Music of the World
Music 250
www.cascadia.ctc.edu
Fall Quarter 2007
Instructor:
Gabe Strand
Email: gstrand@cascadia.edu
Phone:
Email is the preferred method of contact
CLASS WEBSITE URL: http://www.cascadia.edu/faculty/gstrand/
Class
Meetings:
Section 01: Tuesday/Thursday, 11am-1:05 pm, CC2 081
Office
Hours:
Thursdays 1:15-2:15 p.m., by appointment
Office: CC 361 (third floor)
Required
Textbook:
2006. Miller, Terry E. and Andrew Shahriari. World Music: A Global Journey.
New York: Routledge includes 2 audio CDs
Prerequisite: Completion of ENG 090 with a grade of 2.0 or higher or placement by
testing in ENG 100.
Course Objectives: In this course, students will gain a practical foundation for
understanding the ideas and behaviors applied by musicians and audiences from a
broad spectrum of world cultures in their music-making activities. Through lectures,
discussions, listening exercises, and other activities, students will become acquainted
with musical instruments, ensembles, genres and performance practices from a broad
range of world cultures. Students will practice listening to and thinking about music
critically. Assignments will help students develop the ability to speak and write about
music clearly and creatively. Class activities will challenge students to engage with
the ideas, beliefs, and sounds of other cultures while reflecting on their own cultural
norms regarding music. The overall objective of this course is to provide students
with a basic musical literacy they can use to meaningfully engage and interpret global
music traditions.
Course Requirements: Students are required to attend all class lectures and complete all
weekly assignments, usually in the form of one-page reflection essays. In addition to
these basic requirements, students are expected to attend and report on one concert
during the course of the quarter. Much of the material for this class is listening-based,
so students are responsible for listening to assigned musical examples. This class will
include two midterms and a final exam containing written and listening portions.
Required Materials: (* means bring this item to class sessions)
 Access to a word processor






CD player
Stapler
Standard English Dictionary
writing paper and pen/pencil*
Cascadia Student email account and internet access
Required textbook and CD (see above)
ASSIGNMENTS & ASSESSMENT METHODS
Performance Report: Seeing live music performed is an important aspect of this class.
Each student is required to attend a concert featuring music from a culture we discuss
in class. If this is not possible, exceptions will be made for music of other cultures.
Students will compose a written report describing the music and concert context from
a first-hand perspective. Please see Concert Report handout for details.
Exams: Exams include listening identification, multiple choice, and short essays. They
cover all class handouts, lectures, films and assigned textbook chapters. There are two
midterms and one final exam.
Reflection Essays: Each week, students will write short reflection essays about topics we
have discussed in class and read about. These 1-2 page, typed essays will be
composed at home and turned in at the beginning of class.
Class Participation: Each week some class time will be devoted to participatory activities
and discussions. Students are expected to take an active role, express their opinions,
and engage their fellow students in discussions. In the case of music-making
activities students will not be graded on performance competence, but rather on their
efforts and active participation. Frequency of class attendance is figured into the
participation grade.
Evaluation: Your final grade will be based upon the percentage of 400 points
Date
Grade
Performance report
75 points
/50
Midterm exam #1
75 points
/75
Mid-term exam #2
75 points
/75
Reflection Essays
100 points
/50
In class participation
(writing, reviews,
activities, attendance)
Final exam
Total
100 points
/100
75 points
500 points
/75
/500
2
Total
You will be graded to a tenth of a point, based upon the College’s 4-point scale.
%
95-100
94
93
92
91
90
GPA
4.0/ A
3.9/ A
3.8/ A3.7/ A3.6/ A3.5/ A-
%
89
88
87
86
85
84
83
82
81
80
GPA
3.4/ B+
3.3/ B+
3.2/ B+
3.1/ B
3.0/ B
2.9/ B
2.8/ B2.7/ B2.6/ B2.5/ B-
%
79
78
77
76
75
74
73
72
71
70
GPA
2.4/ C+
2.3/ C+
2.2/ C+
2.1/ C
2.0/ C
1.9/ C
1.8/ C1.7/ C1.6/ C1.5/ C-
%
69
68
67
66
65
64
61-63
60
0-59
GPA
1.4/ D+
1.3/ D+
1.2/ D+
1.1/ D
1.0/ D
0.9/ D
0.8/ D0.7/ D0.0/ F
For additional letter grades, please see CCC Course Catalog, page 44
***Important Music of the World policies***
 Students are responsible for collecting any missed assignments, handouts or any
other classroom materials due to absence. Missed quizzes or classroom activity
points may not be made up.
 All assignments must be printed and handed in to the instructor, emailed copies
are not acceptable. Students must maintain backup copies of all submitted works.
Assignments are due at the beginning of class on the assigned date; late work is
not accepted.
Tardiness: Coming to class late may be better than not showing up at all, however,
tardiness is disruptive and discourteous. Sometimes being late is unavoidable. Chronic
lateness is another matter; this behavior communicates a lack of respect. Excessive or
chronic tardiness can be viewed as a lack of participation in the course and/or impact
your overall performance in the course.
Cell Phone Use: Please turn all cell phones, blackberries, and other wireless devices off
while you are in class. Noise from such devices is distracting and intrusive
Student Rights and Responsibilities: Cascadia is a learning-centered college, operated to
provide knowledge and skills for the achievement of learner’s academic, professional and
personal goals. Inherent in the college’s mission are certain rights and freedoms needed
for learning and personal development. Admission to Cascadia provides these rights to
students, and assumes that students accept the responsibility to conduct themselves in
ways that do not interfere with the purpose of the college in providing education for all of
its learners. For the complete policy, see the Student Handbook.
Plagiarism: Cascadia’s policy on plagiarism will be strictly enforced. Plagiarism is
literally thievery. It is taking the words or ideas of another and representing them
as your own. Plagiarism will result in a failing grade in the course.
3
Inclement Weather: In the event of inclement weather affecting morning classes, there
will be notification on the local media by 5:30 a.m. You may also call the main campus
number: 425-352-8000 to hear a message that will be updated with the latest Cascadia
closure information. You may also go online to www.schoolreport.org.
Course Outcomes:
I. Learn Actively - Learning is a personal, interactive process that results in greater
expertise and a more comprehensive understanding of the world.
Learn about musical traditions from around the world through listening to recorded
music, attending musical performances, playing instruments, reading, research,
and discussion.
Know the elements of musical analysis and basic music theory.
Find meaning in music: historical, political and cultural contexts.
Go beyond the textbook – the library and internet is full of music and resources on
music
Complete assigned work on time and to the best of ability.
II. Think (Listen) Critically, Creatively and Reflectively - Reason and imagination
are fundamental to problem solving and critical examination of ideas.
Make connections between music and other areas of (your) life: family, community,
religion, politics, literature, etc.
Analyze and interpret music using a variety of cultural/academic/personal
frameworks
Seek out different varieties of musical experience: performing, listening, analyzing…
Practice speaking and writing about music in ways that demonstrate your
understanding of music as a complex human experience and cultural artifact.
III. Communicate with Clarity and Originality - The ability to exchange ideas and
information is essential to personal growth, productive work, and societal vitality.
Use writing and discussion to examine, analyze, and describe music and music
culture
Write with an eye for organization, coherence and correctness.
Make sure your writing reflects your own understanding of and experience with your
subject matter
Participate in small group and class discussions by clearly supporting musical
interpretations with evidence.
Use the library and the Internet to gather information.
IV. Interact in Diverse and Complex Environments - Successful negotiation through
our increasingly complex, interdependent and global society requires knowledge and
awareness of self and others, as well as enhanced interaction skills.
Attend a variety of performances of music from around the world.
4
Work with others to discuss readings, presentations and musical works in order to
understand other’s experiences of music and to broaden perspectives on cross
cultural artistic expression.
Show respect and honesty in working with others by listening well and sharing ideas
willingly.
Class Schedule
(Tentative and subject to change)
Week 1, 9/25 & 9/27: Basic Concepts in the Cross Cultural Study of Music
Tues: Review of syllabus; What is Ethnomusicology?; How do we (and other
cultures) distinguish between music and other types of humanly produced
sound?;
Read: Ch. 1 (p.11-21), Ch. 2 (p.27-44)
Listen: CD 1, tracks 2, 21, 25
Essay: Listen to the soundscape around you for 30 minutes and keep a
record. Describe how you distinguished between what is and is not music.
Thurs: Elements of music
Read: Ch. 2 (p.36-44)
Listen: Choose a track from the textbook CD for your writing assignment
Essay: Listen to the melody and try to identify the melodic contour. Draw
it if you need to. Does the texture (combination of instruments) match any
of the phonic structures we learned about in class? Finally, how would you
describe the timbres you hear in this music?
Week 2, 10/2 & 10/4: Cultural Considerations
Tues: Music as social activity; Musical roles (performers, listeners, etc); Musical
transmission and notation systems; Instrument Classification Systems
Listen: Choose a track from the textbook CD for your writing assignment
Essay: Find an example of music from your textbook and describe the
instruments you hear using the Sachs-Hornbostel system. Is it difficult to
tell what medium is producing the sound when you can’t see the
instrument?
Thurs: Musical Values; Musical Meanings (Semiotics); Use and Function;
Intro to Concert Report
Essay: Listen to a piece of music with a friend. Both of you should keep a
record of what you hear and think about while listening, then compare
notes. How close were your experiences?
5
Week 3, 10/9 & 10/11: Case Study #1: Bali
Tues: Balinese Gamelan: sounds and structures
Read: Ch. 6 (p.143-150)
Listen: CD 1, track 15; Podcast #1, Podcast #2
Essay: Describe how the instruments in a gamelan are organized. How
does this organization contribute to the “layered” and “faceted” sound of a
gamelan ensemble?
Thurs: History, social and religious functions; Integration with drama and ritual;
styles and repertoires
Essay: Describe uses of Balinese gamelan in Balinese life. Do you feel
gamelan is an expression or model of Balinese cultural values and social
structures. Why or why not?
Week 4, 10/16 & 10/18: Case Study #2: North Indian Music
Tues: Hindustanti classical music
Read: Ch. 5 (p. 93-107)
Listen: CD 1, track 5, Podcast #3
Essay: What would an audience member need to know to be considered a
samajhdar log, a “person who understands” Hindustani classical music?
What would such a person pay attention to and how would they behave?
Thurs: Hindustani sitar (Jeff Lewis, guest musician)
Essay: How did our guest describe the concepts of raga and tala? How did
he use raga and tala in his performance?
Week 5, 10/23 & 10/25: Midterm Review and Exam
Tues: Review for exam; Discuss Performance Report Assignment
Thurs: Midterm Exam #1
Read: Ch. 9 (p. 225-241)
Week 6, 10/30 & 11/1: Case Study #3: Survey of West African Music
Tues: Akan drumming ensembles (Yaw Amponsah, guest musician)
Read: Ch. 9 (p. 248-251)
Listen: CD 1, tracks 31, 32; Podcast #4
Essay: What linguistic elements might a drummer manipulate in order to
create “surrogate language” with his instrument? What does a drummer
need to know in order to effectively use a drum to convey language?
Thurs: Griots in W. Africa;
Listen: CD 2, track 3
Essay: Describe the services a jeli provides for his community. What does
a jeli need to know in order to fulfill these responsibilities?
6
Week 7, 11/6 & 11/8: Case Study #4 Music in Japan
Tues: The classical Japanese gagaku orchestra
Read: Ch. 7 (p.182-185)
Listen: CD 1, tracks 22; Podcast #5
Essay: Describe the relationship between sound and silence in Japanese
gagaku. How does the interplay of silence and sound affect the textural
and timbral impact of the music for you?
Thurs: Japanese koto (guest musician, Elizabeth Falconer)
Essay: Describe the instrument our guest played. What did you feel was
the overall affect of her performance, and why do you feel that way?
Week 8, 11/13 & 11/15: Case Study #6: Music and Festival 1: Carnival in Brazil
Tues: Midterm Exam #2
Thurs: Carnival in Brazil; samba and batucada
Read: Ch. 12 (p. 333-337)
Listen: CD 2, track 23
Essay: What political and social roles does music play in Brazilian
Carnival? In what ways do Brazilians feel samba symbolizes their national
identity?
Week 9, 11/20 & 11/22: Music and Festival 2: Trinidadian Carnival
Tues: Carnaval in Trinidad; steelband and calypso
Read: Ch. 11 (p. 301-308)
Listen: CD 2, tracks 14, 15; Podcast # 6
Essay: Describe the cultural influences on Carnaval as practiced in
Trinidad. How do these influences come across in calypso and steelband
performances?
Thurs: NO CLASS (Happy Thanksgiving!)
Week 10, 11/27 & 11/29: Getting Music Inside Us
Tues: Theme and Form in the Mexican Corrido
Listen: CD 2, track 33; El Corrido del Gregorio Cortez (podcast)
Assignment: Finish writing your own corrido
**IMPORTANT**: Concert reports due today
Thurs: Afro-Peruvian Dance (Monica Rojas, guest musician)
7
Week 11, 12/4 & 12/6: Wrap Up and Review
Tues: Final Review
Thurs: Final Exam
8