semester at sea course syllabus colorado state university ... · a3—september 20: multimodal...

SEMESTER AT SEA COURSE SYLLABUS

Colorado State University, Academic Partner

Voyage: Fall 2020

Discipline: Music/Anthropology

Course Number and Title: MU/ANTH 232 Soundscapes-Music as Human Practice

Division: Lower

Faculty Name: Fugan Dineen

Semester Credit Hours: 3

Prerequisites: None

COURSE DESCRIPTION

From the CSU catalog: Musical communities and soundscapes from around the world

provide exploration points for how music and sound inform human life. Study everything

from playlists to music of distant lands. Ability to read notated music not required.

Additional description:

Stop and listen. The sounds of the world, and how we relate to them, are integral to our

lives—to who we are and to how we are. In this course, we explore how the sonic dimensions

of a place shape individual lives, communities, cultures, and (more particularly) music

cultures. And, in turn, we discover how people and cultures shape the soundscapes and

musics that constantly surround them.

In the ports of call and regions we visit, we will encounter an immense diversity of

soundscapes and music cultures. And within that diversity, we will find consistencies in how

people and communities interact with their sonic environs. Our examination of music and

sound cultures will involve ethnography and fieldwork and be based in the analytical frame

of ethnomusicology. Through the intimacy of shared sensory experiences, we will connect

deeply with the people we meet. Studying soundscapes is studying how people and cultures

sound their worlds. The more closely we listen, the better we understand what it is to be

human.

LEARNING OBJECTIVES

Understand sound and music’s roles in identity formation—individually, communally,

nationally, and internationally

Learn to analyze sound and music in culture, as culture, and across the cultures we

visit

Expand understandings of music cultures through participant-observation

Cultivate a toolkit for conducting musical fieldwork with hands-on explorations

Develop ethnographic tools and sensibilities to use in critical reflection, analysis, and

deep listening

Be able to discuss shifts in local soundscapes and musical practices that result from

colonialism, musical exchanges, and globalization

Develop creative expressions (digital, musical, and embodied) to describe and

analyze the soundscapes and music cultures encountered on the voyage

Refine skills in critical reading, academic research, and scholarship

REQUIRED TEXTBOOKS & SOFTWARE

There is not a required textbook for this class.

Students are required to have basic audio-editing software on their laptops prior to

departure. You may use a program you already own and to which you are accustomed, such

as GarageBand, Logic, Ableton, or Pro Tools. Or download a simple platform like Audacity,

which is a free and intuitive.

TOPICAL OUTLINE OF COURSE

Depart Hamburg, Germany – September 9

A1—September 11: Introduction—Sounding and Being Sounded.

Topics:

In this class we begin framing sound as a vehicle to inquire into the nature of the world and

our place in it. We turn to Henry David Thoreau’s intimate engagements with sound and

ecology as a prescient and inspirational point of departure. We also consider how sound

emerged as an important element in anthropology.

Readings:

Samuels, David, et al. 2010. “Toward a Sounded Anthropology.” Annual Review of

Anthropology 39:329-45.

Titon, Jeff Todd. 2015. “Thoreau’s ear.” Sound Studies 1(1):144-54.

A2— September 13: Basics of Ethnomusicology and Ethnography in Morocco

Questions:

What are the elements of musical analysis? How do ethnomusicologists examine

music and culture? What role does ethnography play and why is reflexive scholarship

so important to sound studies? How does Christopher Witulski weave ethnography,

reflexive writing, and musical analysis into his account of the changing face of ritual

and meaning in Moroccan gnawa performance?

Readings:

Titon, Jeff Todd. 2016. “The Music-Culture as a World of Music.” In Worlds of Music: An

Introduction to the Music of the world’s Peoples (6th ed.), 1-15, Ed. Jeff Todd Titon.

Cengage: Boston

Witulski, Christopher. 2018. “One Minute in Meknes.” In The Gnawa Lions, 1-19.

Bloomington: Indiana University Press.

Additional Resources:

Witulski, Christopher. 2018. “Light Rhythms and Heavy Spirits.” In The Gnawa Lions, 94-

114. Bloomington: Indiana University Press.

Casablanca, Morocco – September 15-19

A3—September 20: Multimodal Listening and Embodied Anthropology

Questions:

How do we experience sound? What senses are activated in listening? How have the

fields of anthropology and ethnomusicology incorporated music, sound, and sensory

experiences? How can our investigations into sound cultures benefit from more

expansive listening practices?

Readings:

Ceraso, Steph. 2014. “(Re)Educating the Senses: Multimodal Listening, Bodily Learning, and

the Composition of Sonic Experiences.” College English 77(2):102-23.

Erlmann, Veit. 2005. “But What of the Ethnographic Ear? Anthropology, Sound, and the

Senses.” In Hearing Cultures: Essays on Sound, Listening, and Modernity, 1-20, Ed.

Veit Erlmann. Oxford; New York: Berg.

A4—September 22: The Senses, Balance, and Time in Ghanaian Agbekor

Questions:

Are the human senses culturally conditioned? Can we evaluate Geurts’ argument for the

inclusion of balance, as a sixth sense, in terms of the rhythmic, temporal, and spiritual

balance that Locke attributes to agbekor? And, what are the historical and social contexts

for agbekor drum and dance?

Readings:

Geurts, Kathryn Linn. 2002. “Is There a Sixth Sense?” In Culture and the Senses, 3-20.

Berkley: University of California Press.

Locke, David. 2016. “3. Africa/Ewe, Mande, Dagbama, Shona, BaAka.” In Worlds of

Music: An Introduction to the Music of the World’s Peoples (6th edition), [Ewe

Section only] 106-26, Ed. Jeff Todd Titon. Cengage: Boston.

A5—September 24: Sounding Healing, Balance, and Spiritual Cleansing

Questions:

How is sound understood among the Anlo-Ewe? What are the classifications of musical and

instrumental sounds and how are these deployed for healing and exorcism? How does

Avorgbedor’s analysis deepen our understanding of sound cultures more broadly?

Readings:

Avorgbedor, Daniel. 2000. “Dee Hoo! Sonic Articulations in Healing and Exorcism Practices

of the Anlo-Ewe.” The World of Music 42(2):9-24.

A6—September 26: Sonic Ecstasy–Sonic Torture

Questions:

What does Friedson’s analysis of music-as-torture tell us about musical meanings?

About music in/as culture? How does his juxtaposition of sonic torture (of Abu

Zabaydah) and ecstasy (with Ama, the Ghanaian fishmonger) help us understand the

power and centrality of sounding?

Readings:

Friedson, Steven M. 2019. “The Music Box: Songs of Futility in a Time of Torture.”

Ethnomusicology 63(2):222-46.

Takoradi, Ghana — September 27-28

Tema, Ghana — September 29-October 1

A7—October 3: City Sounds and Sound Ecologies—Sonic Mappings of Space and Place

Questions:

How do sonic ecologies create a sense of “place,” especially in urban environments? In what

ways do Ceraso and Atkinson’s framing of soundscapes expand our understanding of

ecology, place, and –scape? How can we apply these theoretical frames to our “Sonic

Mapping” assignment?

Readings:

Atkinson, Rowland. 2007. “Ecology of Sound: The Sonic Order of Urban Space.” Urban

Studies 44(10):1905-17.

Ceraso, Steph. 2018. “Sounding Space, Designing Experience: The Ecological Practice of

Sonic Composition.” In Sounding Composition, 68-90. Pittsburgh: University of

Pittsburgh Press.

Community Programming — October 4 (No Class)

A8—October 6: Sounding Ethnicity, Class, Color, and Tradition in South Africa

Questions:

How is ethnicity sounded in South African vocal styles? How are conceptions about,

and articulations of, black voices shaped by colonial narratives? How did

isicathamiya develop and what roles has it played in the politics of resistance in

South Africa? What resonances does South African choral music ignite in debates on

tradition and authenticity?

Readings:

Erlmann, Veit. 1999. “Symbols of Inclusion and Exclusion: Nationalism, Colonial

Consciousness, and the ‘Great Hymn’.” In Music, Modernity, and the Global

Imagination: South Africa and the West, 111-32. New York: Oxford University Press.

Olwage, Grant. 2004. “The Class and Colour of Tone: An Essay on the Social History of Vocal

Timbre.” Ethnomusicology Forum 13(2):203-26.

A9—October 8: Voicing South Africa through Hip Hop

Questions:

How did colonial consciousness and racial politics influence the development of hip

hop as a vibrant form of musical expression in South Africa? What are the

contemporary contours of South African hip hop? How do hip hop artists articulate

identity, modernity, and resistance in South Africa?

Readings:

Hammett, Daniel. 2012. “Reworking and resisting globalising influences: Cape Town hip-

hop.” GeoJournal 77(3):417-28.

Watkins, Lee. 2012. “A Genre Coming of Age: Transformation, Difference, and Authenticity in

the Rap Music and Hip Hop Culture of South Africa.” In Hip Hop Africa, 57-76, Ed.

Eric Charry. Bloomington: Indiana University Press.

Cape Town, South Africa — October 9-14

A10—October 16: Soundscapes, Sounds, and Being in the World

Questions:

How does Morton’s reworking of ontologies, from the standpoint of sonic entities,

expand and inform our understanding of soundscapes? What does this mean in light

of Kelman’s critical analysis (and narrowing) of the term “soundscape” and

associated fields of study?

Readings:

Kelman, Ari Y. 2010. “Rethinking the Soundscape.” The Senses and Society 5(2):212-34.

Morton, Timothy. 2016. “Earworm.” Soundscape: The Journal of Acoustic Ecology

15(1):9-14.

A11—October 18: Diaspora, Musical Movements, Island Nations

Questions:

How have technologies and evolving media for musical consumption affected na’t

recitation? What connections do we see between Mauritian Muslims and the larger

South Asian sphere played out in devotional performance? How does Eisenlohr’s

focus on the sonic aspects of religion (here, Islam) move us to new spaces for inquiry

into religion? Into sound?

Readings:

Eisenlohr, Patrick. 2018. “Sounding Islam.” In Sounding Islam: Voice, Media, and Sonic

Atmospheres in an Indian Ocean World, 1-20. Oakland: University of California Press.

—————. 2018. “Devotional Islam and Sound Reproduction.” In Sounding Islam: Voice,

Media, and Sonic Atmospheres in an Indian Ocean World, 21-37. Oakland: University

of California Press.

A12—October 20: Diaspora, Musical Movements, Island Nations

Questions:

How can Myers and Pandey’s analysis of Indian diasporic communities allow us to rethink

identity, nation, and belonging? Where does music fit into their framing? Speaking rhythm,

as suggested by Nelson, is a central aspect of Indian music and dance. What does this tell

us about the voice, music, sound, and instrumental sound in Indian thinking?

Readings:

Myers, Helen Priscilla, and Umesh Chandra Pandey. 2019. “The Island Diaspora.” In

Storytime in India: Wedding Songs, Victorian Tales, and the Ethnographic Experience,

147-53. Bloomington: Indiana University Press.

Nelson, David. 2008. “Introduction.” In Solkaṭṭu Manuel, 1-12. Middletown:

Wesleyan University Press.

Due: Field Class Essay

Port Louis, Mauritius — October 22-24

A13—October 25: Hinduism, Music, and the Indian Palimpsest

Questions:

How does Viswanathan and Allen’s description of the Tyagaraja festival broaden our

understanding of diasporic communities and the role of song? Why do Viswanathan

and Allen focus on song? How does the palimpsest analogy from Reck resonate in

the songs Viswanathan and Allen discuss? What roles do tradition and history play in

contemporary Indian musical forms?

Readings:

Reck, David. 2016. “Asia/India.” In Worlds of Music: An Introduction to the Music of

the World’s Peoples 6th edition, 293-310, Ed. Jeff Todd Titon. Cengage:

Boston.

Viswanathan, T., Allen, Matthew H. 2004. “Song in South India.” In Music in South

India: Experiencing Music, Expressing Culture, 1-33. New York: Oxford

University Press.

A14—October 27: The Devadāsī, Bharatanatyam, and Colonial Rule

Questions:

How does Knight describe devadāsī communities? What impact did colonial rule

have on these matrilineal and matrifocal hereditary artists? How do colonial

narratives on the arts, gender, and morals continue to resonate in Indian music and

dance?

Readings:

Allen, Matthew H. 1997. “Rewriting the Script for South Indian Dance.” The Drama

Review 41(3):63–100.

Knight, Douglas M. 2010. “From the Heart of the Tradition.” Balasaraswati: Her Art &

Life, 1-16. Middletown: Wesleyan University Press.

Community Programming — October 28 (No Class)

A15—October 30:

Questions:

How does “noise pollution” in Mumbai intersect with festival music, religion, and

politics? What are the specific implications of this framing of sound for devotees?

Citizens? Those of other faiths? How does this impact our broader reading of urban

sound cultures?

Readings:

Lynch, Julian Anthony. 2019. “Festival ‘noise’ and soundscape politics in Mumbai,

India.” Sound Studies 5(1):37-51.

Mumbai, India — November 1-6

A16—November 7: Deep Listening, The Sonic Metaphysics of Pauline Oliveros

Questions:

How can Oliveros’ approach to listening inform our studies of sound in/as culture?

What does the approach of practice to theory (to practise practice) have to teach us?

Can we incorporate it into our own listening and scholarship?

Readings:

Oliveros, Pauline. 2000. “Quantum listening: From practice to theory (to practise practice).”

Musicworks: Explorations in Sound (76):37-46.

A17—November 9: Glocalization and Modernity in Island Southeast Asia

Questions:

How were the dire predictions of a globalizing “grey-out” undermined by local artists

in Beng and Lysloff’s studies? What does this suggest about cultures’ (and sound

cultures’) resistance and ingenuity? What are some key differences between the

Indonesian and Malaysian cases presented in the two articles?

Readings:

Beng, Tan Sooi. 2014. “Modernizing Songs of the Forest: Indigenous Communities Negotiate

Tensions of Change in Malaysia.” In Sonic Modernities in the Malay World, 353-70,

Ed. Bart Barendregt. Leiden; Boston: Brill.

Lysloff, René T. A. 2016. “Worlding Music in Jogjakarta: Tales of the Global Postmodern.”

Ethnomusicology 60(3):484-507.

Reflection & Study Day — November 11 (No Class)

A18—November 12: Film Music and National Identity in Malaysia

Questions:

What is the importance of film music in an independent Malaysia? How does the

transnational nature of the Malaysian film industry reflect culture-making in Island

Southeast Asia? How do P. Ramlee’s films fit into the narrative of nationhood in

postcolonial Malaysia?

Readings:

Johan, Adil. 2018. “Introduction.” In Cosmopolitan Intimacies, 1-40. Singapore: NUS

Press.

Additional Resources:

Slobin, Mark ed. 2008. “Preview of Coming Attractions.” In Global Soundtracks: Worlds of

Film Music, vii-xxiii. Middletown: Wesleyan University Press.

A19—November 14: Remakes and Making a Nation

Questions:

How do hybridity and modernity in film music play out in Singaporean and Malaysian

national identities? How does Johan use “indiepretation” to ground his discussion of

ethnonationalism, nostalgia, and the reimagining of identities through film music and its

interpretations?

Readings:

Johan, Adil. 2018. “Indiepretations of Zubir Said and P. Ramlee.” In Cosmopolitan

Intimacies, 227-272. Singapore: NUS Press.

Port Klang/Kuala Lumpur, Malaysia — November 15-19

A20—November 21: Nation, State, and Musical Authority

Questions:

How does a nation represent itself musically? What about the state controlling that nation?

What are the specific challenges that Gibbs outlines in the development of Vietnam’s

anthem? How have its meanings changed over time? And more specifically, what roles did

historic regional connections and more recent colonial, postcolonial, and independent era

narratives play in this process?

Readings:

Gibbs, Jason. 2007. "The Music of the State: Vietnam's Quest for a National Anthem."

Journal of Vietnamese Studies 2(2):129-74.

Ho Chi Minh City, Vietnam — November 22-27

A21—November 29: Sounding Tradition in Japanese Taiko

Questions:

What are the roots and history of taiko drumming? How did taiko function as a source of

identity and expression of Japanese-ness in a post-WWII, rapidly industrializing Japan? What

is furusato and how does it relate to taiko? Finally, how have the lives of drum makers been

affected by taiko’s rising cultural esteem?

Readings:

Bender, Shawn Morgan. 2012. “Introduction” and “Taiko Drums and Taiko Drum Makers.” In

Taiko Boom: Japanese Drumming in Place and Motion, 1-47. Berkley: University of

California Press.

A22—December 1: Taiko, Gender, and Race

Questions:

How does gender play out in Japanese taiko? How does orientalism appear in Wong’s

reading of “Rising Sun”? How is American taiko perceived by white audiences? How

does racism play out in Wong’s telling? What are the features of American taiko that

contrast with Japanese models? What do you suspect is behind such a divergence in

form and practice?

Readings:

Bender, Shawn Morgan. 2012. “Woman Unbound? Body and Gender in Japanese Taiko.” In

Taiko Boom: Japanese Drumming in Place and Motion, 142-69. Berkeley: University

of California Press.

Wong, Deborah. 2000. “Taiko and the Asian/American Body: Drums, ‘Rising Sun,’ and the

Question of Gender.” The World of Music 42(3):67-78.

A23—December 3: Butoh

Questions:

What are the roots, meanings, and history of Butoh? How can you connect Butoh and

taiko? Where do the two forms diverge? How does Fraleigh’s approach to the subject

shape your understanding of her content?

Readings:

Fraleigh, Sondra. 2010. "Butoh Alchemy." In Butoh: Metamorphic Dance and Global

Alchemy, 11-36. University of Illinois Press.

Kobe, Japan — December 5-9

A24—December 10: Reinventing Tradition in Korea

Questions:

What were the historic and social conditions under which Korean itinerant performance

troupes (namsadang) emerged and developed? What challenges does Hesseling describe

for the newly emerging genre of samul nori? What is Hesselink’s argument for considering

samul nori as traditional?

Readings:

Hesselink, Nathan. 2012. “The Namsadang: Itinerant Troupe Performance Culture and the

Roots of SamulNori.” In SamulNori: Contemporary Korean Drumming and the Rebirth

of Itinerant Performance Culture, 1-37. Chicago: University of Chicago Press.

Hesselink, Nathan. 2004. “Samul nori as Traditional: Preservation and Innovation in a South

Korean Contemporary Percussion Genre.” Ethnomusicology 48(3):405-439.

Busan, South Korea — December 12-16

Study Day — December 17 (No Class)

A25—December 18: Reflections/Presentations

Arrive Yokohama, Japan— December 22

FIELD WORK

Semester at Sea® field experiences allow for an unparalleled opportunity to compare,

contrast, and synthesize the different cultures and countries encountered over the course of

the voyage. In addition to the one field class, students will complete independent field

assignments that span multiple countries.

Field Class & Assignment

[Field Class proposals listed below are not finalized. Confirmed ports, dates, and times will

be posted to the Fall 2020 Courses and Field Class page when available.]

Field Class attendance is mandatory for all students enrolled in this course. Do not book

individual travel plans or a Semester at Sea sponsored trip on the day of your field class.

Field Classes constitute at least 20% of the contact hours for each course, and are

developed and led by the instructor.

Proposal Title #1: Resistance and Resonance in South African Hip Hop

Country: South Africa

Idea:

Race, identity, politics, resistance, and the transnational flow of music and musical

ideas are wrapped up in South African hip hop. Cape Town has long been at the

epicenter of the country’s rap and hip hop scenes. However, the overriding anti-

apartheid messaging that fueled the activism of early South African hip hop has given

way too much more heterogenous spaces. Not only are the messages of

contemporary hip hop move varied, the artists, venues, and approaches have

changed.

Objectives

In this Field Class, we will explore the emergence, spread, and development of South

African hip hop culture in, and beyond, Cape Town. The resonances of US hip hop

and rap, and the transnational transformations that seeded the South African scene,

will be shared from South African perspectives, and in South African voices. We will

learn about the anti-apartheid focus at the roots of the movement and examine the

sounds, moves, and words of its proponents. Contemporary hip hop artists/activists

will then lead us in interactive workshops to develop our understanding of their art

and messaging. This field class offers diverse opportunities for students to engage in

creative dialogue (and music-making) with contemporaries through a genre in which

we share a heritage but whose meanings and styles are localized, diverse, and

distinct from American models.

Activities:

Lecture: Attend a lecture on South African hip hop by a local scholar/authority

that includes Q & A

Film screening: Watch a film on the local South African hip hop scene

Workshop: Participate in a hip hop workshop led by South African artists

o Compose hip hop music, lyrics, and learn performance styles

o Learn South African hip hop dance

o Engage in conversation with local emcees, rappers, and dancers on the

meanings of hip hop

Performance: Attend a local hip hop performance

Artist Q & A: Discuss the performance with the artists

Meal: Enjoy a meal of local cuisine

Evaluation:

During the field class, you will be engaging with a vibrant sound and music culture

through embodied and experiential learning modes. You will also be acting as

ethnographers and participant-observers as well as sound scholars. In those many

roles, you will be gaining information, accessing new perspectives and ways of

knowing, letting go of preconceptions, and gathering resources. This data will inform

your written analysis, which takes the form of a 1000-word reflection essay. The

essay will draw on field notes and observations, on recordings and remembrances,

and on post-field class reflections and processing. It will include references to texts

we have studied and will tie in course themes such as global and local music making,

transnational musical transformations, and sonic culture modeling. A detailed rubric

for the assignment will be distributed in class.

Proposal Title #2: Pungmul Nori, Samul Nori: Authenticity and Innovation in South Korean

Drum Ensembles

Country: South Korea

Idea:

In the 1978, four Korean musicians took to a Seoul stage under the name Samul

Nori. Their innovative drumming performance borrowed from festival and rural

musics, transforming them into a dynamic, virtuosic concert format. Samul Nori

proved immensely popular as recording and touring artists with world-wide

audiences. The group’s name, which refers to the four percussion instruments

central to the more rural style known as pungmul nori, became eponymous with the

genre itself. Today, both samul nori, the genre, and pungmul nori are widely

performed in Korea, in the diaspora, and in institutions of higher education in North

American and Europe.

Objectives:

In this field class, we will have the opportunity to explore pungmul nori as an

embodied practice by moving, reciting patterns, and learning to perform on Korean

drums. Moreover, we will engage with practitioners and students to gain perspectives

on how they see this once rural, now cosmopolitan, style. We will grapple with

questions of tradition and innovation, cultural change and stagnation, and identity.

Activities:

Korean Drumming Lecture/Demonstration: Students will learn the histories and

cultural significances of pungmul nori, samul nori, and other Korean forms from a

master practitioner

Pungmul nori workshop: Hands-on training on the four instruments (of samul

nori), learning to speaking Korean drum mnemonics, learning the movement and

dance of pungmul nori

Performance: Attend a festival or staged performance of pungmul nori/samul nori

Round table: Participate in informal discussions of pungmul nori, as a cultural

form, with performers

Meal: Enjoy a traditional Korean meal

Evaluation:

During the field class, you will be engaging with a vibrant sound and music culture

through embodied and experiential learning modes. You will also be acting as

ethnographers and participant-observers as well as sound scholars. In those many

roles, you will be gaining information, accessing new perspectives and ways of

knowing, letting go of preconceptions, and gathering resources. This data will inform

your written analysis, which takes the form of a 1000-word reflection essay. The

essay will draw on field notes and observations, on recordings and remembrances,

and on post-field class reflections and processing. It will include references to texts

we have studied and will tie in course themes such as global and local music making,

transnational musical transformations, and sonic culture modeling. A detailed rubric

for the assignment will be distributed in class.

Independent Field Assignments: Sonic Reflections

1) Embodied Listening to Place and Space

How does sound shape your embodied experience and understanding of places,

peoples, and cultures? Our work as sound scholars is necessarily, and wonderfully,

embodied. Analyzing the processes by which we sound and are sounded in our

fieldwork—as embodied participant-observers—is critical to our understanding of music

and sound cultures. In this project, you will closely observe how sound affects you during

particular experiences in the field. The assignment comprises 3 parts:

A. You will document three sonic moments/musical events in the field using field notes,

recordings (if appropriate), and photos/video (if appropriate).

B. You will then present a “piece” in class demonstrating the impact these embodied

experiences of sound had on your understanding of places/peoples/cultures. Your

choice of media for your presentation is flexible and can include recorded sound,

written, spoken, or sung text, movement and gesture, and images. Likewise, your

presentation model can be live, recorded, or a combination of the two. Be aware of

your audience, making sure your piece is intelligible and accessible.

C. Finally, you will submit a written report/analysis of your project (500-words),

reflecting on how embodied experiences of sound informed your understanding of

the particular events in question and how this relates to the larger course narrative of

sound in/as culture. A detailed rubric for this assignment will be distributed in class.

2) Mapping the Sonic Ecologies of our Voyage

Our experiences of space and place, as well as movement and journey, go well beyond

geography. In this assignment, we explore how places are made from sonic ecologies

and how those spaces/experiences can be shared. We will do this by creating a digital

sound map that includes detailed sonic representation of various spaces we visit on our

voyage. The map will be a composite of all of our work, developed over the semester. The

assignment comprises 2 stages:

A. You will make sets of recordings (when appropriate)—using a smartphone or other

digital recorder—that capture the sonic contours of space in particular locales. You

will also document each sonic space with field notes and photos (when appropriate).

Each person will then upload their digital content to our Sonic Voyage Map.

B. You will also submit a detailed account of the process of documenting spaces and

places in sound and how your awareness, understanding, and sense of

place/people/culture were impacted by the assignment. A detailed rubric for this

assignment will be distributed in class.

3) Podcast: Sounding Your Voyage

By the close of our voyage, you will have experienced the sonic contours and musical

worlds of various places, peoples, and cultures. You will have affected others as a

sounding being and been changed by your encounters with other sounding beings. And

you will have amassed a catalogue of sound files, field notes, and other documentation

of your journey. This final assignment is an opportunity to reflect on those

materials/experiences, analyze them in the context of our scholarly inquiry, and produce

a document of your journey that can be shared.

A Podcast, comprising sound and text, will be created in small groups organized around

course themes/issues. You will choose your group according to the theme that resonates

with you and produce the podcast as a group project. A detailed rubric for this

assignment will be distributed in class.

METHODS OF EVALUATION

Sonic Reflections: 60%

The three sonic reflection assignments, detailed above, are worth 20% each. They

provide an opportunity to demonstrate your understanding of class materials and

show how they relate to the ports of call on our journey. The assignments employ

various modalities and approaches and are designed for dynamic learning outcomes.

Field Class: 20%

Attendance, participation, and the assignment generated by your field class account

for 20% of your grade (see above). The field class is an opportunity to directly

experience a sound and music culture different from your own, gain intimate

knowledge of how locals hear and sound their world, and to integrate those

experiences into your larger understanding of music and sound as culture and what

that means in the context of your own journey.

Written Responses, In-Class Assignments, Submitted Questions: 10%

In class, we will engage the course materials through a variety of modalities,

including written and oral responses to readings, journaling, music-making, group

activities and assignments, and prepared questions. In combination, these efforts

comprise 10% of your grade.

Engagement/Attendance: 10%

Class attendance is mandatory (5%) as your active involvement (5%) counts for a

significant portion of your grade. Unexcused absences will lower the attendance

portion of your grade according to a simple percentage. Tardiness will also be figured

into your grade. Valid absences—cleared with the instructor—will not count against

your grade.

GRADING SCALE

The following Grading Scale is utilized for student evaluation. Pass/Fail is not an option for

Semester at Sea® coursework. Note that C-, D+ and D- grades are also not assigned on

Semester at Sea® in accordance with the grading system at Colorado State University (the

SAS partner institution).

Pluses and minuses are awarded as follows on a 100% scale:

Excellent Good Satisfactory/Poor Failing

97-100%: A+

93-96%: A

90-92%: A-

87-89%: B+

83-86%: B

80-82%: B-

77-79%: C+

70-76%: C

60-69%: D

Less than 60%: F

ATTENDANCE/ENGAGEMENT IN THE ACADEMIC PROGRAM

Attendance in all Semester at Sea® classes, including the Field Class, is mandatory.

Students must inform their instructors prior to any unanticipated absence and take the

initiative to make up missed work in a timely fashion. Instructors must make reasonable

efforts to enable students to make up work which must be accomplished under the

instructor’s supervision (e.g., examinations, laboratories). In the event of a conflict in regard

to this policy, individuals may appeal using established CSU procedures.

LEARNING ACCOMMODATIONS

Semester at Sea® provides academic accommodations for students with diagnosed learning

disabilities, in accordance with ADA guidelines. Students who will need accommodations in a

class, should contact ISE to discuss their individual needs. Any accommodation must be

discussed in a timely manner prior to implementation.

A letter from students’ home institutions verifying the accommodations received on their

home campuses (dated within the last three years) is required before any accommodation is

provided on the ship. Students must submit verification of accommodations to

[email protected] as soon as possible, but no later than two months prior to the

voyage. More details can be found within the Course Registration Packet, as posted to the

Courses and Field Classes page no later than one month prior to registration.

STUDENT CONDUCT CODE

The foundation of a university is truth and knowledge, each of which relies in a fundamental

manner upon academic integrity and is diminished significantly by academic misconduct.

Academic integrity is conceptualized as doing and taking credit for one’s own work. A

pervasive attitude promoting academic integrity enhances the sense of community and adds

value to the educational process. All within the University are affected by the cooperative

commitment to academic integrity. All Semester at Sea® courses adhere to this Academic

Integrity Policy and Student Conduct Code.

Depending on the nature of the assignment or exam, the faculty member may require a

written declaration of the following honor pledge: “I have not given, received, or used any

unauthorized assistance on this exam/assignment.”

RESERVE BOOKS FOR THE LIBRARY

AUTHOR: Titon, Jeff Todd

TITLE: Worlds of Music

PUBLISHER:

ISBN: ISBN: 1-33710149-4 (pbk.)

DATE/EDITION: 6th

AUTHOR: Nettl, Bruno

mailto:[email protected]

https://www.semesteratsea.org/voyages/fall-2020/courses/

TITLE: Excursions in World Music

PUBLISHER:

LCCN: 2016-26536

DATE/EDITION:

FILMS

TITLE OF FILM: Butoh: Body on the Edge of Crisis

DISTRIBUTOR: Michael Blackwood Productions

TITLE OF FILM: Kodo: The Drummers of Japan

DISTRIBUTOR: Image Entertainment

TITLE OF FILM: Bala. (a documentary film on T. Balasaraswati by Satyajit Ray 1976)

DISTRIBUTOR: National Center for the Performing Arts, Government of Tamil Nadu

TITLE OF FILM: This is a Music!: Reclaiming an Untouchable Drum.

DISTRIBUTOR: Z. Sherinian

TITLE OF FILM: Edward Said on Orientalism

DISTRIBUTOR: Media Education Foundation

TITLE OF FILM: Cashing in on Culture: Indigenous Communities and Tourism

DISTRIBUTOR: Regina Harrison

TITLE OF FILM: Nelson Mandela the life and times

DISTRIBUTOR: CBC Television Production

TITLE OF FILM: Monsoon Wedding

DISTRIBUTOR: USA Films

TITLE OF FILM: Mandela: Long Walk to Freedom

DISTRIBUTOR: dir. Justin Chadwick

TITLE OF FILM: Atumpan, the talking drums of Ghana

DISTRIBUTOR: Mantle Hood

TITLE OF FILM: Dreaming in Morocco

DISTRIBUTOR: Café Aziza

TITLE OF FILM: Born into Brothels

DISTRIBUTOR: Red Light Films

ELECTRONIC COURSE MATERIALS

AUTHOR: Allen, Matthew

ARTICLE/CHAPTER TITLE: Rewriting the Script for South Indian Dance

JOURNAL/BOOK TITLE: The Drama Review

VOLUME: 41(3)

DATE: 1997

PAGES: 63-100

AUTHOR: Atkinson, Rowland

ARTICLE/CHAPTER TITLE: Ecology of Sound: The Sonic Order of Urban Space

JOURNAL/BOOK TITLE: Urban Studies

VOLUME: 44(10)

DATE: 2007

PAGES: 1905-1917

AUTHOR: Avorgbedor, Daniel

ARTICLE/CHAPTER TITLE: Dee Hoo! Sonic Articulations in Healing and Exorcism Practices of

the Anlo-Ewe

JOURNAL/BOOK TITLE: The world of Music

VOLUME: 42(2)

DATE: 2000

PAGES: 9-24

AUTHOR: Bender, Shawn Morgan

ARTICLE/CHAPTER TITLE: Introduction.

JOURNAL/BOOK TITLE: Taiko Boom: Japanese Drumming in Place and Motion

VOLUME:

DATE: 2012

PAGES: 1-22


ARTICLE/CHAPTER TITLE: Taiko Drums and Taiko Drum Makers.


VOLUME:

DATE: 2012

PAGES: 22-47


ARTICLE/CHAPTER TITLE: Woman Unbound? Body and Gender in Japanese Taiko


VOLUME:

DATE: 2012

PAGES: 142-169

AUTHOR: Beng, Tan Sooi

ARTICLE/CHAPTER TITLE: Chapter 12. Modernizing Songs of the Forest: Indigenous

Communities Negotiate Tensions of Change in Malaysia

JOURNAL/BOOK TITLE: Sonic Modernities in the Malay World, Ed. Bart Barendregt

VOLUME:

DATE: 2014

PAGES: 353-370

AUTHOR: Ceraso, Steph

ARTICLE/CHAPTER TITLE: (Re)Educating the Senses: Multimodal Listening, Bodily Learning,

and the Composition of Sonic Experiences

JOURNAL/BOOK TITLE: College English

VOLUME: 77(2)

DATE: 2014

PAGES: 102-123


ARTICLE/CHAPTER TITLE: Three: Sounding Space, Designing Experience: The Ecological

Practice of Sonic Composition

JOURNAL/BOOK TITLE: Sounding Composition

VOLUME:

DATE: 2018

PAGES: 68-90


ARTICLE/CHAPTER TITLE: Notes

JOURNAL/BOOK TITLE: Sounding Composition

VOLUME:

DATE: 2018

PAGES: 155-168

AUTHOR: Eisenlohr, Patrick

ARTICLE/CHAPTER TITLE: 1. Sounding Islam

JOURNAL/BOOK TITLE: Sounding Islam: Voice, Media, and Sonic Atmospheres in an Indian

Ocean World

VOLUME:

DATE: 2018

PAGES: 1-20

AUTHOR: Eisenlohr, Patrick

ARTICLE/CHAPTER TITLE: Notes

JOURNAL/BOOK TITLE: Sounding Islam: Voice, Media, and Sonic Atmospheres in an Indian

Ocean World

VOLUME:

DATE: 2018

PAGES: 135-144

AUTHOR: Erlmann, Veit

ARTICLE/CHAPTER TITLE: But What of the Ethnographic Ear? Anthropology, Sound, and the

Senses

JOURNAL/BOOK TITLE: Hearing Cultures: Essays on Sound, Listening, and Modernity

VOLUME:

DATE: 2005

PAGES: 1-20


ARTICLE/CHAPTER TITLE: Symbols of Inclusion and Exclusion: Nationalism, Colonial

Consciousness, and the “Great Hymn”

JOURNAL/BOOK TITLE: Music, Modernity, and the Global Imagination: South Africa and the

West

VOLUME:

DATE: 1999

PAGES: 111-132


ARTICLE/CHAPTER TITLE: Fantasies of Home: The Antinomies of Modernity and the Music of

Ladysmith Black Mambazo

JOURNAL/BOOK TITLE: Music, Modernity, and the Global Imagination: South Africa and the

West

VOLUME:

DATE: 1999

PAGES: 199-213

AUTHOR: Fraleigh, Sondra

ARTICLE/CHAPTER TITLE: Butoh Alchemy

JOURNAL/BOOK TITLE: Butoh: Metamorphic Dance and Global Alchemy

VOLUME:

DATE: 2010

PAGES: 11-36

AUTHOR: Friedson, Steven M.

ARTICLE/CHAPTER TITLE: The Music Box: Songs of Futility in a Time of Torture

JOURNAL/BOOK TITLE: Ethnomusicology

VOLUME: 63(2)

DATE: 2019

PAGES: 222-246

AUTHOR: Geurts, Kathryn Linn

ARTICLE/CHAPTER TITLE: Is There a Sixth Sense?

JOURNAL/BOOK TITLE: Culture and the Senses

VOLUME:

DATE: 2002

PAGES: 3-20

AUTHOR: Gibbs, Jason

ARTICLE/CHAPTER TITLE: The Music of the State: Vietnam’s Quest for a National Anthem

JOURNAL/BOOK TITLE: Journal of Vietnamese Studies

VOLUME: 2(2)

DATE: 2007

PAGES: 127-174

AUTHOR: Hammett, Daniel

ARTICLE/CHAPTER TITLE: Reworking and Resisting Globalising Influences: Cape Town Hip

Hop

JOURNAL/BOOK TITLE: GeoJournal

VOLUME: 77(3)

DATE: 2012

PAGES: 417-428

AUTHOR: Hesselink, Nathan

ARTICLE/CHAPTER TITLE: Samul nori as Traditional: Preservation and Innovation in a South

Korean Contemporary Percussion Genre


VOLUME: 48(3)

DATE: 2004

PAGES: 405-439


ARTICLE/CHAPTER TITLE: Introduction: Popko ch’angshin (Preserve the Old While Creating

the New): The Challenges of Tradition

JOURNAL/BOOK TITLE: SamulNori: Contemporary Korean Drumming and the Rebirth of

Itinerant Performance Culture

VOLUME:

DATE: 2012

PAGES: 1-16


ARTICLE/CHAPTER TITLE: Chapter 1. The Namsadang: Itinerant Troupe Performance Cutlure

and the Roots of SamulNori

JOURNAL/BOOK TITLE: SamulNori: Contemporary Korean Drumming and the Rebirth of

Itinerant Performance Culture

VOLUME:

DATE: 2012

PAGES: 17-38

AUTHOR: Hu, Brian

ARTICLE/CHAPTER TITLE: Chapter 11. RIP Gangam Style

JOURNAL/BOOK TITLE: Hallyu 2.0: The Korean Wave in the Age of Social Media VOLUME:

DATE: 2015

PAGES: 229-244

AUTHOR: Johan, Adil

ARTICLE/CHAPTER TITLE: Chapter 6. Indiepretations of Zubir Said and P. Ramlee

JOURNAL/BOOK TITLE: Cosmopolitan Intimacies

VOLUME:

DATE: 2018

PAGES: 221-272

AUTHOR: Kelman, Ari Y.

ARTICLE/CHAPTER TITLE: Rethinking the Soundscape

JOURNAL/BOOK TITLE: The Sense and Society

VOLUME: 5(2)

DATE: 2010

PAGES: 212-24

AUTHOR: Kendall, Paul

ARTICLE/CHAPTER TITLE: Chapter 5. Music, Difference, and Lived Space

JOURNAL/BOOK TITLE: The Sounds of Social Space: Branding, Built Environment, and

Leisure in Urban China

VOLUME:

DATE: 2019

PAGES: 136-64

AUTHOR: Knight, Douglas

ARTICLE/CHAPTER TITLE: Chapter 1. From the Heart of the Tradition

JOURNAL/BOOK TITLE: Balasaraswati: Her Art & Life

VOLUME:

DATE: 2010

PAGES: 1-16

AUTHOR: Lau, Fredrick

ARTICLE/CHAPTER TITLE: Chapter 2. Constructing National Music

JOURNAL/BOOK TITLE: Music in China: Experiencing Music, Expressing Culture

VOLUME:

DATE: 2008

PAGES: 30-58

AUTHOR: Locke, David

ARTICLE/CHAPTER TITLE: Chapter 3. Africa/Ewe, Mande, Dagbama, Shona, BaAka

JOURNAL/BOOK TITLE: Worlds of Music: An Introduction to the Music of the World’s Peoples

(6th ed.). Ed. Jeff Todd Titon

VOLUME:

DATE: 2016

PAGES: 99-174

AUTHOR: Lynch, Julian Anthony

ARTICLE/CHAPTER TITLE: Festival “noise’ and soundscape politics in Mumbai, India

JOURNAL/BOOK TITLE: Sound Studies

VOLUME: 5(1)

DATE: 2019

PAGES: 37-51

AUTHOR: Lysloff, René

ARTICLE/CHAPTER TITLE: Worlding Music in Jogjakarta: Tales of the Global Postmodern


VOLUME: 60(3)

DATE: 2016

PAGES: 484-507

AUTHOR: Meintjes, Louise

ARTICLE/CHAPTER TITLE: Cut 1. Mbaqanga

JOURNAL/BOOK TITLE: Sound of Africa! Making music Zulu in a South African studio

VOLUME:

DATE: 2003

PAGES: 19-70

AUTHOR: Meintjes, Louise

ARTICLE/CHAPTER TITLE: Notes & Glossary

JOURNAL/BOOK TITLE: Sound of Africa! Making music Zulu in a South African studio

VOLUME:

DATE: 2003

PAGES: 267-296

AUTHOR: Morton, Timothy

ARTICLE/CHAPTER TITLE: Earworm

JOURNAL/BOOK TITLE: Soundscape: The Journal of Acoustic Ecology

VOLUME: 15(1)

DATE: 2016

PAGES: 9-14

AUTHOR: Myers, Helen Priscilla and Umesh Chandra Pandey

ARTICLE/CHAPTER TITLE: Twenty-Five. The Island diaspora: My Introduction to Indian Culture

from far Away

JOURNAL/BOOK TITLE: Storytime in India: Wedding Songs, Victorian Tales, and the

Ethnographic Experience

VOLUME:

DATE: 2019

PAGES: 147-153

AUTHOR: Nelson, David P.

ARTICLE/CHAPTER TITLE: Introduction

JOURNAL/BOOK TITLE: Solkattu Manual: An Introduction to the Rhythmic Language of South

Indian Music

VOLUME:

DATE: 2008

PAGES: 1-12

AUTHOR: Oliveros, Pauline

ARTICLE/CHAPTER TITLE: Quantum listening: From practice to theory (to practise practice)

JOURNAL/BOOK TITLE: Musicworks: Explorations in Sound

VOLUME: 76

DATE: 2000

PAGES: 37-46

AUTHOR: Olwage, Grant

ARTICLE/CHAPTER TITLE: The Class and Colour of Tone: An Essay on the Social History of

Vocal Timbre

JOURNAL/BOOK TITLE: Ethnomusicology Forum

VOLUME: 13(2)

DATE: 2004

PAGES: 203-226

AUTHOR: Qian, Lijuan

ARTICLE/CHAPTER TITLE: Which Identity Matter? Competing Ethnicities in Chinese TV Music

Contests

JOURNAL/BOOK TITLE: The Worlds of Music

VOLUME: 6(2)

DATE: 2017

PAGES: 57-82

AUTHOR: Reck, David

ARTICLE/CHAPTER TITLE: Chapter 6. Asia/India



VOLUME:

DATE: 2016

PAGES: 293-330

AUTHOR: Rice, Timothy

ARTICLE/CHAPTER TITLE: Chapter 1: Defining Ethnomusicology

JOURNAL/BOOK TITLE: Ethnomusicology: A Very Short Introduction

VOLUME:

DATE: 2014

PAGES: 1-10

AUTHOR: Shanken, Edward and Yolande Harris

ARTICLE/CHAPTER TITLE: A Sounding Happens: Pauline Oliveros, Expanded Consiousness,

and Healing

JOURNAL/BOOK TITLE: Soundscapes: The Journal of Acoustic Ecology

VOLUME: 16

DATE: 2017

PAGES: 4-14

AUTHOR: Slobin, Mark

ARTICLE/CHAPTER TITLE: Preview of Coming Attractions

JOURNAL/BOOK TITLE: Global Soundtracks: Worlds of Film Music

VOLUME:

DATE: 2008

PAGES: vii-xxiii

AUTHOR: Titon, Jeff Todd

ARTICLE/CHAPTER TITLE: Chapter 1. The Music-Culture as a World of Music



VOLUME:

DATE: 2016

PAGES: 1-31

AUTHOR: Viswanathan, T. and Matthew Allen

ARTICLE/CHAPTER TITLE: Chapter 1. Song in South India

JOURNAL/BOOK TITLE: Music in south India: Experiencing Music, Expressing Culture

VOLUME:

DATE: 2004

PAGES: 1-33

AUTHOR: Watkins, Lee

ARTICLE/CHAPTER TITLE: A Genre Coming of Age: Transformation, Difference, and

Authenticity in the Rap Music and Hip Hop Culture of South Africa

JOURNAL/BOOK TITLE: Hip Hop Africa: New African Music in a Globalizing World

VOLUME:

DATE: 2012

PAGES: 57-75

AUTHOR: Witulski, Christopher

ARTICLE/CHAPTER TITLE: One Minute in Meknes

JOURNAL/BOOK TITLE: The Gnawa Lions

VOLUME:

DATE: 2018

PAGES: 1-19

AUTHOR: Witulski, Christopher

ARTICLE/CHAPTER TITLE: Light Rhythms and Heavy Spirits

JOURNAL/BOOK TITLE: The Gnawa Lions

VOLUME:

DATE: 2018

PAGES: 94-114

AUTHOR: Wong, Deborah

ARTICLE/CHAPTER TITLE: Taiko and the Asian/American Body: Drums, ‘Rising Sun,’ and the

Question of Gender

JOURNAL/BOOK TITLE: The World of Music

VOLUME: 42(3)

DATE: 2000

PAGES: 67-78

AUTHOR: Yong, Jin Dal

ARTICLE/CHAPTER TITLE: Chapter 6. Critical Discourse of K-pop within Globalization

JOURNAL/BOOK TITLE: New Korean Wave: Transnational Cultural Power in the Age of Social

Media

VOLUME:

DATE: 2016

PAGES: 111-130

ADDITIONAL RESOURCES

None

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