbikowski, Lawrence M. 1998. “Metaphor and Music Theory: Reflections from Cognitive
Science.” Music Theory Online: The Online Journal of the Society for Music Theory
4.1: 1–14.
A6—September 26: Ewe Music, Diversity, and Tradition
Questions:
What is a tradition? Where does it lie? Who is able, authorized, and sanctioned to convey a
tradition? And by whom? What can Pond’s experiences as a student of Ewe drumming teach
us as we negotiate ideas of tradition and authenticity? How does his writing work as
ethnographic/reflexive analysis?
Readings:
Pond, Steven F. 2014. “A Negotiated Tradition: Learning ‘Traditional’ Ewe Drumming.” Black
Music Research Journal 34(2):169-200.
Takoradi, Ghana — September 27-28
Tema, Ghana — September 29-October 1
A7—October 3: Race, (Embodied) Voices, and Choral Music—Colonial Models and Post-
Apartheid South Africa
Questions:
How is ethnicity sounded? What analytical tools can researchers call on to describe timbre
and situate it in discussions of race, culture, and social history? In what contexts did
analysis of the “black” voice develop and how do those historical formations play out in
contemporary discourse on South African choral music?
Readings:
Olwage, Grant. 2004. “The Class and Colour of Tone: An Essay on the Social History of Vocal
Timbre.” Ethnomusicology Forum 13(2):203-26.
Additional Resources:
Meintjes, Louise. 2004. “Shoot the Sergeant, Shatter the Mountain: The Production of
Masculinity in Zulu Ngoma Song and Dance in Post-Apartheid South Africa.”
Ethnomusicology Forum 13(2):173-201.
Community Programming — October 4 (No Class)
A8—October 6: Isicathamiya—Sounds and Symbols in South African Vocal Music
Questions:
What are the historical circumstances and current practices of isicathamiya? How do these
intertwine with ideas of purity, authenticity, and tradition in South Africa and more broadly?
What roles did the recording industry have in the development of the style? How did/does
isicathamiya push back against the politics and structures of oppression?
Readings:
Erlmann, Veit. 1999. “Fantasies of Home: The Antinomies of Modernity and the Music of
Ladysmith Black Mambazo” In Music, Modernity, and the Global Imagination: South
Africa and the West, 199-213. New York: Oxford University Press.
Additional Resources:
Erlmann, Veit. 1999. “Symbols of Inclusion and Exclusion: Nationalism, Colonial
Consciousness, and the ‘Great Hymn’.” In Music, Modernity, and the Global
Imagination: South Africa and the West, 111-32. New York: Oxford University Press.
A9—October 8: Bring the Noise—South African Hip Hop
Questions:
How did colonial consciousness and racial politics influence the development of hip
hop as a vibrant form of musical expression in South Africa? What are the
contemporary contours of South African hip hop? How do hip hop artists articulate
identity, modernity, and resistance in South Africa?
Readings:
Watkins, Lee. 2012. “A Genre Coming of Age: Transformation, Difference, and Authenticity in
the Rap Music and Hip Hop Culture of South Africa.” In Hip Hop Africa, 57-76. Ed.
Eric Charry. Bloomington: Indiana University Press.
Additional Resources:
Hammett, Daniel. 2012. “Reworking and resisting globalising influences: Cape Town hip-
hop.” GeoJournal 77(3):417-428.
Cape Town, South Africa — October 9-14
A10—October 16: Diaspora, Musical Movements, Island Nations
Questions:
How have technologies and evolving media for musical consumption affected na’t
recitation? What connections do we see between Mauritian Muslims and the larger
South Asian sphere played out in devotional performance? What aesthetic features
of na’t performance are especially evocative (or here, “touching”) to listeners? How
are these amplified through technologies?
Readings
Eisenlohr, Patrick. 2018. “Sounding Islam.” In Sounding Islam: Voice, Media, and Sonic
Atmospheres in an Indian Ocean World, 1-20. Oakland: University of California Press.
—————. 2018. “Devotional Islam and Sound Reproduction.” In Sounding Islam: Voice,
Media, and Sonic Atmospheres in an Indian Ocean World, 21-37. Oakland: University
of California Press.
Due: Field Assignment
A11—October 18: Tourism, Heritage, and Identity in Mauritius
Questions:
How can tourism impact authenticity and the performance of music and culture?
What specific issues are ignited as a result of state interventions in Mauritius? What
are some of the broader implications of Boswell’s study?
Readings:
Boswell, Rosabelle. 2005. “Heritage Tourism and Identity in the Mauritian Villages of
Chamarel and Le Morne.” Journal of Southern African Studies 31(2):283-95.
A12—October 20: Diaspora, Musical Movements, Island Nations
Questions:
How can Myers and Pandey’s analysis of Indian diasporic communities allow us to rethink
identity, nation, and belonging? Where does music fit into their framing? How do Myers and
Pandey’s observations on diasporic Indian communities and their diverse trajectories fit into
our narrative on Mauritius?
Readings:
Myers, Helen Priscilla, and Umesh Chandra Pandey. 2019. “The Island Diaspora.” In
Storytime in India: Wedding Songs, Victorian Tales, and the Ethnographic Experience,
147-53. Bloomington: Indiana University Press.
Port Louis, Mauritius — October 22-24
A13—October 25: Indian Musics
Questions:
What does Reck suggest about Indian music/history by invoking Nehru’s palimpsest
analogy? While the long history outlined by Reck can inform our understanding of
contemporary Indian musics, what qualifications should we infer from our previous
readings on tradition, authenticity, and histories?
Readings:
Reck, David. 2016. “Asia/India.” In Worlds of Music: An Introduction to the Music of
the World’s Peoples 6th edition, 293-310. Ed. Jeff Todd Titon. Cengage:
Boston.
A14—October 27: Bharatanatyam and Identity: The Devadāsī Heritage
Questions:
How does Knight’s description of T. Balasaraswati’s heritage fit in with Allen’s critique of
colonial, nationalist, and postcolonial reforms of South Indian dance? What specific changes
in the dance legacy does Allen note? How did these changes impact the hereditary families
of dancers and musicians like the one described by Knight?
Readings:
Allen, Matthew H. 1997. “Rewriting the Script for South Indian Dance.” The Drama Review
41(3):63–100.
Knight, Douglas M. 2010. “From the Heart of the Tradition.” In Balasaraswati: Her Art
& Life, 1-16. Middletown: Wesleyan University Press.
Community Programming — October 28 (No Class)
A15—October 30: An Historic View on Devadāsī Culture
Questions:
How does Orr use historical textual analysis and iconography to deepen our
understanding of the devadāsī as a historical figure? What does her history tell us
about colonial narratives on the devadāsī and recent re-imaginings of the devadāsī in
contemporary scholarship?
Readings:
Orr, Leslie C. 2000. Donors, Devotees, and Daughters of God: Temple Women in Medieval
Tamilnadu. New York: Oxford University Press. [3-17, 172-80]
Mumbai, India — November 1-6
Reflection Day — November 7 (No Class)
A16—November 7: Globalization, Glocalization, and Modernity in Southeast Asia
Questions:
While global communications, multi-nationals, neoliberalism, and hegemonic
state/corporate interests have deeply influenced artistic production around the
world, the long-feared cultural grey-out from globalization never quite materialized.
How have the local and global been productively negotiated by artists in Island
Southeast Asia? What is glocalization? And, more specifically, what do Lysloff’s case
studies tell us about the roles and malleability of “tradition”?
Readings:
Lysloff, René T. A. 2016. “Worlding Music in Jogjakarta: Tales of the Global Postmodern.”
Ethnomusicology 60(3):484-507.
A17—November 9: Harnessing the Global in Malaysia
Questions:
How do the subjects of Beng’s study align with/diverge from those of Lysloff’s in their
approaches to negotiating global influences? What do you think accounts for the
differences? Does the orang asli’s productive use of “world music” challenge
narratives on power relations? If so, how?
Readings:
Beng, Tan Sooi. 2014. “Modernizing Songs of the Forest: Indigenous Communities Negotiate
Tensions of Change in Malaysia.” In Sonic Modernities in the Malay World, 353-70.
Ed. Bart Barendregt. Leiden; Boston: Brill.
Reflection & Study Day — November 11 (No Class)
A18—November 12: Film Music and National Identity
Questions:
What are the different types and meanings of film music noted by Slobin? How does
Johan’s reading of P. Ramlee’s films fit into Slobin’s taxonomy of film music on the
world stage? How does the transnational nature of the Malaysian film industry reflect
culture-making in Island Southeast Asia? How does reflexivity support Johan’s
scholarship?
Readings:
Johan, Adil. 2018. “Preface.” In Cosmopolitan Intimacies, xvii-xxviii. Singapore: NUS
Press.
Slobin, Mark ed. 2008. “Preview of Coming Attractions.” In Global Soundtracks: Worlds of
Film Music, vii-xxiii. Middletown, Wesleyan University Press.
A19—November 14: Remakes and Nation-making
Questions:
How is “tradition” defined in the Malaysian context discussed by Johan? How do hybridity
and modernity play out in film music? How does Johan use the concept of “indiepretation” in
his discussion of ethnonationalism, nostalgia, and the reimagining of identities through film
music and its interpretations?
Readings:
Johan, Adil. 2018. “Indiepretations of Zubir Said and P. Ramlee.” In Cosmopolitan
Intimacies, 227-72. Singapore: NUS Press.
Due: Field Class Essay
Port Klang/Kuala Lumpur, Malaysia — November 15-19
A20—November 21: Rebuilding Traditional Musics in Southern Vietnam
Questions:
How does Cannon frame the challenges to “traditional” musics in South Vietnam? How do
traditional and national musics relate in Vietnam? What are the factors granting authority to
a teacher of traditional music? What problems emerge from this context?
Readings:
Cannon, Alexander M. 2013. “When Charisma Sustains Tradition: Deploying Musical
Competence in Southern Vietnam.” Ethnomusicology 57(1):88-115.
Ho Chi Minh City, Vietnam — November 22-27
A21—November 29: Taiko
Questions:
What is the history and sources of taiko? How does it function as a contemporary genre? As
a “traditional” genre? How is nostalgia (furustao) deployed by taiko groups? What human
and civil rights issues come into play with taiko drumming?
Readings:
Bender, Shawn Morgan. 2012. “Introduction” and “Taiko Drums and Taiko Drum Makers.” In
Taiko Boom: Japanese Drumming in Place and Motion, 1-47. Berkley: University of
California Press.
A22—December 1: Gender and Representation in Taiko Drumming
Questions:
How are gender roles constructed and enforced in a contemporary performance
practice like taiko? What are the boundaries and how are they pushed and/or held?
What constitutes “authenticity” in Japanese taiko? And how is that transformed in
diaspora?
Readings:
Bender, Shawn Morgan. 2012. “Woman Unbound? Body and Gender in Japanese Taiko.” In
Taiko Boom: Japanese Drumming in Place and Motion, 142-69. Berkeley: University
of California Press.
Tsuda, Takeyuki. 2016. "Performative Authenticity and Fragmented Empowerment through
Taiko." In Japanese American Ethnicity: In Search of Heritage and Homeland Across
Generations, 225-49. New York: NYU Press.
A23—December 3: Race, Gender, and Taiko
Questions:
How does orientalism appear in Wong’s reading of “Rising Sun”? How is American
taiko perceived by white audiences? How does racism play out in Wong’s telling?
What are the features of American taiko that contrast with Japanese models? What
do you suspect is behind such a divergence in form and practice?
Readings:
Wong, Deborah. 2000. “Taiko and the Asian/American Body: Drums, ‘Rising Sun,’ and the
Question of Gender.” The World of Music 42(3):67-78.
Due: Field Assignment
Kobe, Japan — December 5-9
A24—December 10: Reinventing Tradition in Korea
Questions:
What were the historic and social conditions under which Korean itinerant performance
troupes (namsadang) emerged and developed? What challenges does Hesseling describe
for the newly emerging genre of samul nori?
Readings:
Hesselink, Nathan. 2012. “The Namsadang: Itinerant Troupe Performance Culture and the
Roots of SamulNori.” In SamulNori: Contemporary Korean Drumming and the Rebirth
of Itinerant Performance Culture, 1-37. Chicago: University of Chicago Press.
Additional Resources:
Hesselink, Nathan. 2004. “Samul nori as Traditional: Preservation and Innovation in a South
Korean Contemporary Percussion Genre.” Ethnomusicology 48(3):405-439.
Busan, South Korea — December 12-16
Study Day — December 17 (No Class)
A25—December 18:
Due: Final Presentations
Arrive Yokohama, Japan— December 22
FIELD WORK
Semester at Sea® field experiences allow for an unparalleled opportunity to compare,
contrast, and synthesize the different cultures and countries encountered over the course of
the voyage. In addition to the one field class, students will complete independent field
assignments that span multiple countries.
Field Class & Assignment
[Field Class proposals listed below are not finalized. Confirmed ports, dates, and times will
be posted to the Fall 2020 Courses and Field Class page when available.]
Field Class attendance is mandatory for all students enrolled in this course. Do not book
individual travel plans or a Semester at Sea sponsored trip on the day of your field class.
Field Classes constitute at least 20% of the contact hours for each course, and are
developed and led by the instructor.
Proposal Title #1: Movement, Gesture, Voice, and His(her)story in Bharatanatyam
Country: India
Idea:
Bharatanatyam can be loosely translated as “India’s Dance.” It is a prized and highly-
refined style studied and performed throughout India and the Indian diaspora.
Bharatanatyam is also taught widely at institutes, colleges, and universities in North
America and Europe and has claimed a place alongside other global dance forms.
The music, costuming, movements, and performance modes of bharatanatyam—
along with the narratives told by dancers, dance scholars, in film, and in the media—
emphasize a certain take on Indian-ness, one rooted in notions of “tradition.”
However, the elevated cultural location of bharatanatyam is relatively new. As the
country moved towards independence in the early 20th century, a dramatic
reinvention took place in the arts. A dance form previously practiced by hereditary
communities of low-caste artists—matrifocal and matrilineal communities whose
dancers were known as devadāsī-s and in which wealth and land were passed from
mothers to daughters—was reimagined as a national form. The social practices of the
hereditary communities were (literally) outlawed, devadāsī-s were replaced by high
caste dancers, and the style was recreated through nationalist and orientalist lenses.
The name “bharatanatyam” itself was a renaming of the former style, known as sadir,
with an eye towards refinement and elevation.
Objectives:
In this field class, we will explore the living reality of bharatanatyam as an embodied
form. Students will participate in workshops on dance music, the gestural vocabulary
used by dancers, and the pure movement of the dance. They will interact with
professional dancers and dance students, and gain insight into their lives and views
on the arts. We will also critically examine the history and narratives around the
dance, unpacking the character of the devadāsī and her demise, as well as her
reinventions in film and popular culture.
Activities:
Lecture/demonstration: Students will be guided through an introduction to the
form by an established practitioner, including a question and answer session
Workshops: Participate in two workshops
o Gesture (mudra), storytelling (abhinaya), and pure dance (nrṭṭa)
o The music of bharatanatyam with a focus on the art of reciting dance
steps (naṭṭuvangam)
Performance: Attend a bharatanatyam performance in a temple or concert hall
Q & A: Participate in a discussion of the performance with the dancers/musicians
Meal: Enjoy a traditional Indian meal
Evaluation:
During the field class, you will be engaging with a vibrant music and dance culture
through embodied and experiential learning modes. You will also be acting as
ethnographers and participant-observers as well as music scholars. In those many
roles, you will be gaining information, accessing new perspectives and ways of
knowing, letting go of preconceptions, and gathering resources. This data will inform
your written analysis, which takes the form of a 1250-word academic reflection
essay. The essay will draw on your field notes and observations, on recordings and
remembrances, and on post-field class reflections and processing. It will integrate
texts we have studied and will incorporate course themes such as tradition and
transformation, the cultural meanings of music and the arts, and the effects of
colonialism and postcolonial narratives on the arts. A detailed rubric for the
assignment will be distributed in class.
Proposal Title #2: Performing Culture through Ghanaian Drum and Dance
Country: Ghana
Idea:
Music and dance are integral components to Ghanaian social life. Traditional forms,
such as agbekor, are often deeply integrated into Ewe social life. The meanings of
these dances go well beyond the sounds, movements, and texts that are sung. They
are embodied performances of history, culture, and identity. And these genres act as
places/spaces where community is formed and supported (often through mutual aid
societies that promote local music and dance).
Objectives:
In this field class, we will explore Ewe music culture as participant-observers. We will
learn about the instruments and playing techniques of agbekor (or a related form)
from Ghanaian musicians and dance movements from Ghanaian dancers. This
learning will be experiential—you will drum and dance. And it will be intellectual, you
will have ample opportunity to engage in dialogue with artists and community
members.
Activities:
Lecture/Demonstration: Attend a lecture on Ewe music culture by a local
authority with time for Q & A
Workshops: Participate in a series of workshops on Ewe drumming, dance, and
song
Meal: Prepare a traditional meal using local ingredients and techniques
Informal discussion: Enjoy an informal meal where you can converse and share
with local artists
Performance: Attend a local performance
Evaluation:
During the field class, you will be engaging with a vibrant music culture through
embodied and experiential learning modes. You will also be acting as ethnographers
and participant-observers as well as music scholars. In those many roles, you will be
gaining information, accessing new perspectives and ways of knowing, letting go of
preconceptions, and gathering resources. This data will inform your written analysis,
which takes the form of a 1250-word academic reflection essay. The essay will draw
on your field notes and observations, on recordings and remembrances, and on post-
field class reflections and processing. It will integrate texts we have studied and will
tie in course themes such as tradition and transformation, the cultural meanings of
music and the arts, and the intimate relation of social structures, social health, and
music. A detailed rubric for the assignment will be distributed in class.
Independent Field Assignments
Our exploration of music cultures is grounded in “the field”: the physical, cultural, and
cognitive spaces we encounter in our journey. It is an experiential plane where our
understandings and ideas come into contact with reality. This reality is lived by the
people we encounter and is lived in the encounter itself. We are also part of the
field—while we are in-country and in our attempts to frame, analyze, and share the
field with others.
You have two field assignments in this course: (1) a 750-word essay (plus
audio/visual examples) documenting how a course theme plays out in a particular
region of our voyage and (2) an oral presentation focused on a different class theme
in another region. Both provide opportunities for you to explore an issue across
multiple sites (2 to 3 ports of call), to develop and share your analysis, and to
synthesize your individual experiences into broader narratives on music and culture.
These field assignments are based on fieldnotes, recordings, and observations and
will be grounded in the academic literature and the language of ethnomusicology.
The essay will follow academic writing norms and provide an opportunity for you to
hone your writing skills. The presentation can be read (conference style) or follow a
less-academic format: i.e., sung, rapped, acted, danced or some combination of text,
music, and movement. A detailed rubric for these assignments will be distributed in
class.
METHODS OF EVALUATION
Final Presentation: 25%
A collaborative group project will be presented in-class and be accompanied by a
written artists’ statement (1500 words). This collaborative effort provides an
opportunity to share your field research, insights, and analysis of a particular issue
relevant to our class in a creative format. The projects, which will tie together multiple
regions and experiences, will include a combination of text, sound, images, and
performance (dramatic, musical, etc.). A detailed rubric for this assignment will be
distributed in class.
Field Assignments: 25%
One essay and one oral presentation based on your field experiences in two different
regions (detailed above) will be completed over the course of the semester. Each is
worth 12.5% of your grade.
Field Class: 25%
Attendance, participation, and the assignments generated by your field class account
for 25% of your grade (see above). The field class is an opportunity to directly
experience a sound and music culture different from your own, gain intimate
knowledge of how locals hear and sound their world, and to integrate that experience
into your larger understanding of music and sound as culture and what that means in
the context of your own journey.
In-Class Assignments, Submissions, Written Responses: 15%
In class, we will engage the course materials through a variety of modalities,
including written and oral responses to readings, journaling, group activities and
assignments, and by submitting prepared questions. In combination, these efforts
comprise 15% of your grade.
Engagement/Attendance: 10%
Class attendance is mandatory (5%) as your active involvement (5%) counts for a
significant portion of your grade. Unexcused absences will lower the attendance
portion of your grade according to a simple percentage. Tardiness will also be figured
into your grade. Valid absences—cleared with the instructor—will not count against
you.
GRADING SCALE
The following Grading Scale is utilized for student evaluation. Pass/Fail is not an option for
Semester at Sea® coursework. Note that C-, D+ and D- grades are also not assigned on
Semester at Sea® in accordance with the grading system at Colorado State University (the
SAS partner institution).
Pluses and minuses are awarded as follows on a 100% scale:
Excellent Good Satisfactory/Poor Failing
97-100%: A+
93-96%: A
90-92%: A-
87-89%: B+
83-86%: B
80-82%: B-
77-79%: C+
70-76%: C
60-69%: D
Less than 60%: F
ATTENDANCE/ENGAGEMENT IN THE ACADEMIC PROGRAM
Attendance in all Semester at Sea® classes, including the Field Class, is mandatory.
Students must inform their instructors prior to any unanticipated absence and take the
initiative to make up missed work in a timely fashion. Instructors must make reasonable
efforts to enable students to make up work which must be accomplished under the
instructor’s supervision (e.g., examinations, laboratories). In the event of a conflict in regard
to this policy, individuals may appeal using established CSU procedures.
LEARNING ACCOMMODATIONS
Semester at Sea® provides academic accommodations for students with diagnosed learning
disabilities, in accordance with ADA guidelines. Students who will need accommodations in a
class, should contact ISE to discuss their individual needs. Any accommodation must be
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RESERVE BOOKS FOR THE LIBRARY
AUTHOR: Titon, Jeff Todd
TITLE: Worlds of Music
PUBLISHER:
ISBN: ISBN: 1-33710149-4 (pbk.)
DATE/EDITION: 6th
AUTHOR: Nettl, Bruno
TITLE: Excursions in World Music
PUBLISHER:
ISBN: LCCN: 2016-26536
DATE/EDITION:
AUTHOR: Gokulsing, K.
TITLE: Indian Popular Cinema: A narrative of Cultural Change
PUBLISHER:
ISBN: ISBN: 1-85856-329-1
DATE/EDITION:
FILMS
TITLE OF FILM: Kodo: The Drummers of Japan
DISTRIBUTOR: Image Entertainment
TITLE OF FILM: Bala. (a documentary film on T. Balasaraswati by Satyajit Ray 1976)
DISTRIBUTOR: National Center for the Performing Arts, Government of Tamil Nadu
TITLE OF FILM: This is a Music!: Reclaiming an Untouchable Drum.
DISTRIBUTOR: Z. Sherinian
TITLE OF FILM: Edward Said on Orientalism
DISTRIBUTOR: Media Education Foundation
TITLE OF FILM: Cashing in on Culture: Indigenous Communities and Tourism
DISTRIBUTOR: Regina Harrison
TITLE OF FILM: Nelson Mandela the life and times
DISTRIBUTOR: CBC Television Production
TITLE OF FILM: Monsoon Wedding
DISTRIBUTOR: USA Films
TITLE OF FILM: Mandela: Long Walk to Freedom
DISTRIBUTOR: dir. Justin Chadwick
TITLE OF FILM: Atumpan, the talking drums of Ghana
DISTRIBUTOR: Mantle Hood
TITLE OF FILM: Dreaming in Morocco
DISTRIBUTOR: Café Aziza
TITLE OF FILM: Born into Brothels
DISTRIBUTOR: Red Light Films
ELECTRONIC COURSE MATERIALS
AUTHOR: Allen, Matthew
ARTICLE/CHAPTER TITLE: Rewriting the Script for South Indian Dance
JOURNAL/BOOK TITLE: The Drama Review
VOLUME: 41(3)
DATE: 1997
PAGES: 63-100
AUTHOR: Bender, Shawn Morgan
ARTICLE/CHAPTER TITLE: Introduction.
JOURNAL/BOOK TITLE: Taiko Boom: Japanese Drumming in Place and Motion
VOLUME:
DATE: 2012
PAGES: 1-22
AUTHOR: Bender, Shawn Morgan
ARTICLE/CHAPTER TITLE: Taiko Drums and Taiko Drum Makers.
JOURNAL/BOOK TITLE: Taiko Boom: Japanese Drumming in Place and Motion
VOLUME:
DATE: 2012
PAGES: 22-47
AUTHOR: Bender, Shawn Morgan
ARTICLE/CHAPTER TITLE: Woman Unbound? Body and Gender in Japanese Taiko
JOURNAL/BOOK TITLE: Taiko Boom: Japanese Drumming in Place and Motion
VOLUME:
DATE: 2012
PAGES: 142-169
AUTHOR: Beng, Tan Sooi
ARTICLE/CHAPTER TITLE: Chapter 12. Modernizing Songs of the Forest: Indigenous
Communities Negotiate Tensions of Change in Malaysia
JOURNAL/BOOK TITLE: Sonic Modernities in the Malay World, Ed. Bart Barendregt
VOLUME:
DATE: 2014
PAGES: 353-370
AUTHOR: Boswell, Rosabelle
ARTICLE/CHAPTER TITLE: Heritage Tourism and Identity in the Mauritian Villages of
Chamarel and Le Morne
JOURNAL/BOOK TITLE: Journal of Southern African Studies
VOLUME: 31(2)
DATE: 2005
PAGES: 283-295
AUTHOR: Cannon, Alexander M.
ARTICLE/CHAPTER TITLE: When Charisma Sustains Tradition: Deploying Musical
Competence in Southern Vietnam
JOURNAL/BOOK TITLE: Ethnomusicology
VOLUME: 57(1)
DATE: 2013
PAGES: 88-115
AUTHOR: Eisenlohr, Patrick
ARTICLE/CHAPTER TITLE: Chapter 1. Sounding Islam
JOURNAL/BOOK TITLE: Sounding Islam: Voice, Media, and Sonic Atmospheres in an Indian
Ocean World
VOLUME:
DATE: 2018
PAGES: 1-20
AUTHOR: Eisenlohr, Patrick
ARTICLE/CHAPTER TITLE: Notes
JOURNAL/BOOK TITLE: Sounding Islam: Voice, Media, and Sonic Atmospheres in an Indian
Ocean World
VOLUME:
DATE: 2018
PAGES: 135-144
AUTHOR: Erlmann, Veit
ARTICLE/CHAPTER TITLE: But What of the Ethnographic Ear? Anthropology, Sound, and the
Senses
JOURNAL/BOOK TITLE: Hearing Cultures: Essays on Sound, Listening, and Modernity
VOLUME:
DATE: 2005
PAGES: 1-20
AUTHOR: Erlmann, Veit
ARTICLE/CHAPTER TITLE: Symbols of Inclusion and Exclusion: Nationalism, Colonial
Consciousness, and the “Great Hymn”
JOURNAL/BOOK TITLE: Music, Modernity, and the Global Imagination: South Africa and the
West
VOLUME:
DATE: 1999
PAGES: 111-132
AUTHOR: Erlmann, Veit
ARTICLE/CHAPTER TITLE: Fantasies of Home: The Antinomies of Modernity and the Music of
Ladysmith Black Mambazo
JOURNAL/BOOK TITLE: Music, Modernity, and the Global Imagination: South Africa and the
West
VOLUME:
DATE: 1999
PAGES: 199-213
AUTHOR: Geurts, Kathryn Linn
ARTICLE/CHAPTER TITLE: Is There a Sixth Sense?
JOURNAL/BOOK TITLE: Culture and the Senses
VOLUME:
DATE: 2002
PAGES: 3-20
AUTHOR: Gilman, Lisa and John Fenn
ARTICLE/CHAPTER TITLE: Defining Fieldwork
JOURNAL/BOOK TITLE: Handbook for Folklore and Ethnomusicology Fieldwork
VOLUME:
DATE: 2019
PAGES: 7-22
AUTHOR: Hammett, Daniel
ARTICLE/CHAPTER TITLE: Reworking and Resisting Globalising Influences: Cape Town Hip
Hop
JOURNAL/BOOK TITLE: GeoJournal
VOLUME: 77(3)
DATE: 2012
PAGES: 417-428
AUTHOR: Harris, Rachel
ARTICLE/CHAPTER TITLE: The New Battleground: Song-and-dance in China’s Muslim
Borderlands
JOURNAL/BOOK TITLE: The World of Music
VOLUME: 6(2)
DATE: 2017
PAGES: 35-55
AUTHOR: Hesselink, Nathan
ARTICLE/CHAPTER TITLE: Samul nori as Traditional: Preservation and Innovation in a South
Korean Contemporary Percussion Genre
JOURNAL/BOOK TITLE: Ethnomusicology
VOLUME: 48(3)
DATE: 2004
PAGES: 405-439
AUTHOR: Hesselink, Nathan
ARTICLE/CHAPTER TITLE: Introduction: Popko ch’angshin (Preserve the Old While Creating
the New): The Challenges of Tradition
JOURNAL/BOOK TITLE: SamulNori: Contemporary Korean Drumming and the Rebirth of
Itinerant Performance Culture
VOLUME:
DATE: 2012
PAGES: 1-16
AUTHOR: Hesselink, Nathan
ARTICLE/CHAPTER TITLE: Chapter 1. The Namsadang: Itinerant Troupe Performance Culture
and the Roots of SamulNori
JOURNAL/BOOK TITLE: SamulNori: Contemporary Korean Drumming and the Rebirth of
Itinerant Performance Culture
VOLUME:
DATE: 2012
PAGES: 17-38
AUTHOR: Johan, Adil
ARTICLE/CHAPTER TITLE: Chapter 6. Indiepretations of Zubir Said and P. Ramlee
JOURNAL/BOOK TITLE: Cosmopolitan Intimacies
VOLUME:
DATE: 2018
PAGES: 221-272
AUTHOR: Johan, Adil
ARTICLE/CHAPTER TITLE: Preface
JOURNAL/BOOK TITLE: Cosmopolitan Intimacies
VOLUME:
DATE: 2018
PAGES: xvii-xxviii
AUTHOR: Knight, Douglas
ARTICLE/CHAPTER TITLE: Chapter 1. From the Heart of the Tradition
JOURNAL/BOOK TITLE: Balasaraswati: Her Art & Life
VOLUME:
DATE: 2010
PAGES: 1-16
AUTHOR: Lau, Fredrick
ARTICLE/CHAPTER TITLE: Chapter 1. Music of the People
JOURNAL/BOOK TITLE: Music in China: Experiencing Music, Expressing Culture
VOLUME:
DATE: 2008
PAGES: 1-29
AUTHOR: Lau, Fredrick
ARTICLE/CHAPTER TITLE: Chapter 2. Constructing National Music
JOURNAL/BOOK TITLE: Music in China: Experiencing Music, Expressing Culture
VOLUME:
DATE: 2008
PAGES: 30-58
AUTHOR: Locke, David
ARTICLE/CHAPTER TITLE: Chapter 3. Africa/Ewe, Mande, Dagbama, Shona, BaAka
JOURNAL/BOOK TITLE: Worlds of Music: An Introduction to the Music of the World’s Peoples
(6th ed.). Ed. Jeff Todd Titon
VOLUME:
DATE: 2016
PAGES: 99-174
AUTHOR: Lysloff, René
ARTICLE/CHAPTER TITLE: Worlding Music in Jogjakarta: Tales of the Global Postmodern
JOURNAL/BOOK TITLE: Ethnomusicology
VOLUME: 60(3)
DATE: 2016
PAGES: 484-507
AUTHOR: Meintjes, Louise
ARTICLE/CHAPTER TITLE: Cut 1. Mbaqanga
JOURNAL/BOOK TITLE: Sound of Africa! Making music Zulu in a South African studio
VOLUME:
DATE: 2003
PAGES: 19-70
AUTHOR: Meintjes, Louise
ARTICLE/CHAPTER TITLE: Notes & Glossary
JOURNAL/BOOK TITLE: Sound of Africa! Making music Zulu in a South African studio
VOLUME:
DATE: 2003
PAGES: 267-296
AUTHOR: Meintjes, Louise
ARTICLE/CHAPTER TITLE: Shoot the Sergeant, Shatter the Mountain: The Production of
Masculinity in Zulu Ngoma
JOURNAL/BOOK TITLE: Ethnomusicology Forum
VOLUME: 13(2)
DATE: 2004
PAGES: 173-201
AUTHOR: Myers, Helen Priscilla and Umesh Chandra Pandey
ARTICLE/CHAPTER TITLE: Twenty-Five. The Island diaspora: My Introduction to Indian Culture
from far Away
JOURNAL/BOOK TITLE: Storytime in India: Wedding Songs, Victorian Tales, and the
Ethnographic Experience
VOLUME:
DATE: 2019
PAGES: 147-153
AUTHOR: Nelson, David P.
ARTICLE/CHAPTER TITLE: Introduction
JOURNAL/BOOK TITLE: Solkattu Manual: An Introduction to the Rhythmic Language of South
Indian Music
VOLUME:
DATE: 2008
PAGES: 1-13
AUTHOR: Nettl, Bruno
ARTICLE/CHAPTER TITLE: Chapter 4. The Universal Language: Universals of Music
JOURNAL/BOOK TITLE: The Study of Ethnomusicology: Thirty-one Issues and Concepts
VOLUME:
DATE: 2005
PAGES: 42-49
AUTHOR: Nettl, Bruno
ARTICLE/CHAPTER TITLE: Chapter 5. The Nonuniversal Language: Varieties of Music
JOURNAL/BOOK TITLE: The Study of Ethnomusicology: Thirty-one Issues and Concepts
VOLUME:
DATE: 2005
PAGES: 50-59
AUTHOR: Olwage, Grant
ARTICLE/CHAPTER TITLE: The Class and Colour of Tone: An Essay on the Social History of
Vocal Timbre
JOURNAL/BOOK TITLE: Ethnomusicology Forum
VOLUME: 13(2)
DATE: 2004
PAGES: 203-226
AUTHOR: Orr, Leslie C.
ARTICLE/CHAPTER TITLE: Devadasis and Dancing Girls
JOURNAL/BOOK TITLE: Donors, Devotees, and Daughters of God: Temple Women in
Medieval Tamilnadu
VOLUME:
DATE: 2000
PAGES: 3-17
AUTHOR: Orr, Leslie C.
ARTICLE/CHAPTER TITLE: From the Chola Period Temple Women to the Twentieth Century
Devadāsī
JOURNAL/BOOK TITLE: Donors, Devotees, and Daughters of God: Temple Women in
Medieval Tamilnadu
VOLUME:
DATE: 2000
PAGES: 172-180
AUTHOR: Orr, Leslie C.
ARTICLE/CHAPTER TITLE: Notes
JOURNAL/BOOK TITLE: Donors, Devotees, and Daughters of God: Temple Women in
Medieval Tamilnadu
VOLUME:
DATE: 2000
PAGES: 193-98; 260-61
AUTHOR: Pond, Steven
ARTICLE/CHAPTER TITLE: A Negotiated Tradition: Learning “Traditional” Ewe Drumming
JOURNAL/BOOK TITLE: Black Music Research Journal
VOLUME: 34(2)
DATE: 2014
PAGES: 169-200
AUTHOR: Qian, Lijuan
ARTICLE/CHAPTER TITLE: Which Identity Matter? Competing Ethnicities in Chinese TV Music
Contests
JOURNAL/BOOK TITLE: The Worlds of Music
VOLUME: 6(2)
DATE: 2017
PAGES: 57-82
AUTHOR: Reck, David
ARTICLE/CHAPTER TITLE: Chapter 6. Asia/India
JOURNAL/BOOK TITLE: Worlds of Music: An Introduction to the Music of the World’s Peoples
(6th ed.). Ed. Jeff Todd Titon
VOLUME:
DATE: 2016
PAGES: 293-330
AUTHOR: Rice, Timothy
ARTICLE/CHAPTER TITLE: Chapter 1: Defining Ethnomusicology
JOURNAL/BOOK TITLE: Ethnomusicology: A Very Short Introduction
VOLUME:
DATE: 2014
PAGES: 1-10
AUTHOR: Sherinian, Zoe C.
ARTICLE/CHAPTER TITLE: This is a Music! Reclaiming and Untouchable Drum
JOURNAL/BOOK TITLE: (DVD)
VOLUME:
DATE: 2011
PAGES: DVD
AUTHOR: Sherinian, Zoe C.
ARTICLE/CHAPTER TITLE: How Can the Subaltern Speak?
JOURNAL/BOOK TITLE: Tamil Folk Music as Dalit Liberation Theology
VOLUME:
DATE: 2014
PAGES: 36-61
AUTHOR: Slobin, Mark
ARTICLE/CHAPTER TITLE: Preview of Coming Attractions
JOURNAL/BOOK TITLE: Global Soundtracks: Worlds of Film Music
VOLUME:
DATE: 2008
PAGES: vii-xxiii
AUTHOR: Titon, Jeff Todd
ARTICLE/CHAPTER TITLE: Chapter 1. The Music-Culture as a World of Music
JOURNAL/BOOK TITLE: Worlds of Music: An Introduction to the Music of the World’s Peoples
(6th ed.). Ed. Jeff Todd Titon
VOLUME:
DATE: 2016
PAGES: 1-31
AUTHOR: Tsuda, Takeyuki
ARTICLE/CHAPTER TITLE: Performative Authenticity and Fragmented Empowerment through
Taiko
JOURNAL/BOOK TITLE: Japanese American Ethnicity: In Search of Heritage and Homeland
Across Generations
VOLUME:
DATE: 2016
PAGES: 225-249
AUTHOR: Viswanathan, T. and Matthew Allen
ARTICLE/CHAPTER TITLE: Chapter 1. Song in South India
JOURNAL/BOOK TITLE: Music in south India: Experiencing Music, Expressing Culture
VOLUME:
DATE: 2004
PAGES: 1-33
AUTHOR: Watkins, Lee
ARTICLE/CHAPTER TITLE: A Genre Coming of Age: Transformation, Difference, and
Authenticity in the Rap Music and Hip Hop Culture of South Africa
JOURNAL/BOOK TITLE: Hip Hop Africa: New African Music in a Globalizing World
VOLUME:
DATE: 2012
PAGES: 57-75
AUTHOR: Weiss, Sarah
ARTICLE/CHAPTER TITLE: Listening to the World but Hearing Ourselves: Hybridity and
Perceptions of Authenticity in World Music
JOURNAL/BOOK TITLE: Ethnomusicology
VOLUME: 58(3)
DATE: 2014
PAGES: 506-525
AUTHOR: Witulski, Christopher
ARTICLE/CHAPTER TITLE: One Minute in Meknes
JOURNAL/BOOK TITLE: The Gnawa Lions
VOLUME:
DATE: 2018
PAGES: 1-19
AUTHOR: Witulski, Christopher
ARTICLE/CHAPTER TITLE: Light Rhythms and Heavy Spirits
JOURNAL/BOOK TITLE: The Gnawa Lions
VOLUME:
DATE: 2018
PAGES: 94-114
AUTHOR: Wong, Deborah
ARTICLE/CHAPTER TITLE: Taiko and the Asian/American Body: Drums, ‘Rising Sun,’ and the
Question of Gender
JOURNAL/BOOK TITLE: The World of Music
VOLUME: 42(3)
DATE: 2000
AUTHOR: Zbikowski, Lawrence
ARTICLE/CHAPTER TITLE: Metaphor and Music Theory: Reflections from Cognitive Science
JOURNAL/BOOK TITLE: Music Theory Online: The Online Journal of the Society for Music
Theory
VOLUME: 4.1
DATE: 1998
PAGES: 1-14
ADDITIONAL RESOURCES
None