ࡱ>  c YPbjbj D^\^\KH  BBBBBVVV8:V4:4<4<4<4<4<4<4G79<4B<4BBQ4   BB:4 :4  02Pz>1&4g40421:~:(22:B22 <4<4 4: > :  Master Syllabus MUSIC IN WORLD CULTURES I Course: MUSIC 472-01 Cluster Requirement: UNIVERSITY STUDIES 3B This University Studies Master Syllabus serves as a guide and standard for all instructors teaching an approved course in the University Studies program. Individual instructors have full academic freedom in teaching their courses, but as a condition of course approval, agree to focus on the outcomes listed below, to cover the identified material, to use these or comparable assignments as part of the course work, and to make available the agreed-upon artifacts for assessment of learning outcomes. The italicized text in this annotated template provides details about the material to be included in each section and should not be included in the final Master Syllabus. A blank template is available for faculty to complete and submit. Ideally the process of preparing a Master Syllabus should include all of the instructors who regularly teach the course. It is expected that this effort will serve to initiate conversations about the primary curricular goals of the course as well as the assessment of course and University Studies goals. Course Overview: This part identifies the course content, including a brief summary of the targeted material and subsequent issues and topics addressed by the course. Course Description: Part I of a two-semester survey of world music traditions from Asia, Africa, the Middle East, Oceania, Europe, and the Americas. We will focus on indigenous instrumental music, dance, and song in their cultural context. This course meets the standards for licensure in Music Education in the areas 3C) - introductory knowledge of at least two other musical traditions with contrasting compositional and performances characteristics and genres and 4) music criticism: analysis and critique of musical works and performance. Course Purpose: Topics for reading and discussion will include: belief systems and lifeways; social organization; music analysis; material culture; gender issues; contrasts among cultures; aesthetics; the role of the drum; methods for learning, teaching, and performing world traditions; and moral issues in the study and use of world music. This semester we will focus on the music and culture of India, Korea, China, and Native America. University Studies Course Rationale: Our goal is to develop an understanding of the social, cultural, and spiritual implications of music making in our global village. We will engage through assigned readings, informed listening and viewing, and performance activities. This statement should describe the general content and goals of the course, the pedagogical approaches and types of assignments and the ways in which the course will attempt to help students meet the University Studies learning outcomes for that Cluster requirement. This statement is an opportunity for the sponsoring faculty to speak directly about how the course will fit into the Cluster requirement's scope and goals. Learning Outcomes: This part has two subparts: Course-Specific Learning Outcomes: The first part includes the learning outcomes for the course that have been agreed upon amongst the departments faculty and which are not directly linked to the University Studies curriculum. Music Department Course Outcomes: - Based upon NASM and Mass. DESE Standards; NB: Outcomes in [ ] are applied to music majors when this course is taught strictly for majors Students will develop: 1. The ability to analyze, think, speak, and write clearly and effectively, and to communicate with precision, cogency, and rhetorical force. 2. An informed acquaintance with the cultural context of the music, dance, and art of the worlds peoples. 3. An ability to address culture and history of global peoples from a variety of perspectives. 4. Understanding of, and experience in thinking about, moral and ethical problems. 5. The ability to respect, understand, and evaluate work in a variety of disciplines. 6. The capacity to explain and defend views effectively and rationally. [7. Understanding of and experience in one or more art forms other than music, such as dance, visual art, and oral and/or written literatures.] [8. The ability to hear, identify, and work conceptually with the elements of music such as rhythm, dynamics, melody, harmony, structure, timbre, texture.] [9. An understanding of and the ability to read or hear and realize written or oral/aural musical notation.] [10. An understanding of compositional and performance processes, aesthetic properties of style, and the ways these shape and are shaped by artistic and cultural forces. [11. An acquaintance with a wide selection of musical literature or cultural repertoire, genres, and cultural sources.] 12. The ability to develop and defend musical judgments/analysis. [13. Ability in performing areas at levels consistent with the goals and objectives of the specific liberal arts degree program being followed, to an extent sufficient to perform in a public concert.] [14. Understanding of procedures for realizing a variety of musical styles in a given culture.] [15. Knowledge and/or skills in one or more areas of music beyond basic musicianship appropriate to the individuals needs and interests, and consistent with the purposes of the specific liberal arts degree program being followed.] University Studies Learning Outcomes: This second part lists the relevant learning outcomes that this course meets as described in the University Studies Cluster requirement. This part should list the Cluster and letter of the Cluster requirement (e.g., Cluster 2A) and should simply reproduce verbatim those learning outcomes here. Additionally, if the Cluster requirement provides alternative outcomes, the specific option to be applied in this course should be identified. For example, in Cluster 4A, courses can fulfill the requirement by explaining different perspectives on: a) what it means to be human and how the significance of human existence has been understood; b) the nature of human relationships and how these relationships are evidenced in regard to the broader world; or c) how knowledge is obtained, maintained and changed, as well as how individuals come to understand and think about the world around them. The outcomes here should identify which option this course intends to use to fulfill this requirement. University Studies Student Learning Outcomes 1. Articulate the cultural context, history and formal and conceptual aspects of the art form studied. 2. Interpret and create informed responses (via writing, presentation, performance or artifact) to the art form studied through the analysis of the form, content, context and methods of production using appropriate disciplinary terminology. 3. Explain the ways in which the art form expresses the values that humans attach to their experiences. TEXTS This part should list the textbooks and readings used across the different sections of this course over the last several years or the readings that are expected to be used in future sections. There is no expectation that any one instructor would use the entire set of readings or even that the instructors would be unable to use readings or textbooks not on the list. Rather the list serves as an extended sample of readings or texts the instructors would consider using in the teaching of this course. The expectation is that, in some cases, this list could be quite extensive. Basic Text: ED. Titon et al. Worlds of Music. 6th Edition. Cengage Learning. Boston, MA, USA. Book with compact discs. Added texts: Personal articles, descriptions, and other texts, photos, and videos from research by prof. royal hartigan LEARNING ACTIVITIES AND ASSIGNMENTS: - READINGS: Worlds of Music, Chapters 1 The Music Culture as a World of Music, pp. 1-32 11 Discovering and Documenting a World of Music, pp. 559-586 6 Asia/India, pp. 293-330 8 China, Singapore, Taiwan, Overseas Chinese, pp. 385-440 2 North America/Native America, pp. 33-98 - LISTENING/VIEWING: India Bhajan devotional song Bollywood Cine Music, Enggal Kalyanam Itinerant minstrel song, Nagapattu Panchavadyam orchestra, ritual to Ayyapan Karnataka Sangeeta, Ivaraku Jucinadi Videos of sitarist Ravi Shankar, tablaist Alla Rakka, vocalist Aruna Sairam, and Bharata Natyam dancer Savitha Sastry Cross cultural Indian-influenced jazz, with the blood drum spirit ensemble, Tala Vadyam Korea Videos Pansori narrative song with drum, Hungboga Kopuri dance form shaman ritual Salpuri dance to exorcise evil spirits Mudang Kut shaman ritual Pungmulnori/Nongak farmers ensemble music China Video, Guchin zither music, Wu Wen Guang Video, Beijing Opera Explained Pipa string music, Da Lang Tao Sha, Hua Yanjun Videos from Da liu Zhi percussion traditional music Cross cultural Chinese jazz, Flowing Stream/Goodbye Pork Pie Hat Native America/North America Lakota Sioux plains pow-wow dance music, Grass Dance Song Lullaby of the southwestern Zuni people, Lanaiditsa Iroquois northeastern woodlands longhouse Quiver Dance song, Gadasjot Navajo southeastern Yeibichai song form the Nightway ceremony, led by Sandoval Begay Navajo Circle dance song from Enemyway ceremony, Shizanee Cross cultural expressions, Mother Earth, Sharon Burch Cross cultural music Origins, R. Carlos Nakai, flute - DISCUSSION TOPICS: India Nada Brahma, Cosmic Sound and Shivas dance as existential origin Raga: Note Collection, inflections, phrases and meaning; the Melakarta system Rasa: Theory of emotional/psychological content; the nine emotions Tala: Time cycle forms - Dhruva, Matya, Rupaka, Jhampa, Triputa, Ata, and Eka Relation of sound, color, movement, and meaning Extension of Indian concepts into each students daily life The Varna/Caste System Korea Relation of agricultural life to music in farmers ensembles Compare traveling Korean music, dance, puppet troupes to American carnivals ands circuses Sounds of instruments reflecting the sounds of Nature China China as ancient east Asian civilization, with important influences on Korea and Japan The nature of Beijing Opera as a dramatic art Cross cultural styles of Chinese origin: the music of Fred Ho and his revolutionary Afro-Asian Music Ensemble Native America/North America Seven geographic/cultural zones of North American indigenous peoples Creation legends Navajo Ceremonial music - ORAL/CREATIVE REPORTS: Create a melody, sketch, painting, or story that uses concepts/practices from any of the following: Indian theory of Rasa (emotion), Korean Pungmulnori farmers music, Chinese Beijing Opera, or Native American songs, including a hard copy rationale documenting the connection between the source and your work. [OUTCOME PRODUCT] Relate cycles of musical time to the cycles of activities in your life, and your life span itself - PAPERS: Write a 3-5 page review paper of a live or video-recorded performance of traditional music (videos on reserve at the Carney Library) [OUTCOME PRODUCT] Write an 8-10 page research paper on an approved topic in world music and/or culture [OUTCOME PRODUCT] - PRESENTATIONS, [ALL VIDEO RECORDED FOR OUTCOME PRODUCTS]: Perform a set of Indian solkattu (rhythmic syllables) compositions in different designs large-small, small-large, large-small-large, small-large-small, uniform Perform with a traditional instrument in a Korean traditional Pungmulnori ensemble style Perform with a traditional instrument in a Chinese Beijing Opera ensemble style Perform Native American songs, drum rhythms, and dance movements Create and present an original work of art in any genre based on the cultures we have studied literary (story, poem, spoken word, hip-hop), vocal, instrumental, visual arts (drawing/sketching, painting, sculpture, wood/metal work), dance, weaving, or related art form. Explain how your work reflects a specific culture and context. MID-SEMESTER AND END OF SEMESTER [OUTCOME PRODUCT] These assignments should demonstrate how the University Studies outcomes have been integrated into the learning processes in the course. In addition, they should provide a description of student work products that can be taken as course artifacts and used for the purposes of program assessment. Faculty need only list the particular assignments that involve the University Studies learning outcomes for the Cluster requirement. If faculty intend to use other assignments to meet course-specific outcomes only, they need not be listed here. As with the previous part, a list of assignments, not necessarily to be used in its entirety by any one section, could be provided. This may be necessary where different instructors intend to approach the learning outcomes with different assignments or pedagogies. Each example assignment should provide as much specific detail about the assignment as the collective group of instructors can agree upon. If the instructors can only agree that a written assignment must be done, then that should be listed. If the instructors can collectively agree that it should be a research paper with a minimum of 5 sources, then that that is how the assignment should be described. That said, when reviewing courses for approval, greater specificity will allow the Committee to better assess whether the course will successfully meet the goals and outcomes of the requirement. While no instructor is going to be held to using a list of specific assignments, the expectation is that the instructor will give out these or equivalent assignments that meet the full set of learning outcomes. Thus, assignment substitution is allowed, with the understanding that the replacement assignments fulfill the same learning outcomes. A description of the student work generated by the assignments should be included. These artifacts should be some sort of student work product, the content of which could plausibly be used to determine the extent to which students have met the University Studies learning outcomes for the Cluster requirement. These artifacts could be traditional products like term papers or in-class essay assignments. They could be a set of closed-ended (multiple choice, true/false, etc.) test questions embedded in a larger test that link directly to specific learning outcomes. They may also be newer forms of work such as wikis, videorecorded student performances or online discussion boards. The key is that a set of independent assessors should be able to look at the work and evaluate how well the students have met the learning outcomes. It is important to note that the instructors need not assess these artifacts according to the University Studies outcomes as part of the course grade, although they are encouraged to do so. For instance, a low-stakes writing assignment might receive only a cursory assessment by the instructor, but its content could be used at a later date by program assessors to more rigorously examine whether students met the outcomes. Outcome Map: The outcome map is a table in which each row focuses on one of the University Studies Learning Outcomes for the Cluster requirement. The first column provides the number of the Univ St outcome, the second column describes the teaching and learning activities that will foster students development of mastery of that outcome, and the third column explains what student work products (tests, assessments, assignment work, papers, etc.) will be created that document students competency on the outcome. The teaching and learning activities listed here will include the specific assignments described more fully above, but they can also encompass other kinds of activities, like lectures, group discussions, readings, etc., that may not be associated with an assignment that bears on students grades. For courses seeking a 1C designation, it is also helpful to provide a description of how the course meets each of the Intermediate Writing Criteria. Univ St Learning OutcomeTeaching and Learning ActivitiesStudent Work Products1 Understand instrumental, music, dance, and song within their cultural and historical context lectures, reading, class discussions, a research paper on an approved topic in global music and culture Research paper; Mid-semester and end of semester creative presentations2 Understand how music and dance of the worlds peoples shape both individual and cultural identities, values, and behaviors lectures, reading, informed listening, informed viewing, class discussions, a review paper analyzing a musical performance, a research paper on an approved topic in global music and culture Review and research papers; oral report document3 Analyze creative processes and engage in critiques lectures, reading, informed listening, informed viewing, class discussions, participation in class musical performances, a review paper analyzing a musical performance, a research paper on an approved topic in global music and culture Review and research papers; oral report document4 Experience of, and participation in, cultural expressions of music and dance to gain an appreciation of the aesthetic and formal qualities of performing arts participation in class musical performances, 2 original creative presentationsVideo recordings of class performances of Indian, Korean, Chinese, and Native American songs, dances, and instrumental music Mid-semester and end of semester creative presentations5 Sample Course Outline: This part should be a listing of course topics organized either by week or by section, chronologically documenting the specific topics addressed by the entire course. INDIA: Historical and Cultural Background, Aesthetics, Classical Traditions of North and South, Concepts of Raga and Tala, Experiential Activity: solkattu composition and development. (Weeks 1-3) KOREA: Historical and Cultural Background, Aesthetics, Traditional Styles, Performance Practice, Experiential activity: Pungmulnori/Nongak from the Kochosson Dynasty. (Weeks 4-6) CHINA: Historical and Cultural Background, Aesthetics, Opera Traditions, Instruments and Playing Style, Experiential Activity: Beijing Opera Percussion Phrasing. (Weeks 7-9) NATIVE AMERICA: Historical and Cultural Background, Aesthetics, North American Traditions and Styles; Experiential Activity: Iroquois, Plains, Inuit, and Navajo Songs and Dances. 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