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MUSC 140.00 Ethnomusicology and the World's Music 6 credits

Open: Size: 25, Registered: 9, Waitlist: 0

Weitz Center 230

Synonym: 61515

Sarah N Lahasky

This course is designed to increase your awareness of the role of music as a part of social, political, and economic life. While popular music consumption for entertainment is one interaction that you might have had with music, there are myriad other meanings and uses for music in the United States and around the world. Some of these uses and meanings are obviously apparent to the average listener, and others are less so. Throughout the course, we will be exploring a variety of ways that people use, engage, and identify with music from various regions. The course is organized geographically, beginning with the US/Western Europe and then moving to parts of Asia, the Middle East, Africa, the Caribbean, and Latin America. Each week, we will focus on particular themes related to “traditional,” classical, or popular music to analyze in the context of our geographic case studies. Throughout the course, you will have the opportunity to apply concepts from class to your own musical case study. The culminating course project will consist of an ethnography of your chosen case study. No musical experience necessary.

Sophomore Priority

MUSC 144.00 Music and Migration 6 credits

Open: Size: 25, Registered: 16, Waitlist: 0

Weitz Center 230

Synonym: 61386

Sarah N Lahasky

Throughout history, people have relocated for a variety of reasons, both voluntarily and forcibly. What sorts of consequences do mass movements of people have on cultural practices? This course will examine the legacy of the slave trade with relation to African-influenced music developments throughout the Americas and the Caribbean. We will first consider the nuances of West African music practices and beliefs before and during the slave trade. Then, we will explore a variety of sacred and secular traditions that developed in the New World as a result of the African Diaspora, including spirituals, the blues, jazz, rock and roll, and hip hop in North America; tango, blocos afro, cumbia, and candombe in South America; and Santería, reggae, timba, rara, and steel pan in the Caribbean. As part of this exploration, we will consider difficult questions, such as what is “black music”?; What ethical considerations must we think about in relation to who can/should play black music?; and What sorts of similarities and differences exist between African-influenced music styles in the Americas, and why? Lastly, we will consider how music in Africa has changed in more recent times due to a return of African-Americans back to their ancestral roots as well as other points of contact between the Americas and Africa, especially in relation to genres like Afrobeat, highlife, and gumbe. No previous musical experience required.

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You must take 6 credits of each of these.
You must take 6 credits of each of these,
except Quantitative Reasoning, which requires 3 courses.
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