B. Mus., B.A. with a major or minor in music, or B.A. with a major in anthropology with a minor in music. It would also be advantageous (but not required) to have enrolled in my undergraduate course, M328C Introduction to the Study of Ethnomusicology.<\/p>\n
This course, entitled Music and Culture, and its companion course, Music and Analysis, are designed to equip you with the intellectual foundation for a career as a practicing ethnomusicologist, either in an academic or free-lance setting. You will learn that ethnomusicology has become a hybrid of musicology and social sciences, with the study of culture and the analysis of music at its core.<\/p>\n
The purpose of \u201cMusic and Culture\u201d is to explore the issues, controversies and opportunities that comprise the theoretical frames employed by ethnomusicologists. Students will begin with an overview of the historiography of ethnomusicology and then delve into the impact brought about by Critical Theory, Cultural Studies, and postmodernism in general. Then the class will familiarize itself with the foundational work of gender studies, folk music and world beat. The Canadian voice in the international dialogue of ethnomusicology will be reviewed, along with Canada\u2019s distinctive area studies.<\/p>\n
The heart of ethnomusicology resides in ethnography and its attendant field work.\u00a0 Following the collecting of cultural and musical data, the art of ethnomusicology comes into play as you assess and interpret the materials.<\/p>\n
Each class will begin with a lecture devoted to the theme of the lecture (as outlined in this syllabus), supplemented by pre-lecture readings that you will have reviewed before the class meets. The pre-lecture reading list is available online in your UBC Vista website.<\/p>\n
Following the lecture, you will participate in a class discussion of two readings, each one summarized by one student and then responded to by another. The list of 26 readings (two per class) is found in the syllabus below. After each pair of presentations, the floor will be open to discussion by the class as a whole, led by the presenters. If you are not a presenter or respondent, you will be expected to have at least 3 questions or comments prepared for the discussion. Therefore, in addition to your pre-lecture readings, you will review the presentation readings as well. When you are assigned a presentation, you will submit a copy of your summary to your respondent a day or more before the two of you present your summaries. Both of you will create documents in point form that will equal three pages.<\/p>\n
You will also submit a book review of 300-400 words to a personal Reading Journal. The 13 books (one per week) listed in the syllabus are classic texts that ethnomusicologists often possess in their personal library. Given the extensive nature of each book, your summary will be an overview, supplemented with observations from reviews of the book found in journals. Those reviews should be cited in your presentation or response. After a few readings, you will discover some repetition of key ideas described by each author. Then it will be your objective to detect any variations and new pathways revealed in your assigned reading.<\/p>\n
At the end of the week, you will be expected to add your comments about the week\u2019s lectures and discussions to the WebCT online Discussion Board.<\/p>\n
Finally, you will complete two project assignments. The mid-term assignment will consist of two mock applications for an imaginary musical ethnography \u2013 one for a grant and the other for permission to pursue your ethnography from UBC\u2019s Ethical Review Board. Both projects will give you valuable experience in grant and ethics applications that are a necessary part of your career as a graduate student and practicing ethnomusicologist. The end-of-term assignment is an ethnography that will focus on the listening or music performance interests of your friends or family. Details of both assignments are available on your UBC\u00a0Connect website.<\/p>\n
There will be no exams.<\/p>\n
All the necessary components of the course including the lectures and listening tests can be accessed online from anywhere via WebCT Connect, using your WCL (Campus Wide Login) password and username.<\/p>\n
Lecture outlines
\nKeywords
\nPre-lecture readings
\nPresentation Readings and Responses guidelines
\nReading Journal guidelines
\nEthnography guideline
\nTrial Grant Application guideline
\nTrail Application to UBC\u2019s Ethical Review Board guideline
\nDiscussion Board<\/p>\n
Your reading journal entries, presentation or response outlines, mock grant application and ethnography assignments will be submitted online via Vista. And you will participate in weekly discussions via the Twitter function of Vista. The marks for each project or assignment will be posted online the minute they are marked. You will be able to see a running record of your marks as the semester proceeds.<\/p>\n
Ethnography 21 %
\nTrial\u00a0grant application 14 %
\nTrial UBC Ethics application 14 %
\nPresentation reading summaries or responses 25 %
\nWeekly reading journal (13 readings) 13 %
\nWeekly online discussion forum (13 weeks) 13%<\/p>\n
According to the School of Music guidelines, the grades awarded in this course will follow established university-wide practices with respect to both levels and distribution of grades. In addition, students are expected to adhere to the School of Music policy with respect to \u201cIntellectual Honesty,\u201d and \u201cAcademic Discipline\u201d. (See the current general calendar.)<\/p>\n
Stone, Ruth M. Theory of Ethnomusicology<\/em> (Prentice-Hall)<\/p>\n Week 1 Introductions and Expectations<\/strong><\/span><\/p>\n Judith Becker, (1986) \u201cIs Western Music Superior?\u201d in Musical Quarterly<\/em>, volume 72, number 3: 341-59<\/p>\n Jonathan Stock (2004) \u201cPeripheries and interfaces: the Western Impact on other music,\u201d in The Cambridge History of Twentieth-Century Music<\/em>, edited by Nicholas Cook and Anthony Pople, pp. 18-39<\/p>\n Book Review #1<\/strong><\/p>\n Jennifer Post (2011) Ethnomusicology: A Research and Information Guide<\/em> (Routledge Music Bibliographies, 2nd<\/sup> edition)<\/p>\n Week 2 The Pioneers of Ethnomusicology<\/strong><\/span><\/p>\n Bruno Nettl, (2010) \u201cCentral Issues in a Grand History,\u201d in Nettl\u2019s Elephant: On the History of Ethnomusicology<\/em>, pp. 3-92<\/p>\n Philip Bohlman, (1991) \u201cRepresentation and Cultural Critique in the History of Ethnomusicology,\u201d in Comparative Musicology and Anthropology of Music<\/em>, edited by Bruno Nettl and Philip Bohlman, pp. 131-51<\/p>\n Book Review #2<\/strong><\/p>\n Helen Myers, editor (1992) Ethnomusicology: an Introduction<\/em><\/p>\n Week 3 \u201cHow Musical is Man?\u201d\u00a0<\/strong><\/span><\/p>\n Dane Harwood (1976) \u201cUniversals in Music: A Perspective from Cognitive Psychology,\u201d in Ethnomusicology<\/em>, volume 20, number 3: 521-33<\/p>\n John Blacking (1974) How Musical is Man?<\/em> (Especially pp. 3-31, 32-53)<\/p>\n Book Review #3<\/strong><\/p>\n Helen Myers, editor (1992) Ethnomusicology: Historical and Regional Studies<\/em><\/p>\n Week 4 Cultural Studies<\/strong><\/span><\/p>\n Michael F. Brown (2005) \u201cHeritage Trouble: Recent Work on the Protection of Intangible Cultural Property\u201d, in International Journal of Cultural Property<\/em>, 12, pp. 40-61<\/p>\n Joseph Kerman (1985) \u201cEthnomusicology and \u201cCultural Musicology\u2019,\u201d in Contemplating Music: challenges to musicology<\/em>, pp. 155-81<\/p>\n Book Review #4<\/strong><\/p>\n Laurent Aubert (2007) The Music of the Other: New Challenges for Ethnomusicology in a Global Age<\/em><\/p>\n Week 5 Critical Theories<\/strong><\/span><\/p>\n Edward Said (1989) \u201cRepresenting the Colonized: Anthropology\u2019s Interlocutors,\u201d in Critical Inquiry<\/em>, volume 15, number 2, pp. 205-25<\/p>\n Pierre Bourdieu (1980) \u201cThe Aristocracy of Culture,\u201d in Media, Culture and Society<\/em>, volume 2, number 3, pp. 225-254<\/p>\n Book Review #5<\/strong><\/p>\n Philip Bohlman (2002) World Music: A Very Short Introduction<\/em><\/p>\n Week 6 Music and Gender<\/strong><\/span><\/p>\n Susan McClary (1991) Feminine Endings: Music, Gender and Sexuality<\/em><\/p>\n Carol E. Robertson (2000) \u201cThe Ethnomusicologist as Midwife,\u201d in Pirkko Moisala and Beverley Diamond, editors, Music and Gender<\/em><\/p>\n Book Review #6<\/strong><\/p>\n Nicholas Cook (1998) Music: A Very Short Introduction<\/em><\/p>\n Week 7 World Beat<\/strong><\/span><\/p>\n Martin Stokes (2003) \u201cGlobalization and the politics of World Music,\u201d in The Cultural Study of Music: A Critical Introduction<\/em>, edited by Martin Clayton et al., pp. 297-308<\/p>\n Steven Feld (2000) \u201cA Sweet Lullaby for World Music,\u201d in Public Culture<\/em>, volume 12, number 1, pp. 145-171<\/p>\n Book Review #8<\/strong><\/p>\n Timothy Taylor (2007) Beyond Exoticism: Western Music and the World<\/em><\/p>\n Week 8 Folk Music<\/strong><\/span><\/p>\n Carol M. Babaricki (1991) \u201cTribal Music in the Study of the Great and Little Traditions of Indian Music, in Comparative Musicology and Anthropology of Music<\/em>, edited by Bruno Nettl and Philip Bohlman, pp. 69-90<\/p>\n James Porter (1991) \u201cMuddying the Crystal Spring: From Idealism and Realism to Marxism,\u201d in Comparative Musicology and Anthropology of Music<\/em>, edited by Bruno Nettl and Philip Bohlman, pp. 113-130<\/p>\n Book Review #8<\/strong><\/p>\n Alan P. Merriam (1964) The Anthropology of Music<\/em><\/p>\n Week 9 Ethnography<\/strong><\/span><\/p>\n Thomas Turino (1990) \u201cStructure, Context, and Strategy in Musical Ethnography,\u201d in Ethnomusicology<\/em>, volume 34, number 3, pp. 399-412<\/p>\n Thomas Procello (1998) \u201c\u2018Tail\u2019s Out\u2019: Social Phenomenology and the Ethnographic Representation of Technology in Music-Making,\u201d in Ethnomusicology<\/em>, Volume 42, number 3, pp. 485-510<\/p>\n Book Review #9<\/strong><\/p>\n Bruno Nettl (2005) The Study of Ethnomusicology: The Study of Ethnomusicology: Thirty-One Issues and Concepts<\/em><\/p>\n Week 10 Traditions, Change, Hybridity<\/strong><\/span><\/p>\n Tamara Livingstone (1999) \u201cMusic Revivals: Towards a General Theory,\u201d in Ethnomusicology<\/em>, volume 43, number 1, pp. 66-85<\/p>\n John Baily (1986) \u201cIdentifying Processes of Change,\u201d in The Worlds of Music<\/em>, volume 28, number 1, pp. 3-12<\/p>\n Book Review #10<\/strong><\/p>\n Henry Stobart, editor (2008) The New (Ethno)musicologies<\/em><\/p>\n Week 11 The Canadian View<\/strong><\/span><\/p>\n Beverley Diamond and James Robbins (1992) \u201cEthnomusicology (of Canada),\u201d in Encyclopedia of Music in Canada<\/em> (online, with updates)<\/p>\n Fowke, Edith (1997) \u201cA Personal Odyssey and Personal Prejudices,\u201d in Undisciplined Women: Tradition and Culture in Canada<\/em>, ed. Pauline Greenhill and Diane Tye, pp. 39-48<\/p>\n Book Review #11<\/strong><\/p>\n Simone Kruger (2009) Experiencing Ethnomusicology: Teaching and Learning in European Universities<\/em><\/p>\n Week 12 Ethnomusicology Societies<\/strong><\/span><\/p>\n Dieter Christiansen (1988) \u201cThe International Folk Music Council and \u2018The Americans\u2019: On the effects of Stereotypes on the Institutionalization of Ethnomusicology,\u201d in Yearbook for Traditional Music<\/em>, volume 20, pp. 11-18<\/p>\n Leslie Hall et al. (2007) \u201cThe CSTM\/SCTM (Canadian Society for Traditional Music\/La Societe canadienne pour les traditions musicales): Reflections and Future Directions,\u201d in Folk Music, Traditional Music, Ethnomusicology: Canadian Perspectives, Past and Present<\/em>, pp. 221-263<\/p>\n Book Review #12<\/strong><\/p>\n Gregory Barz and Timothy Cooley, editors, (2008, 2nd<\/sup> edition) Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology<\/em><\/p>\n Week 13 The Pedagogy of Ethnomusicology<\/strong>\u00a0<\/strong><\/span><\/p>\n Heather Sparling (2007\/08) \u201cReview Essay: Michael Bakan \u2018World Music Traditions and Transformations\u2019, Terry Miller and Andrew Shahriari \u201cWorld Music: A Global Journey\u2019, Jeff Todd Titon, ed. \u2018Worlds of Music\u2019,\u201d in Musicultures<\/em>, volume 34\/35, pp. 128-134<\/p>\n Deborah Wong (1998) \u201cEthnomusicology and Critical Pedagogy as Cultural Work: Reflections on Fieldwork and Teaching,\u201d College Music Symposium<\/em>, volume 38, pp. 80-100<\/p>\n Book Review #13<\/strong><\/p>\n Ted Solis (2004) Performing Ethnomusicology: Teaching and Representation in World Music Ensembles<\/em><\/p>\n","protected":false},"excerpt":{"rendered":" Prerequisites B. Mus., B.A. with a major or minor in music, or B.A. with a major in anthropology with a minor in music. It would also be advantageous (but not required) to have enrolled in my undergraduate course, M328C Introduction to the Study of Ethnomusicology. Overview This course, entitled Music and Culture, and its companion […]<\/p>\n","protected":false},"author":6987,"featured_media":0,"parent":781,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-766","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/blogs.ubc.ca\/normanstanfield\/wp-json\/wp\/v2\/pages\/766","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.ubc.ca\/normanstanfield\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/blogs.ubc.ca\/normanstanfield\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.ubc.ca\/normanstanfield\/wp-json\/wp\/v2\/users\/6987"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.ubc.ca\/normanstanfield\/wp-json\/wp\/v2\/comments?post=766"}],"version-history":[{"count":21,"href":"https:\/\/blogs.ubc.ca\/normanstanfield\/wp-json\/wp\/v2\/pages\/766\/revisions"}],"predecessor-version":[{"id":997,"href":"https:\/\/blogs.ubc.ca\/normanstanfield\/wp-json\/wp\/v2\/pages\/766\/revisions\/997"}],"up":[{"embeddable":true,"href":"https:\/\/blogs.ubc.ca\/normanstanfield\/wp-json\/wp\/v2\/pages\/781"}],"wp:attachment":[{"href":"https:\/\/blogs.ubc.ca\/normanstanfield\/wp-json\/wp\/v2\/media?parent=766"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Lecture Schedule and Required Reading List<\/strong>\u00a0<\/strong><\/h2>\n