World Musics and Cultures 0909
Fall 2013
MWF 12-12:50
Presser 101
Instructor: Dr. Lindsay Weightman (lindsay.weightman@temple.edu)
Teaching Assistant:
Text and recordings: Music of the Peoples of the World. William Alves. 3rd Ed.
You can rent the ebook with CourseMate access to all recordings plus many more
website activities for $89 from the bookstore. Please use ISBN 9781133112945 when
ordering.
Students requiring extra help should feel free to contact Dr Weightman or the teaching
assistant after class or by email to arrange a meeting. Any student who has a need for
accommodation based on the impact of a disability should contact me privately to discuss
the specific situation as soon as possible.
This course explores music as a reflection of the diverse cultures around the world.
Emphasis is placed on learning to identify, describe and discuss all aspects of the various
musical styles and become acquainted with a variety of instruments, compositional forms
and performance contexts. Class meetings will include listening to recorded music,
performing aspects of that music and watching live performances and ethnographic
videos.
The course emphasizes listening skills as a primary tool in this exploration of the musical
culture of the world. Listening assignments are primarily on the website recordings that
accompany the course text. Supplementary materials will be heard in class. Students are
encouraged to attend additional relevant performances in the Philadelphia area.
Students are responsible for attendance at all class meetings, participation in class
discussion and reading and listening assignments. The course grade is based upon the
results of:
Class tests 45% (Total of three at 15% each)
A music ethnography paper 25% ( class wiki research post 10%, 4-page paper 15%)
Connect Your Playlist 5%
Philadelphia site-specific sound group projects 15%
Attendance and class participation 10%
Grades will be posted on Blackboard throughout the semester. If you discover an error
relating to any of your grades, you must notify me within two weeks of the grade’s
posting.
There is NO extra credit for this class. You are expected to take the tests at the
specified times. Any student who misses a test without notifying the instructor in advance
will forfeit that part of the grade. Students who have a valid medical excuse for missing a
test may make it up by writing a further ethnography paper but they will be penalized by
having their grade lowered by one full point.
Class Participation (10%)
Points are earned for coming to class and participating in class discussion and class music
making (eg. clapping African rhythms). No previous musical experience is necessary,
just a willingness to listen, react and take part. Three or more missed classes and
attendance at less than complete class sessions will result in a lower grade.
Listening to musical examples is a large part of each class experience. Silence and
attentiveness is expected of all students.
Tests (45%)
The tests include a listening quiz requiring identification and discussion of musical
examples, geographical identification of the countries being studied, and a short written
section involving identification, definition of terms and/or short essay questions relevant
to class lectures and reading. All students must be present for the tests. In exceptional
circumstances, students must inform Dr. Weightman in advance if alternative
arrangements need to be made.
ALL tests include geographical identification of the countries discussed in class. Please
study the maps in the text book.
The third test includes identification of listening examples from all six cultures covered
in class.
Music Ethnography (wiki research post 10%, paper 15%)
1) Wiki. Find an article relevant to the South Indian violin performance of Oct 29 (we
will discuss in class what kinds of topics to research and where to find information). Post
it in the wiki by Oct 18 with a 300-word summary. Between Oct 19 and 27 respond to at
least 1 other student post.
2) A 4-page paper, submitted on blackboard by Nov 22 at 11:59pm based on your
attendance at the R.K.Shriramkumar violin lecture/performance at Temple’s Rock Hall
on Tuesday, Oct 29th from 4-5:30 pm.
You are encouraged to submit a draft of your paper (at least 3 days before the deadline
please) for feedback from Dr Weightman.
Ethnography is derived from ethno meaning culture or people and graphy referring to
something written.
An ethnography is an analytical description of a cultural setting, cultural event, or
subculture based on field research. Field research means that you will attend a live
performance, and your observations of this event together with your background
research will be the basis of your paper. Your proposal requires you to list the primary
source (the performance that you will attend) and do some preliminary research of
secondary sources (written materials).
Please read the page later in this syllabus describing the differences between plagiarism,
common knowledge, paraphrase and direct quotation.
In your document you should include careful observations and descriptions of sounds that
are used and considered meaningful in your social setting. Music is often part of social
and cultural processes, it may serve as a focus of cultural identity as in national anthems,
or counter-cultural identity as in punk rock subculture. It may contribute to a
community-building spiritual experience as in a church, synagogue or temple. It may
embody social solidarity as in African or calypso drumming. And it may symbolically
represent other things or ideas, as in Native American dancing. Your ethnography should
move beyond mere descriptions of sound qualities to an analysis of the social and cultural
dynamics of which music is a part. You should aim to connect your observations with
class discussions, reading and recordings.
When describing or analyzing a cultural setting, aim to be as detached and objective as
possible. We all have assumptions and biases that influence our perceptions and
conclusions. However, good social scientists refrain from making subjective statements:
they gather all the evidence they can to support their interpretation of the event. In your
project, rather than judge a sound by your own standards, find out all you can about the
artistic and cultural values of the audience or musician so that you may better understand
the background for this musical event. Learning to put aside your own assumptions and
biases is an important step in becoming a better observer of other cultures.
Your paper should be (a minimum of) 4 pages long, typed, double-spaced and
grammar/spell-checked. It should be carefully written with full citations of your sources
using footnotes or endnotes and a bibliography. Failure to submit a professional-looking
paper will result in a lower grade.
Summary and time-line of ethnography assignments
By Oct 18, 11:59pm You will post a link to, or PDF of, plus a 300-word summary, of a
scholarly article on the subject of South Indian music in preparation for the performance
on Oct 29 and the ethnography paper that is due on Nov 22. You cannot post the same
article as another student so the earlier you post the better.
Between Oct 19 and 27, 11:59pm Respond, in the wiki, to at least one other student
post/article.
Tuesday, Oct 29th from 4-5:30 pm in Rock Hall. Attend the performance:
R.K.Shriramkumar violin lecture/performance.
By Nov 22
Your paper is due on Blackboard by 11:59 pm. You may send the
completed paper by email (lindsay.weightman@temple.edu) at least 3 days in advance of
this date if you would like to receive feedback from Dr Weightman before the deadline.
Connect your playlist (5%)
Students will be randomly selected to complete a “Connect Your Playlist” assignment
according to the following guidelines:
After you are assigned a vocabulary term you will be given a few days to search for
musical examples from your own popular music library. These will be briefly presented
to the class, discussed, and analyzed to reinforce vocabulary terms and concepts.
When it is your turn, you must post your example on the Blackboard discussion forum by
6pm the night before it is due. In your post you will: define the term; provide a link to a
musical example that exemplifies the term; then write a brief description of how the term
is heard in the example and also post the exact time markers for when to start and stop
each piece. In class, you will give a brief (2 minute) presentation for the class and a 30second clip from your musical example will be played.
Site-specific sounds. Group projects. (15%)
What is music? How is it different from sound? As a complement to studying the culture
and music of East Asia, where Buddhist philosophy reminds you to ‘live in the moment’
and pay attention to the smallest details, this project challenges you to find music and art
anywhere and everywhere. This task provides an opportunity to change your attitude to
the world around you and think differently about sounds that you might normally take for
granted.
In the study of traditional Chinese and Japanese music we notice that both cultures place
great value on the sounds of nature, often try to imitate them in music, and aim above all
to live in harmony with the natural world. In Philadelphia we are living in an urban
environment so we will consider out relationship with urban sounds. Your task is to pick
a place in the community - it can include urban and/or natural sounds, sit there without
speaking for at least an hour, and take notes and recordings of the specific sounds that are
generated in that environment. Each group will make a short presentation to the class on
Nov 13 or 15 about their findings and reactions. More detailed directions will be posted
on blackboard and discussed in class before you start this project.
Gen Ed Arts courses build skills that enable students to gain insight into works of art,
the creative process, and the role of the arts in social, cultural, or historical contexts. Such
insight is fundamental to the development of artistic literacy, which in turn can be an
invigorating element of lifelong learning.
Gen Ed Arts courses are intended to teach students how to:
 Experience and respond to a work of art or creative process;
 Recognize or interpret a work of art or creative process in its social, historical and
cultural context;
 Describe or evaluate a work of art or creative process using appropriate
terminology;
and
 Appreciate the value of art in our lives and in society
COURSE CALENDER
Reading and listening assignments must be completed before the class meetings in
which they will be discussed.
All students are required to attend a lecture/performance of South Indian violin
music, given by R.K.Shriramkumar, on Tuesday, Oct 29 from 4-5:30 pm in Rock
Hall (Broad and Cecil B. Moore). This will be the basis for your ethnography paper.
Please contact Dr Weightman immediately if you cannot attend.
Aug 26-Sept 6. Introduction to musical analysis.
Read Alves chapters 1-5.
Class #1 Intro to ethnomusicology. What is music? What is an ethnomusicologist? The
function of music in society-why does it exist and why does each cultural group have a
different idea of how to perform music? Religious, political, aesthetic reasons for choices
about music. Definitions of art, folk and pop music.
Class #2 How do different cultures around the world decide on the building blocks of
music? Building a vocabulary to talk about music. We examine each parameter in turn,
comparing examples played on piano or CD. Class participates where possible.
Texture and form.
Class #3 Pitch/scale/melody and rhythm/beat/meter.
Class #4 Instrumentation and tone color. Additional musical techniques: ornamentation,
improvisation, the relationship between words and music.
Class #5 Class project-compose a melody on xylophone in one of a number of scales
from around the world. Choose whether to use a steady beat/pulse as a basis of the
melody or to play non-pulsatile. How do different scales affect the sound and mood of
melody?
Sept 9-20. India. Alves, chapter 9. CD 1 # 10-14
Class #1 Indian music, shared characteristics between the north and the south and the
different historical influences that led to 2 distinct styles of art music. The drone as a
constant background element in Indian music. Excerpts from movie “ Music of India”
Class #2 North Indian gat. The synthesis/balance of composed and improvised music in
one performance.
Class #3 South Indian kriti. Formal structure of a kriti. The decisions made by the performer in
influencing the final form of a performance, much like in western jazz.
Class #4 Guest performer. Sitar or sarod player. Performance and question/answer session. Class
learns the hand gestures that accompany Indian tala/rhythmic cycles and performs them along
with the music
Class #5 Bollywood film music. Excerpts from movie “ There’ll Always be Stars in the Sky”,
video clips from Bollywood movies.
Class #6 review for test
Sept 23-Oct 2. Middle East/North Africa. Alves, chapter 7. CD 1 # 9-11
Class #1 General characteristics of Middle-Eastern music. Practice singing quarter-tones. Islam
and music.
Class #2 Egypt. Complex rhythmic patterns. Heterophony-music without chords.
“Tarab”, the concept of musical ecstasy in the Middle East. Learn to dance the Lebanese
“Dabkeh”
Class #3 Guest performer Jeff Werbock, demonstration of 3 Azerbaijani string
instruments. Improvisation and ornamentation as essential elements in the middle-eastern
musical style. Use of micro-tones as an intensification device in melodic shape.
Class #4 Iran. The tar solo string music. Sufi poetry and music.
Class #5 Middle Eastern drumming class.
Class #6 Oct 4 TEST #1. India and Middle East/North Africa
Oct 7-23. Sub-Saharan Africa. Alves, chapter 6.
Listen to CD 1 tracks 1-8
Class #1 General characteristics of African music. Music in the workplac2
Class #2 West Africa. Dance drumming of the Anlo-Ewe. Polyrhythm-learn how to sub-divide a
12-beat pattern into meters of both 4 or 6 even pulses at the same time. Learn all of the drum,
rattle and bell rhythms one by one.
Class #3 Drumming cont. Class performs different rhythms simultaneously. Learn to find the 4beat pulse in the recordings as you dance the “Dance of the Middle of the Back”
Class #4 Movie “Listening to the Silence”. Polyrhythms and the importance of music in all
aspects of African society.
Class #5 West Africa. Mande kora music. The history of the Mali empire (13th century) and the
social structure which produces the hereditary craftsman/woman such as the griot (professional
singer/songwriter/historian)
Class #6 Southern Africa. Shona mbira music. The bira religious ceremony. Afro-pop and its
political/social impact.
Class #7 African drumming continued. Groups compose their own polyrhythms and perform for
the rest of the class.
Class #8 review for test
Class #9 Oct 25. TEST #2. Sub-Saharan Africa
Oct 18, 11:59pm Deadline to submit South Indian wiki article/summary
Oct 27 11:59pm Deadline to submit wiki response
Oct 28-Nov 4. China. Alves, chapter 10. CD 2 # 7-9
Class #1 General characteristics and history of Chinese music. Guqin music, the music of the
sophisticated elite social class in ancient China. Chinese politics in the 20th century and its
dramatic effect on music and musicians. Tea-house music.
Class #2 Beijing opera, a national obsession. Excerpts from movie “ Education of a Singer at the
Beijing Opera”
Class #3 Beijing Opera continued. Demonstration of singing, acting, acrobatics, mime,
constumes.
Class #4 Guest performer of Beijing opera.
Oct 29 R. K. Shriramkumar performance, Rock Hall 4-5:30pm
Nov 6-14. Japan. Alves, chapter 11. CD 2 # 10-13
Class #1 General characteristics of Japanese music. Shakuhachi, music as an aid meditation and a
reflection of Zen Buddhist principles. The impact and importance of silence/space/simplicity in
Japanese music and other art forms. Draw a picture using these principles.
Class #2. Koto. Rhythmic flexibility in Japanese music.
Class #3 Gagaku, the emperor’s court orchestra. Excerpts from movie “Gagaku”
Nov 13, Class #4 Presentation of Philadelphia site-specific sounds projects
Nov 15, Class #5 Presentation of Philadelphia site-specific sounds projects
Nov 18-Dec 4. Indonesia. Alves, chapter 12. CD 3 # 1-8
Class #1 Political/religious/cultural history of Indonesia. General characteristics of Indonesian
music. Javanese gamelan ensembles-an orchestra of gongs.
Class #2 Javanese music cont.
Class #3 Balinese music. Excerpts from movies of Javanese and Balinese gamelan performances,
dances and puppet theater.
Class #4 Class project-learn all 3 parts of Javanese piece “Udan Mas” on xylophones and perform
as a group
Class #5 Class project-learn the Balinese technique of “kotekan” - splitting a fast elaborating
melody between two instruments so that the individual parts are easier to play but interlock
seamlessly.
Class #6 review for test
Nov 22, 11:59 pm. Ethnography paper on Shriramkumar performance due.
Wed, Dec 11. 10:30-11:30 TEST #4. Written test on China, Japan and Indonesia and
listening test of ALL countries.
The identification of musical examples forms an important part of each test. Please listen to these
tracks repeatedly-aim for 3 times a day for the examples from the country that we are currently
studying. Your grade and your knowledge of music will benefit greatly from this!
World Music final ethnography paper guidelines
The purpose of the paper is to describe all the elements of a specific live performance, and
describe its significance in society.
4 pages (minimum), Times New Roman or similar, 12-point font.
Take the time to spell, grammar check and express yourself clearly or you lose points! Sloppy
presentation reflects unclear thought processes.
Any references to published material should be footnoted/cited in brackets and listed in a
bibliography (see guidelines and notes on plagiarism elsewhere in this syllabus). Use the
bibliography style with which you are familiar.
As a general guide, use no more than a third of the paper for background information concentrate on the details of the performance.
I strongly recommend that you submit a rough draft of your paper before the deadline so that
you can obtain feedback on your work.
Your job is to try to understand this performance from the point of view of the people who perform
it. Of course you will also bring your own experience and taste to bear on the experience but you
must start with an open mind to anything that is new or different. You are not required to like or
accept everything that you hear, but before you formulate an opinion, examine what might be
valuable about this to another cultural group. By all means record your personal response to the
performance: was it inspiring, beautiful, annoying, tedious? But you must formulate the reasons
for your reactions. How does it compare to the music you generally listen to? Are there any
similarities?
The research you do for your proposal is intended to give you some background information
BEFORE you attend the performance so you know what to expect. You may also be able to hear
recordings of the performer on line or watch a video on youtube or their MySpace page. Then you
can compare your written sources (books, articles) with the sounds that you hear.
An interview with the performer is a primary source (as close to the performer as possible) and
therefore usually a valuable source of information about the motivation for playing a certain type
of music. The R. K. Shriramkumar performance will be part lecture which counts as primarysource material and you may be able to find interviews that have been conducted previously
through your on-line research.
A good paper shows evidence of reflection and insight about the event. You must attempt to
both stand back from the performance to realize its place in a larger historical context as well as
to look closely at the details of the performance and describe the parts that most clearly give a
sense of the mood, atmosphere and sounds.
Aim to describe the details and atmosphere of the performance in such a way that the
reader of your paper might be inspired to go and see that performer themself. Use of
colorful metaphorical adjectives will bring your paper to life and help tremendously in describing
the effect of the music. Eg “the swirling music of the Tinikling enhances the dance”; “from the
thump of the bodhran to the airy rasp of the wooden flute, Celtic music is known by its
instruments”.
Examples of vocabulary NOT to use: they did a great job; fun; enjoyable; great experience;
I will never forget; I learned a lot. (Probably all heart-felt reactions but they are too vague to reveal
anything meaningful about the music-you must describe WHY you felt that way).
Important: As best as you can try to describe the music from an analytical viewpoint, using ideas
you have learned in class: what kinds, combinations and varieties of melody and instruments,
scales, rhythms, textures, form, tone colors etc. do you hear?
Questions to think about (not all will apply to your subject):
What are the origins of this music? Why does this music exist? If it is an ancient art form, what
are the qualities that have led to its longevity? What is the value/significance of this performance
to the community at large? Does it bring disparate groups or people of like mind together? Is it
primarily for relaxation or entertainment? Or does it have educational, religious, ritual, ceremonial,
political, historical significance? What does the music tell you about the audience for which it is
written/about the performer? What kind of people play or listen to this music? What are the
performers/audience wearing? What does this say about the event? How is the performer treated
by the audience-with great respect/as one of the crowd? Is the performer being paid/ just doing it
for fun?
Is there a clear separation between performer and audience or does everyone contribute to the
performance (by dancing, clapping etc)? What is the setting of the performance-in a bar/concert
hall, formal/casual? How does this affect the atmosphere? Does the audience talk during the
performance or pay silent attention?
What is the difference between listening to recorded music/watching a DVD and attending a live
performance?
How do different aspects of the performance enhance and complete each other? Is there variety
in the performance, if so how is it achieved? How many instruments, how do they sound as a
group, how do the performers interact with each other, is there a soloist or are they all equally
important?
How loud/soft, slow/fast, and are there many changes in volume/speed during the performance?
Why?
Can you tell if the performer is improvising, playing pre-composed music or a mixture of the two?
How can you tell the difference? What is the effect?
What is your/the audience’s reaction to the performance? Is it different from the goal of the
performer?
Is the performance successful? Is the performer talented? Why/not? Does it matter? What do you
think the music is expressing?
You may make analogies between the music that you hear and other art forms from that culture
(visual arts, literature, dance, food, clothing) eg just as Middle Eastern cooks add spices to food
to make it more tasty and complex, their musicians also add many ornaments to the melodies to
give them more beauty and depth.
If this is a production including words/dancing/costumes/make-up etc, imagine the performance
without music and then describe how the music complements/enhances the other elements. This
point is very important if you are reviewing a dance performance-make sure you write a paper
about the music primarily and describe the dance as one of the elements in the performance, not
the only element in the performance. Or if there are songs-what is the effect of the poetry by
itself/what does the music add to the words? Include examples of the lyrics in your paper and
explain why that kind of music is sung to those particular words.
Talk to an audience member at the concert-someone who you think might be familiar with this
music. Ask them what they thought of the performance and what they enjoy about this type of
music.
Above all, this is a music class, so write about the music that you heard.
If you have never done this kind of assignment before you will need time to think about
formulating the language that describes what you have heard, seen and felt.
Grading Rubric for Ethnography Paper (15% of total grade)
The purpose of this ethnography paper is to describe the sounds, atmosphere and setting of a live
performance and explain its value within the social group for which it is performed.
A (13-15 points) Outstanding
These papers are especially apt in their analysis/argument and demonstrate a particularly
impressive control of language. They show attention to detail and are particularly
insightful in their observations. They explain, interpret, critique and summarize the
performance to recreate, as vividly as possible, the live experience for the reader. They
illustrate the value of this particular type of performance and describe its place in society.
Secondary sources are evaluated for accuracy and quotations chosen for relevance in
support of points being made in the paper.
Sources properly documented.
B (12 points) Effective
These papers competently analyze/argue/present. The prose is clear, although there may
be lapses in diction or syntax. These papers demonstrate a mature prose style and
generally gather the most relevant and descriptive details to illuminate the characteristics
and purpose of a particular type of music.
Sources properly documented.
C (11 points) Adequate
These papers adequately analyze/argue/present, but this presentation may be uneven,
inconsistent, or limited. The prose conveys the writer’s ideas, but it may have lapses in
diction or syntax. The writer does not take the time to compose apt, insightful, descriptive
phrases but falls back on clichés and unimaginative descriptions.
Sources usually properly documented.
D (9-10 points) Inadequate
These papers provide inadequate analysis/argument/presentation. They offer little
discussion, misrepresent points, and lack cohesion. There is generally an immature
control of writing.
Some sources not properly documented.
F (8 points and below) Unacceptable
These papers demonstrate little success in analysis/argument/presentation. They may
misunderstand the assignment or offer vague generalizations. They are undeveloped,
especially simplistic in their discussion and the prose exhibits a weak control of language.
Sources not documented and/or work is plagiarized.
All papers should include an interesting introduction and an appropriate conclusion. They
must also be typed in the proper format (double spaced, 12-point font, one-inch margins,
stapled, name and date included.) Punctuation, correct spelling and grammar count!
Guidelines for using ideas that are not your own in a paper
Be critical of your sources. The internet, in particular, contains a vast amount of
information that ranges all the way from scholarly to spurious. An attitude of healthy
skepticism is imperative in sorting out the factual and useful from the inaccurate and
irrelevant. For instance, web addresses ending in .com are profit-making organizations
whereas .org or .gov are in existence for the public good. Knowing this helps you to
evaluate the information for bias.
What is common knowledge, paraphrase and direct quotation?
Ideas that are considered common knowledge do not need to be cited. Quotations taken
directly from internet/printed sources must be presented in quotation marks and cited in
the bibliography. Quoting without citing is plagiarizing and will result in a failing grade.
Cutting and pasting from the internet is called plagiarism unless it is cited by you in your
document. The alternative to direct quotation is to paraphrase the author’s ideas in your
own words.
The following is quoted from: http://www.uvsc.edu/engl/plag/plagiarism_faq.html
“The term "common knowledge" is a bit of a misnomer. Do you know what year Thomas
Jefferson was born? Probably not, and yet if you were to look it up and include that
information in a paper, that would not be considered plagiarism. A general definition of
"common knowledge" is any information that fits all three of the following criteria: (A) It
appears in numerous different resources; (B) It is not controversial; (C) It constitutes only
a minor portion of your paper (or other work). Thomas Jefferson’s birthdate meets all
three criteria. A specific fact about the species aequidens maroni that was recently
discovered and published in a scientific journal would not qualify, even if it’s noncontroversial, because it only appears in one source; the article’s author still retains
"ownership" of this information. Likewise, the statement that recent developments signal
a possible cure for AIDS in the near future is not an example of common knowledge,
because--while numerous sources might contain a form of that statement--it remains
controversial; thus, you should indicate your source. Finally, if your paper relies heavily
on information that, in isolation, might seem like common knowledge, you should play it
safe and cite your sources anyway; if your repeated use of outside information adds up to
a big part of your work, the result may be plagiarism.”
And from: http://www.uta.fi/FAST/PK6/REF/commknow.html
“…saying that "the population of Finland has been about 5 million for the past several
decades" could be considered common knowledge, as it is a general statement that, while
not well known by those outside Finland, could be confirmed by looking in any almanac
or atlas over the past 30 years. However, "the population of Finland in July 1999 was
4,992,311" is so exact that it must have come from a specific source which must be cited.
Such a specific number would almost automatically be open to argument (as to how it
was determined, if nothing else), and therefore one needs to cite the source from which it
was taken so readers can refer to it for further detail on the census methodology.”
For examples of acceptable/unacceptable paraphrase, refer to the following website:
http://www.indiana.edu/~wts/pamphlets/plagiarism.shtml
Disabilities Accommodations:
Any student who feels s/he may need an accommodation based on the impact of a
disability should contact me privately to discuss your specific needs as soon as
possible but preferably within the first two weeks of class. In addition, please
contact Disabilities Resources Services at 100 Ritter Annex to coordinate reasonable
accommodations. The Disabilities Resources and Services (DRS) is the office that
determines appropriate accommodations. This office bases that decision upon
documentation collect from the student with a disability, the student’s functional
limitations, established guidelines and appropriate practice at Temple University.
The DRS phone number is 215.204.1280.
Student and Faculty Academic Rights and Responsibilities:
Freedom to teach and freedom to learn are inseparable facets of academic freedom.
The University policy on Student and Faculty Academic Rights and Responsibilities
(Policy # 03.70.02) can be accessed with this link:
http://policies.temple.edu/getdoc.asp?policy_no=03.70.02
Academic Integrity:
Those giving the instructor reason to believe that the TU Student Code of Conduct
has been violated will be subject to University Sanctions. Please refer to the Student
Code of Conduct and Disciplinary Procedures for more information:
http://www.temple.edu/bulletin/Responsibilities_rights/responsibilities/responsibiliti
es.shtm#honesty