Fall 2024 Course Offerings

MUS 671: Decolonizing Music
M 3:00-5:50 PM Room: 215 Frohnmayer Music Building

Keep calm and decolonize everything
Found on various websites. Artist unknown.

“Decolonizing music” begins with understanding how the major age of European colonialism (1492-mid 20th century) affected and continues to influence the way we think about music. During this period, certain ideas about what music is and how music works were repressed in the name of the modernity and progress. The result is financial and social inequity between different types of music practitioners and consumers. Particularly vulnerable are musicians and listeners from colonized peoples. What might happen if we were to recuperate some of these previously repressed ideas? What can we do to create a more just and equitable world for music cultures? This seminar is open to graduate students in all disciplines. MUS 451/551 recommended but not required.


All reading and listening materials will be made available through the Canvas course site.


Spring 2024 Course Offerings

MUS 358: Music in World Cultures
TR 8:30-9:50 AM Room: CLS 250 + Discussion Section

You are here on the earthBeyond humanly organized sound, music is a tool to think with. The different ways in which humans use and talk about music can teach us much about ourselves and each other. In this class, you will learn how people raised in a variety of cultures produce and perceive music-dance as well as what concepts scholars have developed to understand these expressions more generally. Beyond exposing you to musics that you may not be familiar with, my goal is for you to apply the concepts you learn here to think critically about the multiple types of cultural performances you experience in your own lives. This course fulfills the IC (International Cultures) Multicultural Requirement.


All reading and listening materials will be made available through the Canvas course site. Online quizzes during class means that you will need some type of smart device like a phone or laptop.


MUS 436/536: World Music Ensemble TOPIC: Andes (2.0 CR)
T 2:00-3:20 PM, plus half-hour sectional based on interest
World Music Ensemble Room, Gerlinger 119
AndeanEnsemble_poster_smOne intellectual current within ethnomusicology is the idea of bi-musicality, or the ability to be fluent in more than one musical system. This course emphasizes the practice of music-dance from a specific region/culture and asks students to reflect on how this practice may compare with the musical systems they already have experience with. Students will be asked to take an embodied approach in learning. At the end of the term, students will share what they have learned with others through an end-of-term presentation. Students who are interested in taking the class for additional credit (beyond 2.0 credits) are required to do additional work such as write an end-of-term research paper or produce a creative project related to region in question.

 

This term is dedicated to learning about the music-dance traditions of the South Central Andes, a region in which I have spent time doing field work. Several of these traditions use wind and percussion instruments that are relatively easily learned (lakitas/panpipes and tarkas/duct flutes), and everyone will learn a tune in these ensembles. It may be possible to explore two other traditions, the Andean string orchestra (quena/guitar/mandolin/flute/violin/charango/accordion) and the Andean brass band (trumpet/baritone/tuba/clarinet/ sax/trombone), depending upon what skills students bring with them to the class. All students will be expected to sing and perform basic dance steps. No prior musical experience necessary.


Instruments will be loaned to participating students. All course materials will be available on the course Canvas site.

Winter 2024 Course Offerings

MUS 250: Popular Music in a Global Context
MW 10:00-11:50 AM Room: 211 Frohnmayer Music Building

The US tends to dominate and influence much of the popular music industry, and when flying into virtually any major airport in the world, one can hear the same big hits playing in their surroundings. The technology that makes it easier for people around the world to consume US music, however, makes it easier for music from the rest of the world to reach the US as well. People in all time zones can await the latest cut from BTS to drop on the internet, and Oscar-winning movies in Telugu are streaming on Netflix at the touch of a button. All this access can make the world feel small or homogeneous, but is it?

In this class, we explore several key issues that scholars have been engaging with since the early 20th century, when circulation of recorded music became important. Questions like: does mass produced music have value? Do markets push all music to sound the same? To complicate matters, however, we move these debates to the realm of global popular musics – those popular musics that have had their own significant markets and have been making an impact on the world more generally. We will focus on K-pop, Indian filmi music (like Bollywood hits), and reggaetón, but other musics will be discussed as well. Are the aesthetics and economics of these musics the same as US popular musics? Have they been making an impact on US music? How do they circulate at home and what is their value there?

In the spirit of sharing the outcome of our debates with others, students will form groups to present their ideas in a public forum, either in-person or on the internet. The goal of this presentation is to ensure that knowledge created on campus gets out into local communities and that local communities can share their thoughts with UO students. That way, we also contribute to promoting healthy and well-informed exchanges of ideas in our larger society.

All readings will be posted on Canvas.


MUS 451/551: Introduction to Ethnomusicology

TR 10:00-11:50 AM Room: 167 Frohnmayer Music Building

Ethnomusicology is often defined as “the study of music in/as culture,” but what does that mean? This class begins with a brief overview of the history of the discipline (Rice) from its origins in U.S. cultural anthropology and German comparative musicology. We will then explore the key concepts one senior ethnomusicologist (Turino) has developed over the course of his career to understand musics as diverse as those found in fiestas patronales in the Andes, Bira ceremonies in Zimbabwe, and contra dances in the Midwest. Finally, we delve into a full-length ethnography to appreciate what an in-depth fieldwork study can produce. Graduate students participating in the class will be assigned additional readings (including a textbook with an overview of critical theory), class preps, and more intensive writing projects. This course fulfills the IC (International Cultures) Multicultural Requirement.

Texts for 451 (and 551) include:


Rice, Timothy. 2013. Ethnomusicology: A Very Brief Introduction. New York: Oxford University Press.


Additional texts for 551 include:


Berger, Harris M. and Ruth M. Stone. 2019. Theory for Ethnomusicology: Histories, Conversations, and Insights, Second Edition. New York: Routledge.

Fall 2023 Course Offerings

MUS 359: Music of the Americas
TR 8:30 – 9:50 AM + Discussion Section, Room: Clinical Services 250 (CLS 250)

Image of Abya YalaThe Americas is a broad geographic expanse covering a range of cultures that is impossible to cover in-depth in a single academic term. There are ideas, however, that can help us bring important aspects of these cultures together: colonialism, processes of cultural exchange, and modernity. We will study these ideas through the music and cultures of at least three countries in the Americas (Brazil, Mexico, and Peru). No musical experience is necessary, but students will be asked to think through listening examples to understand why different musics sound the way they do. While we focus on three regions, the ideas are applicable throughout the Americas, including the United States. This course is designed to fulfill a Cultural Literacy Requirement.

All course materials will be available on the course Canvas site. You will need to use a web-enabled device (e.g.smart phone, tablet, laptop) to participate in in-class activities.

Spring 2023 Course Offerings

MUS 359: Music of the Americas
TR 12:00-1:20 PM + Discussion Section, Room: Clinical Services 250 (CLS 250)

Image of Abya YalaThe Americas is a broad geographic expanse covering a range of cultures that is impossible to cover in-depth in a single academic term. There are ideas, however, that can help us bring important aspects of these cultures together: colonialism, processes of cultural exchange, and modernity. We will study these ideas through the music and cultures of at least three countries in the Americas (Brazil, Mexico, and Peru). No musical experience is necessary, but students will be asked to think through listening examples to understand why different musics sound the way they do. While we focus on three regions, the ideas are applicable throughout the Americas, including the United States. This course is designed to fulfill a Cultural Literacy Requirement.

All course materials will be available on the course Canvas site. You will need to use a web-enabled device (e.g.smart phone, tablet, laptop) to participate in in-class activities.

MUS 436/536: World Music Ensemble TOPIC: Puerto Rico (2.0 CR)
T 2:00-3:20 PM, plus half-hour sectional based on interest
World Music Ensemble Room, Gerlinger 119

General class description: One intellectual current within ethnomusicology is the idea of bi-musicality, or the ability to be fluent in more than one musical system. This course emphasizes the practice of music-dance from a specific region/culture and asks students to reflect on how this practice may compare with the musical systems they already have experience with. Students will be asked to take an embodied approach in learning. At the end of the term, students will share what they have learned with others through an end-of-term presentation. Students who may be interested in taking the class for additional credit (beyond 2.0 credits) can arrange to do additional work such as write an end-of-term research paper or produce a creative project related to region in question.

Specific description: This term is dedicated to learning about the music-dance traditions of Puerto Rico. Several of these are drumming traditions that invite participation (bomba and plena), and everyone will learn a tune in these genres. We will also explore the jibaro orchestra (cuatros / guitars / güicharo / bongó). Other traditions such as dance orchestra (strings, horns, and percussion) and beyond may also be available, depending upon what skills students bring with them to the class. All students will be expected to sing and perform basic dance steps. No prior musical experience necessary. Visiting guest artists may give additional guidance through concerts and workshops. Readings provided on Canvas. Instruments will be loaned for class as needed.

Winter 2023 Course Offerings

MUS 452/552: Musical Instruments of the World
TR 10:00-11:50 AM
Location: Frohnmayer Music Building  Room 167

Display in Musical Instrument Museum, La Paz, BoliviaMusical instruments are tools that humans have created to shape their sound environments. They reflect the cultural values that communities of humans share. In this class, we will examine these tools, seeking to understand how they work: mechanically, aesthetically, and socially. We will also explore how and why scholars have studied musical instruments, even taking the time to build some. Questions include: why have some musical instruments become icons of a nation? How should we classify the vast number of instruments in the world? What does it mean for instruments to circulate around the world? Students will have the opportunity to research an instrument of their choice more thoroughly. This course is designed to fulfill the Global Perspectives category of the Cultural Literacy Core Education requirement.

All reading and listening materials will be made available on the course Canvas site.

Fall 2022 Class Offerings

MUS 358: Music in World Cultures
TR 8:30-9:50 AM Room: CLS 250 + Discussion Section

You are here on the earthBeyond humanly organized sound, music is a tool to think with. The different ways in which humans use and talk about music can teach us much about ourselves and each other. In this class, you will learn how people raised in a variety of cultures produce and perceive music-dance as well as what concepts scholars have developed to understand these expressions more generally. Beyond exposing you to musics that you may not be familiar with, my goal is for you to apply the concepts you learn here to think critically about the multiple types of cultural performances you experience in your own lives. This course fulfills the IC (International Cultures) Multicultural Requirement.


All reading and listening materials will be made available through the Canvas course site. Online quizzes during class means that you will need some type of smart device like a phone or laptop.


MUS 607: Decolonizing Music
M 3:00-5:50 PM Room: 215 Frohnmayer Music Building

Keep calm and decolonize everything
Found on various websites. Artist unknown.

“Decolonizing music” begins with understanding how the major age of European colonialism (1492-mid 20th century) affected and continues to influence the way we think about music. During this period, certain ideas about what music is and how music works were repressed in the name of the modernity and progress. The result is financial and social inequity between different types of music practitioners and consumers. Particularly vulnerable are musicians and listeners from colonized peoples. What might happen if we were to recuperate some of these previously repressed ideas? What can we do to create a more just and equitable world for music cultures? This seminar is open to graduate students in all disciplines.


All reading and listening materials will be made available through the Canvas course site.


Spring 2022 Course Offerings

MUS 359: Music of the Americas (4.0 CR)
TR 12:01-1:20 PM + Discussion Section
In-person / Clinical Services, Room 250

Image of Abya YalaThe Americas is a broad geographic expanse covering a range of cultures that is impossible to cover in-depth in a single academic term. There are ideas, however, that can help us bring important aspects of these cultures together: colonialism, processes of cultural exchange, and modernity. We will study these ideas through the music and cultures of at least three countries in the Americas (Brazil, Mexico, and Peru). No musical experience is necessary, but students will be asked to think through listening examples to understand why different musics sound the way they do. While we focus on three regions, the ideas are applicable throughout the Americas. This course fulfills the AC (American Cultures) Multicultural Requirement.

All course materials will be available on the course Canvas site.

MUS 436/536: World Music Ensemble TOPIC: Andes (2.0 CR)
T 2:00-3:20 PM, plus half-hour sectional based on interest
World Music Ensemble Room, Gerlinger 119
AndeanEnsemble_poster_smOne intellectual current within ethnomusicology is the idea of bi-musicality, or the ability to be fluent in more than one musical system. This course emphasizes the practice of music-dance from a specific region/culture and asks students to reflect on how this practice may compare with the musical systems they already have experience with. Students will be asked to take an embodied approach in learning. At the end of the term, students will share what they have learned with others through an end-of-term presentation. Students who are interested in taking the class for additional credit (beyond 2.0 credits) are required to do additional work such as write an end-of-term research paper or produce a creative project related to region in question.

 

This term is dedicated to learning about the music-dance traditions of the South Central Andes, a region in which I have spent time doing field work. Several of these traditions use wind and percussion instruments that are relatively easily learned (lakitas/panpipes and tarkas/duct flutes), and everyone will learn a tune in these ensembles. It may be possible to explore two other traditions, the Andean string orchestra (quena/guitar/mandolin/flute/violin/charango/accordion) and the Andean brass band (trumpet/baritone/tuba/clarinet/ sax/trombone), depending upon what skills students bring with them to the class. All students will be expected to sing and perform basic dance steps. No prior musical experience necessary.


Instruments will be loaned to participating students. All course materials will be available on the course Canvas site.

Winter 2021 Course Offerings

MUS 359: Music of the Americas
TR 12:01-1:15 PM + Discussion Section
Method of Instruction: REMOTE

Image of Abya YalaThe Americas is a broad geographic expanse covering a range of cultures that is impossible to cover in-depth in a single academic term. There are ideas, however, that can help us bring important aspects of these cultures together: colonialism, processes of cultural exchange, and modernity. We will study these ideas through the music and cultures of at least three countries in the Americas (Brazil, Mexico, and Peru). No musical experience is necessary, but students will be asked to think through listening examples to understand why different musics sound the way they do. While we focus on three regions, the ideas are applicable throughout the Americas. This course fulfills the AC (American Cultures) Multicultural Requirement.

All course materials will be available on the course Canvas site.

MUS 452/552: Musical Instruments of the World
TR 10:00-11:50 AM
Method of Instruction: REMOTE

Display in Musical Instrument Museum, La Paz, Bolivia
Musical instruments are tools that humans have created to shape their sound environments. They reflect the cultural values that communities of humans share. In this class, we will examine these tools, seeking to understand how they work: mechanically, aesthetically, and socially. We will also explore how and why scholars have studied musical instruments, even taking the time to build some. Questions include: why have some musical instruments become icons of a nation? How should we classify the vast number of instruments in the world? What does it mean for instruments to circulate around the world? Students will have the opportunity to research an instrument of their choice more thoroughly. This course fulfills the IC (International Cultures) Multicultural Requirement.

Reading or listening materials will be made available on the course Canvas site and may include authors like Max Peter Baumann, John Blacking, Cornelia Fales, and Mark Katz.