MUSIC 004/AMES 30 GLOBAL SOUNDS Dartmouth College, Spring 2012 INSTRUCTOR: EMAIL: PHONE: OFFICE HOURS: Required Materials:

You are not required to buy any texts for the course. All relevant articles and excerpts can be found either via Blackboard, on e-reserve, or at the library on physical reserve. Any relevant musical examples will be accessible via Blackboard or available elsewhere online. Course Objectives This course, a survey in musical practices throughout the world, will focus on the myriad ways in which sound has and continues to become global. Our purview will span the entire breadth of the globe and several centures of history, from the epic shifts in populations due to colonialism and slavery to the accelerated transmission of information afforded by twenty-first century technologies. Special consideration will be given to the ethical dimensions and power relations of musical ideas, traditions, and commodities as they intersect with our everyday lives on their predetermined or chaotic trajectories of exchange and circulation. Coursework will consist primarily of reading scholarly texts, crafting critical responses, and engaging with visiting performers and the cool surface of recorded media. Course Requirements Attendance & Participation: Tumblr Activity: Midterm: Final Project: Attendance & Participation Participation: As a seminar, this class depends on active, thoughtful, critical participation by the students. Students should use both their own experience and opinions and the content of the class readings as springboards for participation. Be willing to read and listen deeply, to interrogate your own assumptions and experiences, and of course to exercise tolerance and good manners as well as cogent critique in responding to your classmates and the material. Attendance is mandatory. If you are absent, you are responsible for completing all missed work before the next class session. In order to be considered present you have to be conscious, earbud-free, and engaged in class discussion. Bring all relevant materials with you to class; if you dont have the days reading, you are not fully present, and you will be considered absent. If you text, browse the internet, or bring your Wii to class unless you are explicitly asked to do so you are also not present and will be considered absent, even if your body is in a chair. 10% 40% 25% 25% Bill Boyer william.boyer@dartmouth.edu 347-455-8766 Tuesday and Thursday, 12-1pm or by appointment (just email or call!)

For each unexcused absence, you will be docked an entire percentage point of your total grade. If you miss ten classes, you get a 0% in Attendance & Participation, even if you are at the head of the class the other ten times you show up. Although, people who miss several classes and still feel the need to dominate discussions generally grate on the nerves of their classmates. Be warned. Excused absences include family emergencies or illnesses supported by a note from a doctor. Lateness: Out of consideration for your colleagues, please do not disrupt class by arriving late. If you are more than 15 minutes late for class, you will be considered absent for that day. Tumblr activity The majority of our communication as a class outside of the classroom will take place on a series of tumblr blogs that we will create and share with each other and the world. I have opened a blog for the class on the Tumblr website at http://globalsounds2012.tumblr.com. Keep abreast of what I post there, some of which will be officially class related (i.e. links to the weeks readings on Blackboard) and some of which will be things I stumble upon that I think might be interesting for you to see or hear. In addition, each of you will be required to open your own Tumblr account (at tumblr.com/register), create a blog specifically for the course, and link (through the follow function) to the course blog and to the blogs of each of your classmates. The Tumblr blog will enable us to post a variety of materials for the rest of the class, react to one anothers posts, and will be the place where you post your twice-a-week responses. For each class, you are expected to choose at least one reading and write a thoughtful, critical response of no more than two paragraphs, taking into consideration previous course materials and concepts, and offering some lead for us to follow in the next seminar meeting. Your responses are due by 8am on the day that the readings are posted in the syllabus, which means that you should be reading things before, and NOT AFTER, they are assigned. In addition, you will be periodically tasked with responses to concerts, films, visiting guests, and listening assignments. Everyone receives one free missed response during the quarter. Additional missed responses will result in a reduction of your grade. You might already have your own opinions about the readings, but please phrase them as questions for the benefit of class discussion. On the other hand, you might be undecided as to the answer to that question. Regardless of your convictions, the discussions are meant to be thought-provoking. Feel free to react to one anothers questions on Tumblr. The more communication the better. If you already have a Tumblr blog, please keep it separate from your class blog. Finally, avoid posting copy-protected material that you have accessed through Blackboard or the Dartmouth website. So, instead of posting a pdf of that JSTOR article you like, just post a permalink to the article so others can find it legally. If you want to share something that you have on your computer, like an mp3, thats your call and you will solely be held responsible when the copyright police knock on your door at 3am. This online portion of the class is an experiment. Lets hope it works. If you have suggestions, please share. If you are an expert at these things, help your classmates. If you are a novice, find help from your classmates. Dont worry; we will cover this in our second class. Midterm
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There will be an in-class, closed-book midterm exam halfway through the term. You will receive more information about this as the date approaches. For now, dont worry. Theres plenty to do before then. Final project 2000-3000 words, due June 5 by 10am. Consider yourself a broker of world music. You already are whether you like it or not, and after taking this course, your expertise will present you with some degree of responsibility for being an informed mediator of the music of the world to your peers. As such, your assignment is to write a hypothetical set of liner notes or an expository/promotional blog post, etc., around an emergent or underrepresented genre (e.g., kuduro, banda, chicha) or a specifically-located scene for a global genre (e.g., reggae in Botswana, norteo in Chicago). Decide on your forum and audience and proceed from there. Select 3 musical selections about which, after putting the music into context, you will offer informed commentary. Justify your choices; explain the contexts of performance, production, and reception; situate your representational strategy, as explicitly as you can. The final project can be handed in electronically via Blackboard or posted publicly on your Tumblr blog. Policies Readings: The reading load for this course assumes students ability to read carefully and critically, while also recognizing students other commitments. I should note that the syllabus for this course is not set in stone. I reserve the right to make changes to the syllabus, which will mostly include shuffling between required and suggested reading and the occaisional addition of short multimedia for viewing or audition. I will be sure to make these changes ahead of time to take into account students ability to keep up with any changes made, but please keep the possibility of changes in mind if you are planning to read more than a week ahead. Reading, of course, does not only mean tracking your eyeballs across a page, but also the capture of information and the ability to process and critique it. My expectations of what it means for a student to have read a text include the following: Understanding the information presented. This may include a small amount of web consultation if the author keeps mentioning colonial Batavia, for example, take 20 seconds to look up what and where Batavia is on Wikipedia or another source. If youre nice, you could even post a link to the Wikipedia page for the benefit of your classmates on Tumblr. Understanding the authors argument. This often means separating the authors argument from other peoples arguments that she cites in the text. It also means the ability to delineate between these arguments (opinion) on the one hand, and information (fact) on the other. Relating the information and argument to the rest of the courses readings and discussions. That is, relating the text to readings and discussions in the class from the same week or previously. Relating does not always mean agreeing with. Many texts might seem to contradict each other as well as reinforce one another. The way in which readings
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can be compared or contrasted is what I mean by relating. It might be a good idea to think about why I might have assigned a particular reading or set of readings. Informed opinions. You might not have an opinion, which is fine. If you do, however, make sure that your opinion is informed, i.e. that you do in fact understand the information and argument(s) of the text and its relation to other elements of the class. It is a little embarrassing to come out swinging for or against a particular text only to find out that your opinion results from a careless or imprecise misreading. Remember that this happens to all of us, and we learn best from our mistakes. Take notes. These notes need not be copious, but they should be precise, and I guarantee that the act of jotting a few notes down will help you understand and appreciate what you read. Heres an example of someones notes short but sweet online: http://bit.ly/GW9MdR. More information about active reading and research can be found at http://bit.ly/g7Y14Y and http://bit.ly/9R1JW0. Office Hours: Take advantage of my office hours. Getting to know your teachers is your given right as a student and is often cited as what can make a students college experience most worthwhile. You are welcome to stop by during office hours, but priority is given to those who have made appointments, so make an appointment if you can. But even if you dont have an appointment, if you are heading to Paddock and see that my office door is open, please stop by and say hello. It gets lonely in the windowless cave sometimes. You may also communicate with me via email for particular questions. I hope to be able to respond with alacrity. Nonetheless, I may be travelling or otherwise unavailable to answer your email immediately. Be prepared for a delay of up to 48 hours for any email response. Marking email as urgent might expedite my response, but I urge you to do so sparingly, if at all. Plagiarism: Plagiarism, whether intentional or not, is an affront to the educational process and is considered a serious academic offense by the University. Please consult a handbook or talk to me if you are unsure of what might be considered plagiarism. A copy of the Dartmouth Academic Honor principle can be found at http://goo.gl/bK6jc. You should never feel the need to copy another persons words, ideas, or facts without giving that person credit, especially in a class like this. Your own ideas and writing will always be good enough. What matters is that you demonstrate your dedication to independent learning. Students with disabilities enrolled in this course and who may need disability-related classroom accommodations are encouraged to make an appointment to see me before the end of the second week of the term. All discussions will remain confidential, although the Student Accessibility Services office may be consulted to discuss appropriate implementation of any accommodation requested. Student Accessibility Services (http://www.dartmouth.edu/~accessibility/facstaff/)

COURSE SCHEDULE (subject to change if necessary) Week 1 March 27 Introduction Read in class: Clayton, Jace. Feedback Loops. New York Foundation for the Arts. http://www.nyfa.org/nyfa_quarterly.asp?type=3&qid=191&id=109&fi d=6&sid=16 Facetime Syllabus discussion In-class viewing: Latcho Drom. On reserve at Paddock Library. What Do We Mean by Global? Required readings: Appadurai, Arjun. Disjuncture and Difference in the Global Culture Economy. Public Culture. 2.2 (1990): 1-24. Patterson, Orlando. Ecumenical America: Global Culture and the American Cosmos. World Policy Journal 11.2 (1994): 103-117. Required viewing: Life and Debt. On reserve at Jones Media Center. Suggested readings: Clifford, James. Diasporas. Cultural Anthropology 9.3 (1994): 302-33 Ang, Ien. Together-in-Difference: Beyond Diaspora, into Hybridity. Asian Studies Review 27. 2 (2003): 141-154 Brubaker, Rogers. The Diaspora Diaspora. Ethnic and Racial Studies 28.1 (2005): 1-19 Suggested event: Masters and Gurus: Experiental Learning through Mentorship, Thursday March 29, 7pm, Haldeman 41. Free. Hosted by Dean Charlotte H. Johnson. Required music event: India Jazz Suites. Friday and Saturday, March 30 and 31. 8pm. The Moore Theater. $10 student tickets. Week 2 April 3 The Black Atlantic Monson, Ingrid. Riffs, Repetition, and Theories of Globalization. Ethnomusicology 43.1 (1999): 31-65 Veal, Michael. Dub: Soundscapes and Shattered Songs in Jamaican Reggae. 1-44. Middletown, CT: Wesleyan University Press, 2007. Suggested readings: Gilroy, Paul. The Black Atlantic as a Counterculture of Modernity. In The Black Atlantic: Modernity and Double Consciousness. 1-40. Cambridge, MA: Harvard University Press, 1993. Patterson, Tiffany Ruby and Robin D. G. Kelley. Unfinished Migrations: Reflections on the African Diaspora and the Making of the Modern World. African Studies Review 43.1 (2000): 11-45.

March 29

Thomas, Deborah. Modern Blackness; or, Theoretical Tripping on Black Vernacular Culture. In Modern Blackness: Nationalism, Globalization, and the Politics of Culture in Jamaica, 230-62. Durham, N.C.: Duke University Press, 2004 April 5 Brazil Required readings: Larry Crook Black Consciousness, Samba Reggae, and the ReAfricanization of Bahian Carnival Music in Brazil. The World of Music 35.2 (1993): 90-108 Bhague , Gerard. Rap, Reggae, Rock, or Samba: The Local and the Global in Brazilian Popular Music (1985-95). Latin American Music Review / Revista de Msica Latinoamericana, 27.1 (2006): 79-90. Suggested event: Hermeto Pascoal visits Oral Tradition Musicianship class, Thursday April 5, 2:303:30pm, Faulkner Hall. Required music event: Hermeto Pascoal. Thursday April 5. 7pm. Spaulding Auditorium. $10 student tickets. Week 3 April 10 Visiting guest: Hafiz Shabazz, day one Required readings: Turino, Thomas. The Music of Sub-Saharan Africa [excerpt]. In Excursions in World Music, ed. Bruno Nettl, et al., 171-9. New Jersey: Pearson Prentice Hall, 2004 Agawu, Kofi V. Structural Analysis or Cultural Analysis: Competing Perspectives on the Standard Pattern of West African Rhythm. Journal of the American Musicological Society 59:1 (2006): 1-46. Visiting guest: Hafiz Shabazz, day two Required readings: Shain, Richard M. The Re(Public) of Salsa: Afro-Cuban Music in Fin-DeSicle Dakar. Africa 79.2(2009): 186-206. Louis Meintjes, Louis. Sound of Africa!: Making Music Zulu in a South African Studio. Durham, NC: Duke University Press, 2003. 109-146. Tanzania Required readings: Askew, Kelly M. Performing the Nation: Swahili Music and Cultural Politics in Tanzania. Chicago: University of Chicago Press. 2002. Excerpts. Fair, Laura. Its Just No Fun Anymore: Womens Experiences of Taarab before and after the 1964 Zanzibar Revolution. The International Journal of African Historical Studies. 35.1 (2002), 61-81. Required viewing: Taarab: An Ocean of Melodies April 18 x-hour reserved in case of visiting guest

April 12

Week 4 April 17

April 19

Cuba and the US Required readings: Stanyek, Jason. Transmissions of an Interculture: Pan-African Jazz and Intercultural Improvisation. In Fischlin, Daniel, and Ajay Heble. The Other Side of Nowhere: Jazz, Improvisation, and Communities in Dialogue. Middletown, Conn: Wesleyan University Press, 2004 87-130. Ned Sublette, Kingsmen and the Cha Cha. In Weisbard, Eric. Listen Again: A Momentary History of Pop Music. Durham, NC: Duke University Press, 2007. Suggested readings: Brennan, Timothy. Introduction to the English Edition. Music in Cuba [Alejo Carpentier]. 1-58. Minneapolis, MN: University of Minnesota Press, 2001. Sublette, Ned. Cuba and Its Music. 1-37. Chicago: Chicago Review Press, 2004. Required music event: Cubano Be, Cubano Bop. Thursday April 19. 7pm. Spaulding Auditorium. $10 student tickets.

Week 5 April 24 April 26

Midterm Final Project Assigned Visiting guest: Kossan Required readings: James E. Roberson (2001): Uchinaa Pop: Place and Identity in Contemporary Okinawan Popular Music, Critical Asian Studies, 33:2, 211-242 Roberson, James E. Singing Diaspora: Okinawan Songs of Home, Departure, and Return. Identities: Global Studies in Culture and Power, 17.4 (2010): 430-453. Required viewing: Drumming Out a Message: Eisa and the Okinawan Diaspora in Japan Suggested readings: De Ferranti, H. Music and Diaspora in the Second Metropolis: The Okinawan and Korean Musicians of Interwar Osaka. Japanese Studies, 29.2 (2009): 235-253. Alarcon-Jimenez, Ana-Maria. Shima-Uta: Of Windows, Mirrors, and the Adventures of a Traveling Song. Thesis. University of California, San Diego, 2009.

Week 6 May 1

Egypt Required readings: Nasr, Seyyed Hossein. Islam and Music: The Legal and the Spiritual Dimensions. In Sullivan, Lawrence E. ed. Enchanting Powers: Music in the World Religions. Cambridge, MA: Harvard University Press, 1997. 219236.
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Hirschkind, Charles. The Ethical Soundscape: Cassette Sermons and Islamic Counterpublics. Excerpts. New York: Columbia University Press, 2006. Atia, Tarek. Pimpin a Classic. Al-Ahram. 1-7 June 2000. http://weekly.ahram.org.eg/2000/484/cu2.htm May 3 Indonesia Required readings: Tenzer, Michael. Balinese Music. 11-25. Hong Kong: Periplus Editions, 1998. Brinner, Benjamin. Music in Central Java: Experiencing Music, Expressing Culture. 1-24. New York: Oxford University Press, 2008. Harnish, David. Teletubbies in Paradise: Tourism, Indonesianisation and Modernisation in Balinese Music. Yearbook for Traditional Music, 37 (2005): 103-123. Suggested reading: James Clifford, The Predicament of Culture: Twentieth-Century Ethnography, Literature, and Art. Cambridge and London: Harvard University Press, 1988, p. 223 Suggested Music Event: Dartmouth World Music Percussion Ensemble Week 7 May 8 Visiting guests: Dibyarka Chatterjee and Allen Roda Required readings: Dhar, Sheila. Sound and Hindustani Music and The Raga: an Inward Journey (213-223), in Ragan Josh: Stories from a Musical Life. New Delhi: Rupa & Co., 2005. Rahaim, Matt. That Ban(e) of Indian Music: Hearing Politics in the Harmonium. The Journal of Asian Studies. 70.3 (2011): 657-682. Suggested readings: Reck, David B. India/South India. In Worlds of Music [Fourth Edition], ed. Jeff Todd Titon, et al. May 10 Global Bollywood Required readings: Larkin, Brian. Indian Films and Nigerian Lovers: Media and the Creation of Parallel Modernities. Africa: Journal of the International African Institute, 67.3 (1997): 406-440. Sen, Biswarup. The Sounds of Modernity: The Evolution of Bollywood Film Song. In Global Bollywood : Travels of Hindi Song and Dance. Edited by Sangita Gopal, Sujata Moorti. Minneapolis: University of Minnesota Press, 2008. 85-104. Suggested readings: Manuel, Peter. Popular Music in India: 1901-1986. Popular Music 7 (1988): 157-176. Chadha, Tina. Mix This: Young South Asians Love-Hate Relationship with Hip-Hops New Indian Beats. Village Voice. July 1, 2003. http://www.villagevoice.com/2003-07-01/news/mix-this

Suggested Music Event: Dartmouth Pow Wow, Saturday May 12 Week 8 May 15 Micromusics of the West Required readings: Slobin, Mark. Micromusics of the West: A Comparative Approach. Ethnomusicology, 36.1 (1992): 1-87. Erlmann, Veit. A Reply to Mark Slobin. Ethnomusicology, 37.2 (1993): 263267. Slobin, Mark. A Reply to Veit Erlmann. Ethnomusicology, 37.2 (1993): 267269. Stokes, Martin. Music and the Global Order. Annual Review of Anthropology, 33 (2004): 47-73. Schismogenesis and World Music Meintjes, Louise. Paul Simons Graceland, South Africa, and the Mediation of Musical Meaning. Ethnomusicology 34:1 (Winter 1990): 37-73. Feld, Steven. A Sweet Lullaby for World Music. Public Culture, 12.1 (2000): 145-171. Suggested readings: Pacini Hernandez, Deborah. Dancing with the Enemy: Cuban Popular Music, Race, Authenticity, and the World Music Landscape. Latin American Perspectives Issue 100, 25.3 (1998): 110-125 Timothy D. Taylor, A Riddle Wrapped in a Mystery: Transnational Music Sampling and Enigmas Return to Innocence. In Music and Technoculture, eds. R. Lysloff and C. Gay, 64-92. Middletown, Conn.: Wesleyan University Press, 2003. Kheshti, Roshanak. Touching Listening: The Aural Imaginary in the World Music Culture Industry. American Quarterly 63.3 (2011): 711-731. Week 9 May 22 World Music 2.0 Jenkins, Henry. What Happened Before Youtube? In Burgess, Jean and Joshua Green, eds. Youtube: Online Video and Participatory Culture, 109125. Malden, MA: Polity Press, 2009. Varnelis, Kazys. The Meaning of Network Culture. Eurozine. January 14, 2010. http://www.eurozine.com/articles/2010-01-14-varnelis-en.html Required listening: Nu-Whirled Music. Afropop.org. June 22, 2011. http://www.afropop.org/radio/radio_program/ID/764/ Suggested reading: Zuckerman, Ethan. From Protest to Collaboration: Paul Simons Graceland and Lessons for Xenophiles. Ethanzuckerman.com. April 2, 2009. http://www.ethanzuckerman.com/blog/2009/04/02/fromprotest-to-collaboration-paul-simons-graceland-and-lessons-forxenophiles/

May 17

May 24

Visiting guest: Chief Boima Required readings: Tucker, Boima. Global Genre Accumulation. Africa Is A Country, November 22, 2011. http://africasacountry.com/2011/11/22/globalgenre-accumulation/ Tucker, Boima. 50/50, non-exclusive. The Cluster Mag., January, 2012. http://www.theclustermag.com/blog/2012/01/2370/ STATS, Eddie. Okayafrica Exclusive: Diplo and Chief Boima Debate the Politics of Tropical Bass. okayplayer, March 22, 2012. http://www.okayplayer.com/news/okayafrica-exclusive-diplo-chiefboima-debate-the-politics-of-tropical-bass.html TBA Final Projects Due, 10am

Week 10 May 29 Finals Week June 5

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