the department of folklore and ethnomusicology …folklore/graduate/documents/spring 2011... · web...

Department ofFolklore & Ethnomusicology

Course Descriptions

Spring 2011(Term 4112)

TABLE OF CONTENTS

UNDERGRADUATE PROGRAM.................................................5GRADUATE PROGRAM...............................................................6UNDERGRADUATE COURSES...................................................7UNDERGRADUATE COURSE DESCRIPTIONS........................8GRADUATE COURSES..............................................................23GRADUATE COURSE DESCRIPTIONS...................................24HELPFUL LINKS.........................................................................41

3

The Department of Folklore and Ethnomusicology courses range from introductory courses for undergraduate students to specialized courses for graduate majors. The program offers students the opportunity to explore topics such as: the role of verbal and material arts and music in human life; the relationship of tradition and change in society; cross-cultural analysis; multiculturalism; verbal and material arts and music in specific world areas; and ethnographic research. Courses are listed in Indiana University's On-line Course Descriptions Program on the World Wide Web (www.indiana.edu/~deanfac/class.shtml) .

The Department of Folklore and Ethnomusicology home page address is: www.indiana.edu/~folklore . Please refer to the end of this booklet for a listing of other useful websites.

UNDERGRADUATE PROGRAM

What is Folklore?People throughout the world use tradition in their daily lives and in times of crisis, celebration, and change. Folklore explores the dynamics of tradition and creativity in societies, past and present. Folklorists examine processes of individual creativity and of communication in diverse social and cultural settings.

What is Ethnomusicology? While it is entertaining, music is also serious business--political, social, religious, artistic and economic. Ethnomusicologists study music of all types cross culturally and analyze the role of music in human life.

Folklore & Ethnomusicology at IUThe IU undergraduate program reflects the breadth of folklore/ethno study and its links to the arts, area studies, and other disciplines. Departmental courses offer analyses of verbal and musical performance, specific regions, human diversity and worldview, research methods and fieldwork, and the relevance of folklore/ethno study to understanding one's own society and the societies of other regions and periods. There are opportunities for direct student-faculty contact through collaborative research projects, readings courses, and internships. Courses are open to students from any department or school and many fulfill Arts and Humanities and Culture Studies requirements.

Undergraduate DegreesUndergraduates may earn a B.A. degree in Folklore/Ethno. Students may also combine the study of Folklore/Ethno with related disciplines by pursuing a double major or a minor. Students considering a major or minor in the department are encouraged to meet with the Undergraduate

5

Advisor prior to registration. For undergraduate requirements and guidelines, please consult the College Bulletin on the College of Arts & Sciences homepage. For advice and information on undergraduate programs, please contact the Director of Undergraduate Studies or Undergraduate Advisor:

Dr. Pravina ShuklaDepartment of Folklore and EthnomusicologyE-mail: [email protected]

or Krystie HerndonUndergraduate Academic AdvisorE-mail: [email protected]

GRADUATE PROGRAM

Graduate CoursesGraduate courses include classes on theory and method as well as courses on specific world areas or issues. Using theories from the humanities and social sciences, topics are often approached from an interdisciplinary perspective.

Graduate DegreesThe Department offers M.A. and Ph.D. degrees in folklore and a minor in folklore. Students wishing to specialize in ethnomusicology may earn an M.A. or Ph.D. with a concentration in ethnomusicology. (Graduate students in other departments and schools may pursue a minor in ethnomusicology; contact the Director of the Ethnomusicology Program, Dr. Portia Maultsby, for information).

Contact the Folklore/Ethno Director of Graduate Studies for further information and applications:

Dr. Daniel ReedDepartment of Folklore & Ethnomusicology812-856-0782E-mail: [email protected]

or Michelle MelhouseGraduate Recorder812-855-0389E-mail: [email protected]

6

UNDERGRADUATE COURSESCOLL DISTRIBUTION

A & H – Arts and HumanitiesS & H – Social and HistoricalCSA – Cultural Studies List ACSB – Cultural Studies List BTFR – Topics Qualified CourseIW – Intensive Writing Course

F101 Introduction to Folklore A & HF111 World Music & Cultures A & HF121 World Arts & Cultures S & HF252 Global Pop Music A & HF253 The Supernatural S & HE295 Survey of Hip-Hop A & H, CSAE297 Popular Music of Black America A & H, CSAF301 Ghanaian Music, Drum, & Dance A & H, CSAF305 Chinese Film & Music A & H, CSAF307 Arabian Nights: East & West A & H, CSAF312 Irish Music & Culture A & H, CSBF315 Latino Folklore A & H, CSAF315 South American Performance & Culture A & H, CSAF330 Roma (Gypsy) History & Culture S & H, CSAF352 Native American Folklore A & H, CSAF358 Klezmer Music & Performance A & H, CSAF358 Music in Judaism A & H, CSAF359 Exploring Jewish Identity Today S & H, CSAF364 Children’s Folklore A & H, CSAF400 Individual Study in FolkloreF401 Theories & Methods S & HF402 Traditional Arts IndianaF403 Practicum in Folklore/EthnomusicologyF405 Studying Ethnomusicology S & HF494 Transcription & Analysis A & HE496 African American Religious Music A & H, CSA

For course locations, please check the Schedule of Classes:http://registrar.indiana.edu/scheduleoclasses/prl/soc4112/FOLK/index.html

7

UNDERGRADUATE COURSE DESCRIPTIONS

F101 Introduction to Folklore (3 crs) Course # 7944 10:10A-11:00A MW M. Foster

Fulfills COLL Arts & Humanities, Traditions & Ideas

Folklore is alive. It inspires the choices we make every day: how we communicate, what foods we eat, what games we play, what stories we tell, how we interpret the world around us. Folklore reflects our values, our prejudices, our fears, and our desires. The practices, beliefs, and objects that constitute folklore are so intrinsic to our daily lives that they are often overlooked in other disciplines that study human culture, but every culture has folklore and we are all part of the folk. In this course we will consider the role folklore plays in the lives of people around the world. We will examine a variety of traditional genres, including myth, legend, folktale, joke, gesture, ritual and craft, and we will also explore the way folklore informs our own contemporary lives, from Internet sites and tattooing to urban legends and fraternity/sorority initiation rites. Throughout the class we will consider different theories of folklore and think critically about the historical development of folkloristics and its relationship to issues of identity, class, ethnicity, and nationalism. Students will also have a chance to venture into the field to collect and analyze folklore themselves.

F111 World Music and Cultures (3 crs) Course # 7950 11:15A-12:05P MW M. Burnim

Fulfills COLL Arts & Humanities, Traditions & Ideas

This course examines a variety of musical traditions from across the globe. Taught from an ethnomusicological perspective, music is explored as complex cultural expression, intensely invested with social, artistic, economic and political meanings. This course seeks to advance knowledge of not only what happens in musical performance, but why. More than mere entertainment, or simply notes on a printed page, music comes alive through an understanding of the people who create and express it. The same music performed in a single context can convey varied meanings. Nuanced interpretations of music often require the

8

investigation of its link to race, gender and even class. Is music then a universal language? F111 explores this pervasive concept.

Through the rich and textured analysis of audio and video recordings, as well as carefully selected reading materials and field experiences, students will develop greater understanding of the role of music in their own lives, as well as the lives of “others,” both near and far.

F121 World Arts & Cultures (3 crs) Course # 13542 03:35P-04:25P MW P. Shukla

Fulfills COLL Social & Historical

This course will explore traditional arts, looking at different mediums of artistic expression, and at a variety of cultural contexts around the world and within the United States. Each week we will travel to a different region of the world where artistic expression – as material culture -- enables people to present themselves as members of groups and as individuals. Throughout the semester, we will seek to understand the myriad ways in which the arts are fundamental to human existence, used as a vehicle for the expression of faith, culture, aesthetics, and community. Class topics will include festivals and celebrations, pottery, food, tattoos and body art, textile arts, and costumes.

F252 Global Pop Music (3 crs) Course # 15297 09:30A-10:45A MW D. Reed

Fulfills COLL Arts & Humanities

Congolese rumba. Irish punk. Jewish hip hop. Indian disco. People around the world have created a rich and fascinating array of popular music styles. What do these musics sound like, and why? How might we analyze popular musics in order to better understand musicians’ motives, intentions, and creative processes? What roles do these musical styles play in movements for social change? In revolutions? As markers of generational, ethnic, racial, religious, gender, and other identities? How do meanings associated with popular musics change over time? What roles do economics, globalization, transnational trends, and the music industry (including the “world music” industry) play in shaping sound and culture? Structured thematically, this course will compare and contrast particular popular musics and explore what the study of these musics can reveal to us about the people who create and use them.

9

F253 The Supernatural (3 crs) Course # 28262 01:25P-02:15P MWF D. Goldstein


Above class meets at 800 N. Indiana Ave.

Statistics gathered by Gallop Poll together with a variety of other scientific and public opinion surveys indicate that an extremely large percentage of the American and Canadian population not only believe in the supernatural, but in fact, believe that they themselves have had a supernatural or paranormal experience. While most social science disciplines consider supernatural belief to be either historical or marginal, it would seem that a substantial proportion of the North American population, of all ages and social classes, share in these traditions. If this is the case, two questions become enormously important. First, why is it that traditions predicted to decline as scientific rationalism arose, have not? Secondly, why has the extent of belief in the supernatural gone unrecognized and underestimated by the academy for so long? By examining patterns of belief and the features of supernatural folklore, this course will attempt to understand the nature of surviving and declining tradition. The course will focus on the phenomenological features of supernatural traditions; explanatory frameworks and their internal logic; means of developing and maintaining belief; functions and structures of belief traditions; and relationships between genres of belief. The general approach of the course will be ethnographic, focussing on the ethnography of belief systems.

E295 Survey of Hip-Hop (3 crs) Course # 15323 07:00P-09:15P TR F. Orejuela

Fulfills COLL Arts & Humanities, Culture Studies List A

Above class meets 2nd 8-weeks only.

Above class MEETS IN A VIRTUAL CLASSROOM ON THE INTERNET FOR LECTURE 2 TIMES PER WEEK.

ABOVE CLASS is taught as a web-based course only, using BREEZE.

Above class meets with AAAD-A295.

Only meets on campus 2 times for the Midterm and Final Exams.

10

Above class students must be enrolled at IUB in order to add this course. Course materials will be available on OnCourse the day before our first meeting.

If you have not been in a BREEZE class room before and are working from home, you MUST go to the following website at:

http://www.indiana.edu/~breeze/participant.html

At minimum, do the first item (Test your computer) before the first class session and download the plug-in. If you use a campus cluster computer, those computers are Breeze compatible.

This course examines rap music and hip hop culture as artistic and sociological phenomena with emphasis on historical, cultural, economic and political contexts. Discussions will include the co-existence of various hip hop styles, their appropriation by the music industry, and controversies resulting from the exploitation of hip hop music and culture as a commodity for national and global consumption. Class will meet 2 times on campus for the midterm and the final exams.

E297 Popular Music of Black America (3 crs) Course # 28257 05:45P-08:00P TR P. Maultsby


Above class meets 2nd 8-weeks only.

Above class meets with AAAD-A297 and AMST-A202.

A chronological survey of Black popular music from 1945 to 2005--rhythm & blues, soul, funk, disco, hip hop, and their derivative forms. Emphasis will be placed on the context for evolution, defining musical features, marketing strategies of the music industry, and the contributions of African Americans to the development of a multi-billion dollar music industry and to the broader tradition of American popular music.

11

http://www.indiana.edu/~breeze/participant.html

F301 Ghanaian Music, Drum, & Dance (3 crs) Course # 11524 07:00P-09:30P M B. Woma

Fulfills COLL Arts & Humanities, Cultures Studies List A

Above class requires permission of instructor: contact [email protected] for authorization.


Above class meets with Folk-F609.

This course is an introduction to African performing arts. Students will be introduced to practical African drumming and dancing as well as learn the performance aspects of these musical genres. The class material will focus mainly on Ghanaian drumming, gyil (xylophone music) and some musical traditions of West Africa. With emphasis on hands-on experience in drumming, singing and dancing, students will also learn the history and social contexts in which these performance genres are organized. There will be a short lecture/discussion at the end of each session on the musical traditions covered in class. Students will be evaluated on how actively they participate in class and their understanding of the performance aspects of the various genres. There will be a performance at the end of the semester and students are required to be part of the performance. Previous music and dance experience is welcome but not required. All materials will be taught orally and through demonstrations.

F305 Chinese Film & Music (3 crs) Course # 16633 02:30P-03:45P TR S. Tuohy

07:15P-09:15P T


Above class meets for lecture in 501 N. Park Ave.

Required film screenings will be held every other Tuesday, 7:15 – 9:15 pm.


The course introduces students to modern Chinese society and music life as represented through Chinese films. We will view and analyze a range of “Chinese” films produced in and about China, from the early 1900s to today. In particular, we will look at feature films that focus on Chinese

12

mailto:[email protected]

music, musicians, and actors (including films about famous female performers and heroines, opera stars, and martial arts masters) as well as films and music that were linked to social, political, and economic transformations in modern China. We also will consider other genres such as documentaries, MTV, and videos circulated through the internet.

Among the primary course objectives are to learn: 1) methods for “reading” film music; and 2) to read Chinese films and listen to their soundtracks in relation to their representations of Chinese culture. We will explore theories, particularly those from the field of ethnomusicology, and will experiment with methods for the analysis of film music. The films and music will be contextualized within the social-historical conditions of their production as well as the conditions which they portray. Every other week (approximately), we will meet on Tuesday evening to view together selected films. Films will have English-language subtitles; a background in Chinese or music is not required.

F307 Arabian Nights: East & West (3 crs) Course # 28263 11:15A-12:30P TR H. El-Shamy



In 1704 the French Orientalist Antoine Galland introduced The Thousand and One Nights to the Western World. Few written or printed documents received more public attention worldwide than did this compendium of re-written folk narratives and its Western derivative known as The Arabian Nights. The impact of the Nights on cultures across the world has been profound. This course explores a variety of issues related to the work from interdisciplinary perspectives.

These include:

I. Eastern Thousand Nights and a Night and WesternArabian Nights: The Written and the Oral; the Oral ConnectionsII. The Format: The Frame StoryIII. Sheherzad: the Raconteuress as role model. What does Sheherzad represent for the contemporary female?IV. The Literary Genres in the Two Nights Traditions The Novella, the "fairy tale"/Zaubermärchen, the Legend, the Exemplum, the Cante fable/sîrah, the legend, the Humorous Anecdote, the Formula tale. The Nights in Modern Arts (Cinema, Music, Painting)

13

V. Society and Social Relations in the Nights Freemen and Slaves Race, Species, Ethnicity and Faith Male and Female Marriage and Concubinage Husbands and wives, Men and Save-girls, Parents and Children, SiblingsVI. Other Sociocultural Institutions Economy, Government, ReligionVII. Social Theories and Worldviews in the NightsVIII. Theoretical framework for the Study of the Nights (Analyses of Specific Tale Texts); Historical Reconstructional, Functional/Sociocultural, Psychoanalytic, Feminist, Semiotic, ....

Two Exams "Take home" and "objective"; One Term Paper.

Attendance and participation are of paramount importance.

F312 Irish Music & Culture (3 crs) Course # 18273 04:00P-05:15P TR D. McDonald

Fulfills COLL Arts & Humanities, Cultures Studies List B


This course introduces students to the history of Irish music and culture through a combination of lectures, discussions, and applied fieldworking activities. Specifically, this course offers an introduction to the vocal and instrumental traditions of Irish music in the context of the Irish diaspora and other Celtic traditions. Intended for undergraduate and graduate students in music, ethnomusicology, anthropology, area studies, and folklore this course brings together case studies on Irish music and culture from a wide variety of historical, analytical, and ethnographic sources. Included in this course will be aspects of Irish culture and history, politics, poetry, dance, and storytelling. Based on course readings, lectures, films, and live music performances/demonstrations students will trace the development of Irish music and dance from indigenous rural contexts to the international stage, investigating issues of religion, politics, nationalism, and globalization.

14

F315 Latino Folklore (3 crs) Course # 30895 02:30P-03:45P MW M. Martinez-Rivera


Above class meets with LATS-L398.

Latino communities in the United States are as culturally rich and diverse as their countries of origin. The United States, moreover, provides a platform for the proliferation, transformation, and adaptation of cultural practices. Therefore, the study of Latino folklore in the United States offers an amazing opportunity to analyze how communities are maintained even when they are in constant fluctuation, and how cultural expressions play a central part in the continuity and transformation of community.

This course cannot be inclusive of all US Latinos, but we will study a wide array of cultural manifestations—oral traditions, music, festivals, dance, material culture, healing and spirituality—while also paying attention to wider debates concerning migration, gender, nationalism, and identity. The course will begin with an overview of the study of folklore and of Latino Studies. The remainder of the course will be divided into five main themes—migration, gender, nationalism, and identity and the interrelation between them—and how different cultural practices and traditional expressive forms help express, negotiate, transform, and maintain Latino communities in the United States.

F315 South American Performance & Culture (1-3 crs) Course # AUTH 07:00P-09:30P W J. León


Above class requires the permission of the instructor, contact [email protected].

Above class meets at 501 N. Park Ave.

Above class meets with Folk-F638. This performance based course introduces students to a variety of musical traditions associated with indigenous, mestizo, criollo and African diasporic communities of Peru, Bolivia, Ecuador, Colombia, Chile and Argentina. Students will be introduced to a number of songs from the

15


region and in the process learn the important role that performance has in building community and transmitting specific forms of cultural knowledge. Emphasis will be given to the development of aural skills, learning the repertoire by ear, and the use local performance practice techniques. Through a series of in-class discussions, assigned readings, and an individual research project, students will also learn about the connections that exist between the music that they are learning to perform and Andean cosmology, regional migration, rural and urban social protest movements, criollo and mestizo working class identity, and the historical role that descendants of Africans have had in the development of local forms of expressive culture. While students do not need to have taken any formal musical training (music theory, musicianship, ability to read Western notation, etc.) to take this class, a basic level of musical proficiency is required. All students in the class will be expected to sing, play pan pipes and/or some basic percussion. Individuals with experience on flute, guitar, banjo, mandolin, violin, bass, piano, brass/reed instruments, and/or hand percussion will learn local performance practice techniques for their instruments as well as some basic techniques for playing instruments from the region such as the quena, charango, tiple, harp and cajón.

F330 Roma (Gypsy) History & Culture (3 crs) Course # 30123 02:30P-03:45P TR L. Hooker

Fulfills COLL Social & Historical, Culture Studies List A

Above class open to Juniors and Seniors only; others with permission of instructor. Contact [email protected] for authorization.

Above class meets with Folk-F635, CEUS-R342 and CEUS-R542.

How have the Roma been depicted by majority society? How have they used expressive culture to re-shape their identity? This course explores the history and culture of Europe's largest minority, commonly known in English as "Gypsies," more properly referred to as Roma, Sinti or Gitano. Since arriving in Europe in the thirteenth century, they have been enslaved, hunted down, imprisoned, and generally reviled; at the same time, they have fascinated members of the majority, and writers, artists, and composers have exploited the exotic flavoring they find in the image

16


of "Gypsiness." Roma musicians have also made themselves indispensable to folk and popular music practices around the European continent. In the last few decades, even as the human rights situation for Roma has deteriorated, a growing elite is forging an international pan-Roma movement - and representing itself artistically through music and film. We will survey both how this "mysterious" group has been represented, and how they have responded creatively to these representations.

F352 Native American Folklore (3 crs) Course # 30127 09:30A-10:45A TR J. Jackson


Above class meets with Folk-F640, AMST-A398 and AMST-G620.

This course offers an introduction to the diversity of Native North American expressive traditions. Topics surveyed will include American Indian visual art and material culture, architecture, verbal art, cosmology, dance, musical performance, public celebrations, foodways, and games. In encountering the expressive traditions central to American Indian community life, we will seek to place these practices into broader cultural context. The simultaneously convergent and divergent intellectual traditions of Native American studies, folklore, ethnomusicology, anthropology and art history will provide intellectual resources for the appreciation American Indian expressive culture. Attendance at cultural events, museum visits, guest presentations, films and demonstrations will supplement the course experience.

F358 Klezmer Music & Performance (3 crs) Course # xxxxx 05:45P-07:00P TR M. Alpert


Above class requires an audition. Contact [email protected] for audition information.


F358 Music in Judaism (3 crs) Course # xxxxx 02:30P-03:45P TR J. Cohen

17



Jewish Studies students contact [email protected] for authorization.

Non-Jewish Studies students register for section # 28866.

Above class meets with MUS-M410.

In this course, we will explore the variety of ways people have used music to describe, inscribe, symbolize and editorialize the Jewish experience: from biblical times, to cantorial music, to Israeli popular music, American Jewish hip-hop and beyond. Although we will cover much of our material in chronological order, this course offers more than just a survey of “Jewish music history.” Rather, music will serve as our window into questions of religious, ethnic, national and historical identity from biblical times to the present. A basic familiarity with Judaism, music history, and/or musical terminology is helpful for the course, but by no means required. All translations will be provided, and all musical analysis will be taught and explained thoroughly.

F359 Exploring Jewish Identity Today (3 crs) Course # xxxxx 02:30P-03:45P MW J. Cohen

Fulfills COLL Social & Historical, Culture Studies List A

Jewish Studies students contact [email protected] for authorization.

Non-Jewish Studies students register for section # 28868.

What do people today mean when they describe what they believe, do, or create as “Jewish”? Who determines what is or is not “Jewish,” or what belongs in the category of “Judaism”? How do people separate “Jews” from non-Jews? Why can multiple (and often contradictory) forms of Judaism exist alongside each other? And how can we look at ideas of Judaism held by those who do not profess to be Jews? By looking at these questions through what communities and individuals say, we will explore the complicated, controversial, and challenging question of what constitutes Jewish identity today.

F364 Children’s Folklore (3 crs) Course # 28264 01:00P-02:15P TR F. Orejuela

18




This course will focus on the informal processes through which children negotiate childhood and as a means of understanding how children use folklore in their everyday lives to construct the status quo as well as resist it. This course requires that you do some fieldwork with children, emphasizing experience and service learning. The final paper will combine library research with the service learning participation at a community-based organization. Service-learning combines the service ethic of volunteerism with critical thinking skills and academic knowledge.

F400 Individual Study in Folklore (1-3 crs) Course # AUTH ARR ARR ARR

Obtain course contract form and on-line authorization for above class from department Graduate Recorder, [email protected].

P: Must have consent of the faculty member supervising research. Students enrolled in this course will work under the close supervision of a faculty member. Projects may entail fieldwork, archival or library research, or a combination of these methods, subject to mutual agreement between the student and the supervising faculty member.

F401 Methods & Theories (3 crs) Course # xxxxx 01:00P-02:15P MW F. Orejuela



Above class priority given to majors and minors. Contact [email protected] to obtain online authorization.

The purpose of this course is to introduce students to principle theories and methods in the two fields composing our department, Folklore and Ethnomusicology. Folklorists and ethnomusicologists study the meanings of expressive forms in the everyday lives of individuals and their roles in society. Our two fields share a common focus on forms of artistic performance and expressive culture. Our scholarship also demonstrates a shared interest in the study of people and their artistic productions. Our research aims to contribute to the understanding of social processes, artistic practices, and human creativity.

19

We will engage in discussions on the following: (1) examining the convergences and divergences of the two fields; (2) their histories and current research paradigms; (3) basic concepts such as community, tradition, genre, performance; (4) research methods; and (5) the issues associated with presenting/representing people in the public setting.

F402 Traditional Arts Indiana (1-3 crs) Course # AUTH ARR ARR ARR

F402 is a practicum and is graded on a deferred R grade basis.

Section requires permission of instructor to register. Contact [email protected].

Traditional Arts Indiana (TAI), a partnership of the Department of Folklore and Ethnomusicology and the Indiana Arts Commission, identifies, documents, and presents traditional arts throughout Indiana. Under TAI supervision, students will learn to work with field materials, develop resource materials, and assist in the public sector programs within the context of a statewide arts program.

In this class, students have an opportunity to choose hands-on participation in aspects of these initiatives (e.g., fieldwork, planning exhibits and programs, media applications, publications) as well as reflect on their work through assigned readings and journal writing.

F403 Practicum in Folklore/Ethnomusicology (1-3 crs) Course # AUTH ARR ARR ARR


P: Must have consent of the faculty member supervising research. Individualized, supervised work in publicly oriented programs in folklore or ethnomusicology, such as public arts agencies, museums, historical commissions, and archives. Relevant readings and written reports required.

F405 Studying Ethnomusicology (3 crs) Course # 28266 01:00P-02:15P TR D. McDonald

20



This course introduces students to the field of ethnomusicology through course readings, lectures, discussions, and applied fieldwork activities. Emphasizing the examination of music in its relations to larger social and cultural processes, this course is designed for students interested in the study of music in human life around the world. Over the course of the semester we will explore the intellectual history, major concepts, theoretical approaches, analytical techniques, and field methodologies inherent to the discipline of ethnomusicology. We will also learn about the diversity of concepts of music and its functions, musical styles, and contexts of performance through case studies drawn from different parts of the world. Students will find opportunities to pursue their interests in particular world areas (including Bloomington) through applied topics and fieldwork based research assignments. Students majoring in other departments are welcome, although this course is designed specifically for majors and minors in Folklore and Ethnomusicology. Formal music training is not required. The course fulfills one of the two 400- level (previously 200-level) requirements for Folklore and Ethnomusicology Department majors and minors; it also fulfills the COAS Social Sciences distribution requirement.

F494 Transcription & Analysis (3 crs) Course # AUTH 08:50A-10:05A MW C. Sykes

12:50P-02:20P R

Fulfills COLL Arts & Humanities

Authorization required. Contact [email protected].

Above class meets for lecture at 501 N. Park Ave.


Above class meets for lab on Thursdays, 12:50-2:20 pm, in Music 373.

Explores past and current theories, methods, techniques, and tools used in notation and analysis of traditional music. Emphasis is placed on problem solving and project development. The music studied will sample a broad range of traditions from around the globe and encompass historical and recent time periods.

21


Prerequisites: Major/minor in ethnomusicology or permission of the instructor. Knowledge of musical notation and demonstrated experience in music dictation (MUS T132 and151 or equivalent). Contents of Course: Transcription and analysis are fundamental processes in ethnomusicological research and scholarship. Through exploration and application of theories, methods, techniques, tools, and skill development in transcription and analysis, this course provides a foundation upon which students may become successful researchers and scholars in the field of ethnomusicology. Works of historical significance will be examined in relationship to current theories and questions about music; theoretical principles will be studied as bases for practical application; works of established scholars will serve as groundwork for the research interests of each student in the course. The musical traditions represented in the literature and recordings studied in this course will sample a broad range of traditions from around the globe, and encompass past and recent time periods. While work with music in this course is done outside of its cultural context, knowledge of context will consistently inform assumptions made and approaches used to transcribe and analyze music. The evolution of transcription and analysis in the field of ethnomusicology has been closely aligned with, and in large part driven by the evolution of audio and visual technology. Consequently, the study and use of audio and video technology is a major component of the course. The course covers the various formats on which sound and visual images are stored, and how technology can be used to extract, notate, analyze, and illustrate aural and visual elements of music performance. Technology training is done primarily in the lab sections of the course. Readings: The course draws from an extensive list of articles and books; some are required reading, while others are optional. Required readings range from one to two articles per week. No reading assignments are given during the last two weeks of class. Outline of Requirements:•Daily preparation of reading assignments for discussion in class•Transcription and analysis assignments•Two major assignments: 1) Class symposium paper and presentation,2) Individual research paper

E496 African American Religious Music (3 crs) Course # 28258 09:30A-10:45A TR M. Burnim

22


Above class meets with AAAD-A496.

An in-depth investigation of Negro spirituals and gospel music, with some treatment of the traditions of lining-out and shape note singing. Examination of genres will address and integrate botht he musical and the sociocultural perspectives.

23

GRADUATE COURSES

A – AreaF – FormT – Theory

F523 Fieldwork in Ethnomusicology*F523 Fieldwork in Folklore*F525 Readings in Ethnography*F532 Public Practice in Folklore/Ethnomusicology F, TF545 Personal Narrative FF600 Chinese Film & Music A, FF609 Ghanaian Music, Drum, & Dance A, FF609 Ritual Music in West Africa A, TF617 Arabian Nights: East & West A, FF635 Irish Music & Culture AF635 Roma (Gypsy) History & Culture AF638 South American Performance & Culture A, FE639 Music & Nationalism in Latin America A, TF640 Native American Folklore AE694 Issues in African American Music AE714 Paradigms in Ethnomusicology TF740 Folklore Theories TF750 Performance: Verbal Art& Speech Play T, FF755 Ritual, Festival, Public Culture T, FF794 Transcription & Analysis in Folklore/Ethnomusicology TF800 Research in FolkloreF802 Traditional Arts IndianaF803 Practicum in Folklore/EthnomusicologyF850 Thesis/Research/DissertationG599 Master’s ThesisG901 Advanced Research

For course locations check the Schedule of Classes:http://registrar.indiana.edu/scheduleoclasses/prl/soc4112/FOLK/index.html

*This is a required course and therefore does not fulfill Form, Area, or Theory for Folklore track students.

24

GRADUATE COURSE DESCRIPTIONS

F523 Fieldwork in Ethnomusicology (3 crs) Course # 7965 10:20A-12:50P W S. Tuohy

This class introduces students to fieldwork and ethnographic research through reading, conversation, imagination, and practice. It is designed with an optimistic attitude of integrating the best of ethnographic history, theory, and practice. Our texts include readings on ethnographic theory; methods and practical guidebooks from ethnomusicology as well as from anthropology and folklore; newer orientations which question the most fundamental aspects of ethnographic research as it has been conceived and practiced; and selections from musical ethnographies.

The class will consist of lecture and discussion (primarily the latter). A fieldwork project, carried out through written and “practice” assignments, will provide practical fieldwork, documentation, and writing experience. Short written assignments are geared to course readings and to stages/components of an individualized field project. Short final papers will be based on fieldwork; students also will do in-class presentations on their results. To facilitate collegial work, several assignments will involve working with other class members to plan research and improve written work (collaborative field projects are permitted but not required).

The course is required for graduate students in the Ethnomusicology track of the Department of Folklore and Ethnomusicology but is open to graduate students in other fields who wish to learn more about ethnographic theories and practices; our emphasis will be on “qualitative” research. This section of F523 fulfills one the “core course requirements” for the Ph.D. minors in the Ethnomusicology program and for Music School cognates. F523 Fieldwork in Folklore (3 crs) Course # 13272 10:00A-12:30P M P. Shukla

In this class, students will learn about fieldwork by doing it, as well as reading about it. We will read an ethnographic work, and discuss the methodology employed by the author. We will read how-to fieldwork manuals. But we will also do many small fieldwork projects, getting comfortable with the questions that haunt all novice fieldworkers: how do I contact people? What do I say to them? When do I take out my tape recorder and camera? How do I catalog my information?

25

Students in the class are required to engage in the main techniques of fieldwork: observation, documentation using a notebook, a camera, and an audio recorder, interviewing, interpretation, and also the written presentations of fieldwork findings and oral presentations that employ technological aids. During the class meetings students discuss the theoretical, practical, and ethical/moral issues of fieldwork from the standpoint of their own experience. Students are required to abstract general principles and provide specific examples based on their own work, feedback, personal feelings, and reflections. In this way, it is my hope, they internalize many of the theories and practices of fieldwork, relegating them to second nature. When one encounters the complexity and confusion of a real field situation, one should not have to think about fieldwork, but find it possible to act quickly and productively. Students will learn self-confidence, and develop a knowledge that will enable them to conduct research on their own.

F525 Readings in Ethnography (3 crs) Course # 28267 04:00P-06:30P R M. Foster

This course broadly considers “ethnography” as an expressive genre of vital significance within the study of folklore. By reading examples of ethnographic writing from a range of historical periods in conjunction with relevant theoretical works, we will explore the history, form, and function of this mode of critical discourse. Throughout the course we will ask questions about narrative style, the presentation of the “self,” representations of the “other,” the dynamics of outsider versus insider, and the relationship of “facts” to “interpretation.” We will consider texts as products of particular historical and cultural contexts and also as resources for contemporary academic interpretation. While primary focus will be on scholarly ethnographies, one objective of the course is to explore innovative and creative ways of writing about other cultures; we will think about how fiction, dairies, travel literature, journalism and biography fit (or do not fit) within the ethnographic project. Throughout the course we will be attentive to theoretical issues of context, cultural essentialism, and the roles of language, narrative and self-reflexivity in ethnographic expression.

26

F532 Public Practice in Folklore/Ethnomusicology (3 crs) Course # 28554 01:00P-03:15P MW J. Jackson

Fulfills Form or Theory

Above class meets 1st 8-weeks only.

The disciplines of folklore and ethnomusicology each possess long and substantive histories of engagement with, and contribution to, public policy and civic life. Public folklore and applied ethnomusicology are vital concerns today and scholars in these fields put their training and expertise to work in a wide and growing range of professional settings in government, industry, and civil society. This course provides background in the history of public practice in folklore and ethnomusicology, examines the methods, theories, and practical skill sets used by public or applied scholars in both fields, and examines some of the most prominent employment sectors in which folklorists and ethnomusicologists work outside the academy. Special attention will be given to work in arts agencies, K‐12 education, festival and event production, the recording industry, digital media, museums, and social action. A key theme of the course are the ways that folklorists and ethnomusicologists, whether employed in academia or the public sector, can pursue work as public intellectuals concerned with serving diverse constituencies and producing scholarship in varied formats. Attention will also be given to ethical practice in public sector work, including examination of key controversies that have centered debate within both fields.

F545 Personal Narrative (3 crs) Course # 15813 01:00P-03:30P R D. Goldstein

Fulfills Form

Above class meets at 510 N. Fess Ave.

This course will examine the form, structure, context, performance and nature of the personal experience narrative and related genres such as life history, memorate, legend and autobiography. We will move from a look at the history of personal experience narrative and early opposition to its study, to contemporary examinations of issues of untellibility, storytelling rights, empathy, embodiment, narrative power and ways of knowing. This course will also explore methods of close textual analysis and the interdisciplinary construction of the narrative subject.

27

F600 Chinese Film & Music (3 crs) Course # 28269 02:30P-03:45P TR S. Tuohy

07:15P-09:15P T

Fulfills Area or Form


Required film screenings will be held every other Tuesday, 7:00 – 9:00 pm.


The course introduces students to modern Chinese society and music life as represented through Chinese films. We will view and analyze a range of “Chinese” films produced in and about China, from the early 1900s to today. In particular, we will look at feature films that focus on Chinese music, musicians, and actors (including films about famous female performers and heroines, opera stars, and martial arts masters) as well as films and music that were linked to social, political, and economic transformations in modern China. We also will consider other genres such as documentaries, MTV, and videos circulated through the internet.

Among the primary course objectives are to learn: 1) methods for “reading” film music; and 2) to read Chinese films and listen to their soundtracks in relation to their representations of Chinese culture. We will explore theories, particularly those from the field of ethnomusicology, and will experiment with methods for the analysis of film music. The films and music will be contextualized within the social-historical conditions of their production as well as the conditions which they portray. Every other week (approximately), we will meet on Tuesday evening to view together selected films. Films will have English-language subtitles; a background in Chinese or music is not required.

F609 Ghanaian Music, Drum, & Dance (3 crs) Course # AUTH 07:00P-09:30P M B. Woma


Above class requires permission of instructor: contact [email protected] for authorization.


28



This course is an introduction to African performing arts. Students will be introduced to practical African drumming and dancing as well as learn the performance aspects of these musical genres. The class material will focus mainly on Ghanaian drumming, gyil (xylophone music) and some musical traditions of West Africa. With emphasis on hands-on experience in drumming, singing and dancing, students will also learn the history and social contexts in which these performance genres are organized. There will be a short lecture/discussion at the end of each session on the musical traditions covered in class. Students will be evaluated on how actively they participate in class and their understanding of the performance aspects of the various genres. There will be a performance at the end of the semester and students are required to be part of the performance. Previous music and dance experience is welcome but not required. All materials will be taught orally and through demonstrations.

F609 Ritual Music in West Africa (3 crs) Course # 13834 09:00A-11:30A R D. Reed

Fulfills Area or Theory


Ritual Music in West Africa: Ritual serves as an experimental arena through which people both situate themselves in relationship to their pasts and give birth to new possibilities. Music frequently plays a central role in ritual performance. This course will explore uses of and ideas about music in ritual contexts--especially religious ritual contexts--in West Africa. We will comparatively analyze numerous issues including roles of music and musicians in sacred rituals, theories about and concepts of music involving religious belief, uses of music as a means of communication with spiritual domains, uses of music in the negotiation of religious boundaries, intersections between popular culture and religious ritual, and relationships between ritual music performance and negotiations of identity. Along the way, we will consider the meanings of the words "ritual," "religion," and "music" when applied cross-culturally in West African contexts. Course requirements will include one major research paper, synopses of each week¹s readings, and contribution to class discussions.

29

F617 Arabian Nights: East & West (3 crs) Course # 11861 11:15A-12:30P TR H. El-Shamy



In 1704 the French Orientalist Antoine Galland introduced The Thousand and One Nights to the Western World. Few written or printed documents received more public attention worldwide than did this compendium of re-written folk narratives and its Western derivative known as The Arabian Nights. The impact of the Nights on cultures across the world has been profound. This course explores a variety of issues related to the work from interdisciplinary perspectives.

These include:

I. Eastern Thousand Nights and a Night and WesternArabian Nights: The Written and the Oral; the Oral ConnectionsII. The Format: The Frame StoryIII. Sheherzad: the Raconteuress as role model. What does Sheherzad represent for the contemporary female?IV. The Literary Genres in the Two Nights Traditions The Novella, the "fairy tale"/Zaubermärchen, the Legend, the Exemplum, the Cante fable/sîrah, the legend, the Humorous Anecdote, the Formula tale. The Nights in Modern Arts (Cinema, Music, Painting)V. Society and Social Relations in the Nights Freemen and Slaves Race, Species, Ethnicity and Faith Male and Female Marriage and Concubinage Husbands and wives, Men and Save-girls, Parents and Children, SiblingsVI. Other Sociocultural Institutions Economy, Government, ReligionVII. Social Theories and Worldviews in the NightsVIII. Theoretical framework for the Study of the Nights (Analyses of Specific Tale Texts); Historical Reconstructional, Functional/Sociocultural, Psychoanalytic, Feminist, Semiotic, ....

Two Exams "Take home" and "objective"; One Term Paper.

Attendance and participation are of paramount importance.

30

F635 Irish Music & Culture (3 crs) Course # 28271 04:00P-05:15P TR D. McDonald

Fulfills Area


This course introduces students to the history of Irish music and culture through a combination of lectures, discussions, and applied fieldworking activities. Specifically, this course offers an introduction to the vocal and instrumental traditions of Irish music in the context of the Irish diaspora and other Celtic traditions. Intended for undergraduate and graduate students in music, ethnomusicology, anthropology, area studies, and folklore this course brings together case studies on Irish music and culture from a wide variety of historical, analytical, and ethnographic sources. Included in this course will be aspects of Irish culture and history, politics, poetry, dance, and storytelling. Based on course readings, lectures, films, and live music performances/demonstrations students will trace the development of Irish music and dance from indigenous rural contexts to the international stage, investigating issues of religion, politics, nationalism, and globalization.

F635 Roma (Gypsy) History & Culture (3 crs) Course # 29125 02:30P-03:45P TR L. Hooker

Fulfills Area

Above class requires permission of instructor. Contact [email protected] for authorization.

Above class meets with Folk-F330, CEUS-R342 and CEUS-R542.

How have the Roma been depicted by majority society? How have they used expressive culture to re-shape their identity? This course explores the history and culture of Europe's largest minority, commonly known in English as "Gypsies," more properly referred to as Roma, Sinti or Gitano. Since arriving in Europe in the thirteenth century, they have been enslaved, hunted down, imprisoned, and generally reviled; at the same time, they have fascinated members of the majority, and writers, artists, and composers have exploited the exotic flavoring they find in the image

31


of "Gypsiness." Roma musicians have also made themselves indispensable to folk and popular music practices around the European continent. In the last few decades, even as the human rights situation for Roma has deteriorated, a growing elite is forging an international pan-Roma movement - and representing itself artistically through music and film. We will survey both how this "mysterious" group has been represented, and how they have responded creatively to these representations.

F638 South American Performance & Culture (3 crs) Course # AUTH 07:00P-09:30P W J. León


Above class requires the permission of the instructor, contact [email protected].


Above class meets with Folk-F315. This performance based course introduces students to a variety of musical traditions associated with indigenous, mestizo, criollo and African diasporic communities of Peru, Bolivia, Ecuador, Colombia, Chile and Argentina. Students will be introduced to a number of songs from the region and in the process learn the important role that performance has in building community and transmitting specific forms of cultural knowledge. Emphasis will be given to the development of aural skills, learning the repertoire by ear, and the use local performance practice techniques. Through a series of in-class discussions, assigned readings, and an individual research project, students will also learn about the connections that exist between the music that they are learning to perform and Andean cosmology, regional migration, rural and urban social protest movements, criollo and mestizo working class identity, and the historical role that descendants of Africans have had in the development of local forms of expressive culture. While students do not need to have taken any formal musical training (music theory, musicianship, ability to read Western notation, etc.) to take this class, a basic level of musical proficiency is required. All

32


students in the class will be expected to sing, play pan pipes and/or some basic percussion. Individuals with experience on flute, guitar, banjo, mandolin, violin, bass, piano, brass/reed instruments, and/or hand percussion will learn local performance practice techniques for their instruments as well as some basic techniques for playing instruments from the region such as the quena, charango, tiple, harp and cajón.

E639 Music & Nationalism in Latin America (3 crs) Course # 28553 03:30P-06:00P W J. León

Fulfills: Area or Theory Above class meets at 501 N. Park Ave.

This course intends to explore the complex relationship that exists between changing concepts of nation and national identity, local social and political processes, and those artists, dancers, musicians, and composer, whose performances and artistic creations have come to be seen as a symbol of the nation. Throughout the semester we will use various case studies from different parts of Latin America and the Caribbean as a means of discussing various aspects of nation-building ideologies and their relevance to the study of the performing arts in the region. The course will be organized both chronologically and thematically. We will begin by familiarizing ourselves with some of the foundational theories regarding nationalism including the work of Anderson, Chatterjee, Gellner, Giddens, Hobsbawm and Weber. Drawing on case studies from Argentina, Bolivia, Brazil, Chile, Colombia, Cuba, the Dominican Republic, Haiti, Mexico, Nicaragua, Peru, and Trinidad, the course will then focus on the development of different discourses about music and the nation. These include: a) the role of folk, popular, and pre-Columbian musical traditions in the development of local art music traditions; b) the institutionalization and canonization of vernacular musics as state-sponsored folklore; c) the rise of urban popular dance genres as a symbols of the nation; d) the use of local forms of musical expression to challenge or reinvent the notion of the nation.

F640 Native American Folklore (3 crs) Course # 30129 09:30A-10:45A TR J. Jackson

33

Fulfills Area

Above class meets with Folk-F352, AMST-A398 and AMST-G620

This course offers an introduction to the diversity of Native North American expressive traditions. Topics surveyed will include American Indian visual art and material culture, architecture, verbal art, cosmology, dance, musical performance, public celebrations, foodways, and games. In encountering the expressive traditions central to American Indian community life, we will seek to place these practices into broader cultural context. The simultaneously convergent and divergent intellectual traditions of Native American studies, folklore, ethnomusicology, anthropology and art history will provide intellectual resources for the appreciation American Indian expressive culture. Attendance at cultural events, museum visits, guest presentations, films and demonstrations will supplement the course experience.

E694 Issues in African American Music (3 crs) Course # 28260 04:00P-06:30P M P. Maultsby

Fulfills Area

Above class meets with AAAD-A594 and AMST-A620

This course, organized topically, will present a chronological overview of the primary genres of African American music, from slavery to the present. Emphasis will be placed on understanding the separate identities of the individual genres, while at the same time examining those processes by which they are interrelated and are cultural objects for appropriation. Topics explored will include genre classification, musical features and the aesthetics of style; oral vs. written traditions; early collectors of African American music; musical transformation and representation, and inter- and intra-cultural interactions. Central themes to be addressed are issues of race, class, identity, authenticity, gender, and multiple levels of meaning.

E714 Paradigms of Ethnomusicology (3 crs) Course # 28261 08:15A-10:45A T R. Stone

Fulfills Theory

Above class meets at 510 N. Fess Ave.

34

This course introduces students to the major theoretical orientations that have shaped the study of ethnomusicology since World War II. Topics will include the nature of inquiry; theoretical foundations of comparative musicology; structural-functionalist approaches; paradigmatic structuralism; linguistic theories; Marxist influences; literary and dramaturgical theories; gender, ethnicity, and identity issues; phenomenology and experiential ethnomusicology; and postmodern and transnational orientations.

Students will be expected to provide critical feedback through a journal documenting their reading. They will also be asked to find examples of a number of theoretical orientations in the ethnomusicological literature and write a series of two short papers of approximately five pages each, analyzing the use of theory in the chosen ethnographies. The final project will be a longer paper of approximately 20 pages, providing an indepth analysis of some theoretical point, drawing upon the students’ individual interests.

TEXTS:-Stone, Ruth M. 2007. Theory in Ethnomusicology Today.-Brett, Philip, Elizabeth Wood and Gary C. Thomas. 1994. Queering the Pitch: The New Gay and Lesbian Musicology. New York: Routledge.-Brown, Richard. 1989. A Poetic for Sociology: Toward a Logic of Discovery for the Human Sciences. Chicago: University of Chicago Press.-Monson, Ingrid. 1996. Saying Something: Jazz Improvisation and Interaction. Chicago: University of Chicago Press.-Nettl, Bruno and Philip Bohlman. 1991. Comparative Musicology and Anthropology of Music. Chicago: University of Chicago Press.

F740 Folklore Theories (3 crs)Course # 16641 04:30P-07:00P W H. El-Shamy

Fulfills Theory

This course introduces folklore theory to beginners and non-folklorists. It describes and examines the various research techniques and considerations folklorists have employed in determining the nature of their discipline. The resulting academic "worldviews" and their impact on the determination of the parameters of the field, genres of folklore and culture specialty studies (e.g., women studies) will be explored.

35

In 1972, Richard M. Dorson presented a revised and updated version of his 1964 survey of "Current Folklore Theories" as "Concepts of Folklore and Folklife Studies." It specified twelve such "theories" and "approaches," which he labeled "outlooks". The course will examine a number of these outlooks and evaluate their current relevance to the discipline. Also, more recent approaches will be addressed.

Emphases will be placed on the following theories/schools:-- "Historical-Geographical" (Finnish School) -- "Historical Reconstruction" -- "The Ideological" -- Anthropological: "The Functional" and "The Evolutionary"-- The "Psychoanalytic" (Freudian) and The "Neo-

psychoanalytic" -- "Analytical Psychology (Freudian/Jungian)-- "Cognitive Psychological

-- The "Contextual" and "Performance-centered"-- The Structural/morphological -- (Syntagmatic / Proppian)

-- (Paradigmatic / Lévi-Straussian)-- Oral-formulaic

RequirementsOne term paper.2-3 book/article reports.

F750 Performance: Verbal Art & Speech Play (3 crs) Course # 30131 03:30P-06:00P M J. McDowell

Fulfills Theory


This course proposes a survey of creative and poetic uses of language in social settings conducive to the deployment of conventional speech forms. We will assess spoken-word performances in ludic (playful), commemorative, ceremonial, and ritual modalities, in (and between) genres such as joke, riddle, proverb, story, song, ballad, legend, and myth. The main themes for the course are these:

1. How do performances rooted in speech incorporate musical elements such as rhythm and melody, and to what effect?

36

2. What is the role of parallel construction, figurative language, and other related features, in artistic verbal performance?

3. How do these performances become vehicles for pursuing individual and group goals?

4. What are viable tactics for documenting verbal performances and for ascertaining their social impact?

Readings for this course are drawn from the substantial literatures on the ethnography of speaking and ethnopoetics, with emphasis on the sources that have proved to be most influential among folklorists. Students will be expected to contribute heartily to seminar discussions, to complete a series of short exercises, and to write a term paper developing an original thesis in the broad areas covered during the semester.

F755 Ritual, Festival, Public Culture (3 crs) Course # 16643 07:30P-09:15P T B. Stoeltje

Fulfills Theory or Form

Above class meets with ANTH-E678 and AMST-G751.

If we take ritual to be the social act basic to humanity, as Rappaport argues, this formal event and the multiple related ritual genres (festival, carnival, drama, contests, pilgrimage, etc.), provide an arena for the exploration of the social response to contradiction and change. Rituals intensify and condense communication, creating an experimental technology, in the words of the Comaroffs, to affect the flow of power in the universe, to plumb the magicalities of modernity. The course will focus on the larger concept of ritual genres as performed in various locations. Using anthropological theories the course will consider the production of ritual, the form itself, its discourse, and performance. Selected studies will concentrate on the public context of ritual and festival, the participation of specific populations, and the outcomes, planned and unplanned. Linking ritual to public culture, the course explores it as a response to contradiction in social and political life. We will consider the interaction of the ritual genres with politics, tourism, history, identity, gender, the state, religion. Examples will be drawn from rites of passage (traditional ones and newly created ones), celebrations of an historical event or date, occupational and seasonal festivals, carnival, rituals of domination and rituals of resistance.

37

One emphasis will be placed on the relationship between ritual/festival and its political contexts, including historical era. Another important theme will be the relationship between ritual and media in contemporary societies.

We will also consider the perspective of the individual who experiences ritual through readings of both ethnographic accounts and fiction. Requirements: Two papers on a ritual/festival event of your choice (contemporary or historical), or on ritual theory - one 10 page and one 20 page. Class presentation of your research.

Readings will include theoretical and ethnographic studies of theritual genres and will be drawn from cultures around the world.

Texts:Mikhail Bakhtin, Rabelais and His World Birgit Meyer and Annelies Moors, Religion, Media, and the Public Sphere Arnold van Gennep, The Rites of Passage.

F794 Transcription & Analysis (3 crs) Course # AUTH 08:50A-10:05A MW C. Sykes

12:50P-02:20P R

Fulfills Theory

Authorization required. Contact [email protected].



Above class meets for lab on Thursdays, 12:50-2:20 pm, in Music 373.

Explores past and current theories, methods, techniques, and tools used in notation and analysis of traditional music. Emphasis is placed on problem solving and project development. The music studied will sample a broad range of traditions from around the globe and encompass historical and recent time periods. Prerequisites: Major/minor in ethnomusicology or permission of the instructor. Knowledge of musical notation and demonstrated experience in music dictation (MUS T132 and151 or equivalent).

38


Contents of Course: Transcription and analysis are fundamental processes in ethnomusicological research and scholarship. Through exploration and application of theories, methods, techniques, tools, and skill development in transcription and analysis, this course provides a foundation upon which students may become successful researchers and scholars in the field of ethnomusicology. Works of historical significance will be examined in relationship to current theories and questions about music; theoretical principles will be studied as bases for practical application; works of established scholars will serve as groundwork for the research interests of each student in the course. The musical traditions represented in the literature and recordings studied in this course will sample a broad range of traditions from around the globe, and encompass past and recent time periods. While work with music in this course is done outside of its cultural context, knowledge of context will consistently inform assumptions made and approaches used to transcribe and analyze music. The evolution of transcription and analysis in the field of ethnomusicology has been closely aligned with, and in large part driven by the evolution of audio and visual technology. Consequently, the study and use of audio and video technology is a major component of the course. The course covers the various formats on which sound and visual images are stored, and how technology can be used to extract, notate, analyze, and illustrate aural and visual elements of music performance. Technology training is done primarily in the lab sections of the course. Readings: The course draws from an extensive list of articles and books; some are required reading, while others are optional. Required readings range from one to two articles per week. No reading assignments are given during the last two weeks of class. Outline of Requirements:•Daily preparation of reading assignments for discussion in class•Transcription and analysis assignments•Two major assignments: 1) Class symposium paper and presentation,2) Individual research paper

F800 Research in Folklore (1-6 crs) Course # AUTH ARR ARR ARR


39

P: Must have consent of faculty member supervising research. This course is designed to allow advanced students to receive credit for independent work done with the permission and supervision of a member of the faculty.

F802 Traditional Arts Indiana (1-6 crs) Course # AUTH ARR ARR ARR

F802 is a practicum and is graded on a deferred R grade basis.

Section requires permission of instructor to register. [email protected].

Traditional Arts Indiana (TAI), a partnership of the Department of Folklore and Ethnomusicology and the Indiana Arts Commission, identifies, documents, and presents traditional arts throughout Indiana. Under TAI supervision, students will learn to work with field materials, develop resource materials, and assist in the public sector programs within the context of a statewide arts program.

In this class, students have an opportunity to choose hands-on participation in aspects of these initiatives (e.g., fieldwork, planning exhibits and programs, media applications, publications) as well as reflect on their work through assigned readings and journal writing.

F803 Practicum in Folklore/Ethnomusicology (1-3 crs) Course # AUTH ARR ARR ARR


P: Must have consent of the faculty member supervising research. Individualized, supervised work in publicly oriented programs in folklore or ethnomusicology, such as public art agencies, museums, historical commissions, and archives. Relevant readings and written report required. May be repeated.

40

F850 Thesis/Research/Dissertation (1-12 crs) Course # 7968 ARR ARR J. Jackson

Above section for students on the Bloomington Campus. No authorization is required.

Thesis/Project credit for M.A. students writing thesis or completing a master’s project (a maximum of 6 cr. hours) and Ph.D. candidates (a maximum of 30 cr. hours).

F850 Thesis/Research/Dissertation (1-12 crs) Course # AUTH ARR ARR J. Jackson

Above section is for students who are not in Bloomington only.

Obtain on-line authorization for above class from department Graduate Recorder, [email protected].

Thesis/Project credit for M.A. students writing thesis or completing a master’s project (a maximum of 6 cr. hours) and Ph.D. candidates (a maximum of 30 cr. hours).

G599 Master’s Thesis Course # AUTH ARR ARR J. Jackson

Obtain on-line authorization for above class from the department Graduate Recorder, [email protected].

This course is for international, Master’s level students who have enrolled in 30 or more hours of graduate course work applicable to the degree and who have completed all other requirements for the degree except the thesis, final project, or performance.

G901 Advanced Research (6 crs) Course # AUTH ARR ARR J. Jackson

Obtain on-line authorization for above class from department Graduate Recorder, [email protected].

This course, for which a flat fee is charged, was set up to meet the 6-hour registration requirement for post 90-hour doctoral candidates whom

41

hold assistantships. Post 90-hour students who do not hold assistantships may also enroll in G901 if they desire.

Requirements: Doctoral students who have completed 90 or more hours of graduate course work who have completed all requirements for their degree except the dissertation. Students are not allowed to take more than six (6) semesters.

42

HELPFUL LINKS

Department of Folklore & Ethnomusicology homepage:

http://www.indiana.edu/~folklore/

Office of the Registrar’s Schedule of Classes:

http://registrar.indiana.edu/scheofclass.shtml

Online course descriptions:

http://www.indiana.edu/%7Edeanfac/class.html

Office of the Registrar’s Course Information:

http://registrar.indiana.edu/~registra/stu_courseinfo.shtml

University Graduate School Bulletin:

http://www.indiana.edu/~bulletin/iu/grad/2009-2010/

College of Arts & Sciences Undergraduate Academic Bulletin:

http://www.iu.edu/~bulletin/iub/college/2010-2011/

Guide to the Preparation of Theses & Dissertations:

http://www.graduate.indiana.edu/preparing-theses-and-dissertations.php

43

the department of folklore and ethnomusicology …folklore/graduate/documents/spring 2011... · web...

Documents