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New York City College of Technology, CUNY
CURRICULUM MODIFICATION PROPOSAL FORM
This form is used for all curriculum modification proposals. See the Proposal Classification Chart for
information about what types of modifications are major or minor. Completed proposals should be emailed
to the Curriculum Committee chair.
Title of Proposal
New Course Proposal: Introduction to World Music (MUS
1212)
Date
March 31, 2014
Major or Minor
MAJOR
Proposer’s Name
James Schlefer, Adam Wilson, Charles Porter
Department
Humanities Department
Date of Departmental Meeting in 2013-12-06
which proposal was approved
Department Chair Name
Ann Delilkan
Department Chair Signature and
Date
Academic Dean Name
Karl Botchway
Academic Dean Signature and
Date
Brief Description of Proposal
The Humanities Department proposes to add a new course,
(Describe the modifications contained “Introduction to World Music” (MUS 1212), to its
within this proposal in a succinct
curriculum.
summary. More detailed content will
be provided in the proposal body.
Brief Rationale for Proposal
(Provide a concise summary of why
this proposed change is important to
the department. More detailed
content will be provided in the
proposal body).
Proposal History
(Please provide history of this
proposal: is this a resubmission? An
updated version? This may most
easily be expressed as a list).
Expanding the variety of offerings in Music: see New Course
Proposal Form below for more information.
2014-02-28 initial submission
2014-03-27 revised based on subcommittee
recommendations
2014-03-29 minor correction to class meeting frequency
2014-03-31 revised based on further subcommittee
recommendations
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Table of Contents
NEW COURSE PROPOSAL FORM ........................................................................................... 3
DETAILED RATIONALE/DESCRIPTION .............................................................................. 5
COURSE NEED ASSESSMENT .................................................................................................. 5
COURSE DESIGN ......................................................................................................................... 6
COURSE OUTLINE ...................................................................................................................... 7
DESCRIPTION ....................................................................................................................................... 7
GRADING ................................................................................................................................................ 7
ASSIGNMENTS ...................................................................................................................................... 7
COURSE PROCEDURES AND POLICIES ......................................................................................... 8
LEARNING OUTCOMES AND ASSESSMENT .............................................................................. 10
GENERAL EDUCATION LEARNING OUTCOMES ...................................................................... 10
COURSE OUTLINE SUMMARY ....................................................................................................... 11
WEEKLY COURSE OUTLINE........................................................................................................... 11
LIBRARY FORM ....................................................................................................................... 14
CHANCELLOR’S REPORT FORM ......................................................................................... 16
CUNY Common Core Course Submission Form ........................................................... 17
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MUS 1212 Introduction to World Music
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New York City College of Technology, CUNY
NEW COURSE PROPOSAL FORM
This form is used for all new course proposals. Attach this to the Curriculum Modification Proposal Form
and submit as one package as per instructions. Use one New Course Proposal Form for each new course.
Course Title
Proposal Date
Proposer’s Name
Course Number
Course Credits, Hours
Course Pre / Co-Requisites
Catalog Course Description
Brief Rationale
Provide a concise summary of why this
course is important to the department,
school or college.
Intent to Submit as Common Core
Introduction to World Music
February 20, 2014
James Schlefer, Adam Wilson, Charles Porter
MUS 1212
3 credits / 3 hours
ENG 1101
Introduction to World Music surveys music from the
Middle East, China, Africa, Eastern Europe, South
America, India, Japan, and Korea, including traditional,
classical, folk and popular styles. Musical terms such as
rhythm, melody, harmony, pitch, and meter form the
basis for the exploration, comparison and study of
different international styles.
The Humanities Department is proposing to add
Introduction to World Music to its Music curriculum.
This new course is being proposed because:
1. Cultural understanding and tolerance are becoming
increasingly important in our global society, and the
issue of cultural intelligence is steadily becoming
more prevalent.
2. Learning to listen to music in the context of its
origins and social necessity deepens students'
understanding and appreciation of cultures other
than their own.
3. The course will put New York City College of
Technology on a par with its CUNY counterparts
already offering a world music course.
YES – World Cultures and Global Issues
If this course is intended to fulfill one
of the requirements in the common
core, then indicate which area.
Intent to Submit as An
Interdisciplinary Course
Intent to Submit as a Writing
Intensive Course
N/A
N/A
Please include all appropriate documentation as indicated in the NEW COURSE PROPOSAL Combine all
information into a single document that is included in the Curriculum Modification Form.
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MUS 1212 Introduction to World Music
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New York City College of Technology, CUNY
NEW COURSE PROPOSAL CHECK LIST
Use this checklist to ensure that all required documentation has been included. You may wish to use this
checklist as a table of contents within the new course proposal.
Completed NEW COURSE PROPOSAL FORM

Title, Number, Credits, Hours, Catalog course description

Brief Rationale
Completed Library Resources and Information Literacy Form
Course Outline
Include within the outline the following.
Hours and Credits for Lecture and Labs
If hours exceed mandated Carnegie Hours, then rationale for this
Prerequisites/Co-requisites
Detailed Course Description
Course Specific Learning Outcome and Assessment Tables

Discipline Specific

General Education Specific Learning Outcome and Assessment Tables
Example Weekly Course Outline
Grade Policy and Procedure
Recommended Instructional Materials (Textbooks, lab supplies, etc)
Library resources and bibliography
Course Need Assessment.
Describe the need for this course. Include in your statement the following
information.
Target Students who will take this course. Which programs or departments, and
how many anticipated?
Documentation of student views (if applicable, e.g. non-required elective).
Projected headcounts (fall/spring and day/evening) for each new or modified
course.
Where does this course overlap with other courses, both within and outside of the
department?
Does the Department currently have full time faculty qualified to teach this course?
If not, then what plans are there to cover this?
If needs assessment states that this course is required by an accrediting body, then
provide documentation indicating that need.
N/A
Course Design
Describe how this course is designed.
Course Context (e.g. required, elective, capstone)
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Course Structure: how the course will be offered (e.g. lecture, seminar, tutorial,
fieldtrip)?
Anticipated pedagogical strategies and instructional design (e.g. Group Work, Case
Study, Team Project, Lecture)
How does this course support Programmatic Learning Outcomes?
Is this course designed to be partially or fully online? If so, describe how this
benefits students and/or program.
N/A
Additional Forms for Specific Course Categories
Common Core (Liberal Arts) Intent to Submit (if applicable)
DETAILED RATIONALE/DESCRIPTION
The Humanities Department is proposing to add Introduction to World Music to its Music
curriculum. This new course is being proposed because:
1. Cultural understanding and tolerance are becoming increasingly important in our global
society, and the issue of cultural intelligence is steadily becoming more prevalent.
2. Learning to listen to music in the context of its origins and social necessity deepens
students' understanding and appreciation of cultures other than their own.
3. The course will put New York City College of Technology on a par with its CUNY
counterparts already offering a World Music course.
World Music as a subject of musical study has become a common offering in universities
throughout the US. Parallel to the long established survey of Western European classical art
music courses, Introduction to World Music offers the opportunity to learn about the classical
traditions of the Middle East, Far East and Southeast Asia, as well as the vernacular music of
several other cultures; their origins and development, contexts and current trends. The student
body of New York City Tech is as multi-cultural as the music offered through this course, and its
study will foster mutual understanding and respect through knowledge of both the institution’s
diverse community and that of society as a whole.
COURSE NEED ASSESSMENT
The course targets students who are interested in taking a World Music course as part of their
Common Core requirement. Other potential students could include those from Entertainment
Technology who have a specific interest in World Music.
It is the intent of the Humanities Department to offer the course once per year with an
anticipated class size of 30. This course will be unique; there is no other course offered at
Citytech that explores World Music in the breadth or depth offered by this introductory course.
The department anticipates requesting a full-time line in ethnomusicology or commercial music
with qualifications to teach world music; until this line filled, there are many adjuncts capable of
teaching the class.
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COURSE DESIGN
This will be an elective course, and will fulfill the requirements for general education World
Cultures and Global Issues. Once official, it can also count as one of the required course choices
for students in Entertainment Technology. This course will also eventually become a required
option for an anticipated major track or program in Music Technology offered between the
Humanities and Entertainment Technology departments. A three credit, three hour course, it will
consist of lecture, listening assignments, and one or more visits to live performances of
appropriate world music concerts in the NYC area.
Students will read texts, listen to lectures, participate in classroom discussion, and listen to a lot
of musical examples. From these they will write papers that detail analysis of music and
comparative evaluation of the similarities and differences between the musics of different
cultures.
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COURSE OUTLINE
MUS 1212
Introduction to World Music
Catalog Course Description
Introduction to World Music surveys music from the Middle East, China, Africa, Eastern Europe,
South America, India, Japan, and Korea, including traditional, classical, folk and popular styles.
Musical terms such as rhythm, melody, harmony, pitch, and meter form the basis for the
exploration, comparison and study of different international styles.
Description
Introduction to World Music surveys music from the Middle East, China, Africa, Eastern Europe,
South America, India, Japan, and Korea, including traditional, classical, folk and popular styles.
As this is an introductory course, with no music prerequisite, the course begins with the teaching
of basic music vocabulary. Musical terms such as rhythm, melody, harmony, pitch, meter, etc.,
are covered in the beginning of the semester and form the basis for the exploration, comparison,
and study of different international styles. As it progresses, the course focuses on the music of
the above-mentioned specific regions, as well as musical context, style characteristics, and
purpose. Audio and video examples from many of the world’s cultures are used as primary
lecture tools, and creative writing and class discussion are variously employed as means of
applying critical thinking skills to the issues of pluralism and diversity. In addition, the course
encourages students to take advantage of the wealth of music concerts available in New York
City by requiring students to attend one live performance. Students write a report about the
concert they attend.
3 credits, 3 hours
Pre / Co-Requisites: ENG 1101
Common Core: World Cultures and Global Issues
Expected Enrollment: 30 – to be offered once per year in Spring semester, and then popularity
will determine whether to offer it more frequently.
Recommended Text: William Alves, Music of the Peoples of the World, 3rd ed., Schirmer, (2012)
Grading
Final grades in this course will be based on the following percentage breakdown:
Midterm Exam
30%
Final Exam
30%
Concert Report
20%
Written Assignments 20%
TOTAL
100%
Assignments
1) Students submit four (one to two pages) written homework assignments. Papers are based
on listening assignments and allow the teacher to monitor the students’ progress in the
class, and their comprehension of the weekly lectures and listening activities.
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2) The midterm examination consists of term identifications, and several structured essay
questions based on in-class discussions, selected readings and listening from the first part of
the course.
3) The concert report (three to four pages) is the student’s response to hearing a live music
concert that they attend. Concert-going opportunities will be made available throughout the
semester and must associated with one of the cultural groups studied in class. Our students
live in one of the most musically active cities in the world, and free concerts abound;
students are responsible for making their own arrangements to attend a faculty-approved
concert, including providing the cost of tickets if they chose to attend a paid performance.
4) The final examination consists of term identifications, and several structured essay questions
based on in-class discussions, selected readings and listening from the second part of the
course.
Course Procedures and Policies
Assignments must be turned in on time. Late work is not accepted. No make-up speeches or
exams allowed unless a) students miss an assignment or exam due to an emergency that is
documented and verifiable; b) students contact the instructor as soon as possible; and c)
students provide a one-page written request to make up the assignment along with verifiable
documents to the instructor.
Technology Requirements and CITY TECH email
Students are required to check school email regularly and to create accounts for any online
software services or applications (Blackboard, OpenLab, etc.) required by the professor as
instructional supplements.
Attendance
College policy on absence and lateness: no more than 3 absences from class are allowed if class
meets twice a week, and only 1½ absences are allowed if class meets once a week. Three
instances of lateness are equal to one absence. If a student enters the classroom after the
attendance has been taken, it is his or her responsibility to see the instructor on the same day to
report their attendance. Absence on the first day of class is only excused with proof of late
registration.
Professionalism
Students are expected to turn in original work of high standard. Papers are graded on given
criteria as well as on spelling, grammar, and appearance. Students are expected to have read
assigned material before coming to class. Student oral presentations are penalized if a student is
wearing an outerwear garment, chewing gum, or wearing any form of a hat. Religious garb is
excepted.
Etiquette
It is expected that students in this class conduct themselves with good sense, courtesy, and
dignity in all course-related activities. This includes your behavior towards other students and
the instructor. CELL PHONES, TEXT MESSAGING, MUSIC DEVICES, or other forms of personal
communication technology are prohibited in the classroom. Students should never enter a class
when an oral presentation is in progress or walk in front of a speaker to get to their seat.
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Written Exercises
All written assignments are to be neatly typed—12-point font, double-spaced, and stapled.
Response papers and reports should conform to the writing criteria discussed in class. Deviations
from the assigned criteria will adversely affect your grade. You must also use APA or MLA citation
style for your in-text citation and bibliography page. A speaking outline is required for each oral
report. INABILITY TO PRINT AN ASSIGNMENT IS NOT AN ACCEPTABLE EXCUSE FOR LATE WORK.
Academic Misconduct—Plagiarism
The guidelines in the New York City College of Technology are upheld in this course. Students
violating university policies are subject to disciplinary action as described in the undergraduate
catalogue (see NYCCT Academic Integrity Statement below).
Academic dishonesty occurs when students plagiarize or cheat in the course of their academic
work. Plagiarism is the presenting of someone else’s ideas without proper credit or attribution.
These ideas could come from:
1)
2)
3)
4)
5)
Information obtained from books, journals or other printed sources
The work of other students or of faculty
Information from the Internet
Software programs or other electronic material
Designs produced by other students or faculty
Cheating is the unauthorized use or attempted use of material, information, notes, study aids,
devices or communication during an academic exercise. Examples of cheating include:
1)
2)
3)
4)
5)
6)
7)
8)
9)
10)
11)
Copying from another student during an examination or allowing another to copy your work
Unauthorized collaboration on a take-home assignment or examination
Using notes during a closed-book examination.
Taking an examination for another student, or asking or allowing another student to take an
examination for you
Changing a graded exam and returning it for more credit
Submitting substantial portions of the same paper to more than one course without
consulting each instructor
Preparing answers or writing notes in an exam booklet before an examination
Allowing others to research and write assigned papers or do assigned projects, including the
use of commercial term paper services
Giving assistance to acts of academic misconduct/dishonesty
Fabricating data
Unauthorized use of electronic devices such as cell phones, text messaging devices, palm
pilots, computers or other technologies to retrieve or send information during an exam
There is zero tolerance for personal communication sent or received in class or in the halls
during class.
Writing Center
The Writing Center offers free 45-minute interactive tutorial services for students who need help
with grammar, organization, APA/MLA, etc. I highly recommend having all written work and
reference pages looked over by a tutor. However, the center is not an editing service. Tutors will
provide students with the tools to make their own corrections.
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Reasonable Accommodation
I am committed to providing reasonable accommodation to students with disabilities. Any
student who has a disability that may prevent him or her from fully demonstrating his or her
abilities should contact the Student Support Services Program to make accommodations
necessary to ensure full class participation and to maximize educational opportunities.
LEARNING OUTCOMES AND ASSESSMENT
For the successful completion of this
course, a student should be able to:
Demonstrate the ability to use correct
formal musical terminology when
writing about the music of each culture
and when communicating in the
classroom.
Differentiate between various families
of musical instruments and types of
voices associated with each culture.
Identify the similarities and differences
between musical performances from
contrasting cultures; demonstrate
knowledge of and ability to apply
concepts and ideas from cultural
studies and ethnomusicology.
Demonstrate knowledge about how
each culture has developed a unique
musical identity, and an awareness of
how each musical style developed
within the context of the culture from
which it arose.
Evaluation methods and criteria:
Students are asked to define and identify instances
of musical concepts and terms in musical examples
referenced in written assignments and played during
exams and discussions.
Students are asked to identify generic and specific
classes of instruments and voices of various cultures
from visual and auditory examples given during
exams and discussions.
On the midterm and final exams, and for at least one
written assignment, students are asked to examine
music from the various cultures with which they
have become familiar, and, using basic concepts from
ethnomusicology and cultural studies, differentiate
between and amongst them and reflect on how each
culture informs its own musical practice.
Written assignments and concert reports are
checked for evidence of connection between
features of musical practice and defining historical,
societal, or religious elements of the originating
cultures; these connections must be framed using
the language and concepts of ethnomusicology and
cultural studies.
GENERAL EDUCATION LEARNING OUTCOMES
For the successful completion of this
course, a student should be able to:
Gather, interpret, and information from
a variety of sources, and produce well
reasoned arguments based on this
information.
Evaluation methods and criteria:
Students read primary and secondary texts, and from
this material write well-reasoned essays and papers
that demonstrate their knowledge about how each
musical tradition arises from the historical
development of its respective culture. Students also
listen to historically important recordings in class or
as assignments, and then contrast these with a live
modern performance, discussing this within the
context of their concert paper.
Evaluate different yet similar concepts In at least one written assignment, students are
or ideas within the context and asked to examine music from the various cultures
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function of different cultures.
with which they have become familiar, differentiate
between and amongst them, and reflect on how
each culture informs its own musical practice.
Develop sensitivity to different musical Students participate in guided discussion around
styles and cultures.
classroom listening examples to help identify the
defining elements of form or style present in the
music of each culture; connections are made
between the history of each culture and its musical
development.
COURSE OUTLINE SUMMARY
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Week 1: Introduce basic terms of music and demonstrate their use with various musical
examples – rhythm, melody, harmony, meter, form, timbre, and texture.
Week 2: Instrument families; percussion, string, wind, and voice types. The role of music in
society; religion, social aspects, functions. Geography.
Week 3: MIDDLE EAST AND NORTH AFRICA – Elements of Middle Eastern music;
instruments, scales
Week 4: MIDDLE EAST AND NORTH AFRICA – Distinguish between sacred and secular music,
traditional and popular music, and understand scale patterns.
Week 5: AFRICA – Musical concept of polyrhythm; differentiate between percussion
instruments; history and importance of Jaliya tradition
Week 6: INDIA - Indian musical instruments, ragas and talas. Hindustani and Karnatic styles.
Week 7: INDONESIA – Java and Bali; The cultural mix of Hindu, Muslim and indigenous
beliefs and their impact on Gamelan and Gender Wayang.
Week 8: Mid-term exam
Week 9: CHINA – Chinese musical instruments; history; Guqin. Popular and classical styles of
music and theater including Peking Opera.
Week 10: JAPAN – Japanese music and instruments, their origin in Chinese culture, and the
musical implications of a closed society; instrumental music.
Week 11: JAPAN – The impact of Buddhism on music. Theatrical forms; Noh, Kabuki,
Bunraku.
Week 12: KOREA – Traditional musical styles of Korea, including the court music, folk music,
and dance styles.
Week 13: EASTERN EUROPE; THE BALKANS – Geography of Eastern Europe and Balkan
countries; influence of Middle Eastern music; chordal harmonies; Sacred music tradition.
Music of the Gypsies.
Week 14: SOUTH AMERICA – Differentiate between indigenous music and European
(Spanish) influence; influence of African music; music in Andean culture.
Week 15: Final exam
WEEKLY COURSE OUTLINE
First and second weeks:
Gain an understanding of basic musical terms such as Melody, Rhythm, Harmony, Meter,
Phrasing, Form, Timbre, etc. Distinguish among different families of instruments and voice
types; contrast the role of music in contemporary, urban society with that of traditional,
rural societies; gain an understanding of the geography of the Asian, African and European
continents.
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Third and fourth weeks:
Understand the instruments used in traditional Middle Eastern music; distinguish between
sacred and secular styles; understand the contexts in which the music is normally heard;
understand the musical, cultural, and religious differences among Middle Eastern countries;
learn how a traditional form of music (Rai -Traditional Algerian vocal music) can evolve into a
globally popular music.
Fifth week:
Gain an understanding of the music from several Sub-Saharan African traditions. After an
introduction to the region, we will focus on the many instruments used to make music, the
characteristics of traditional African music and how they have evolved into the highly
popular music of today. The musical concept of polyrhythm will be taught in the context of
African drumming. The history and importance of the Jalolu (griots) to the music of West
Africa will be discussed in detail.
Sixth week:
Achieve a basic understanding of Indian classical music; the instruments used, the use of
raga and tala as basic elements of Indian music; differentiate between Hindustani
(Northern) and Karnatic (Southern) styles; understand the evolution of folk traditions, such
as Bhangra, from a peasant harvest dance, to a contemporary disco phenomenon, and the
role of music in movies as popular culture.
Seventh week:
Gain an understanding of the music of Indonesia; the regional differences, both
geographically and culturally, between the main islands; understand the makeup and use of
the Gamelan (and its popularity outside of Indonesia,) and Gender Wayang (Shadow Puppet
Theater).
Eighth Week:
Review and mid-term
Ninth week:
Recognize the important influence of Chinese culture on East Asia; understand the history of
China’s arts; recognize the many instruments used in Chinese music and begin to understand
their development in both Korea and Japan; gain an understanding of Peking Opera, it’s
tradition and current popularity; distinguish between pre and post communist era music.
Tenth and eleventh weeks:
Gain an in-depth understanding of the music of Japan, the instruments used, the
development of music in a “closed” society; differentiate between the theatrical styles of
Noh and Kabuki; understand the reasons for the flourishing of the arts during the Edo
period; distinguish between pre and post Meiji era music; understand the impact of Western
influence in contemporary Japanese society and the diminishing role of traditional arts.
Twelfth week:
Achieve a basic understanding of the traditional music of Korea, including the ancient court
music (Ah-Ak and Hyang-Ak;) contrast the melodic elements of Korean music with that of its
historical oppressor, Japan; learn the vocal style known as Pa’ansori; understand the role of
Buddhism and Shamanism in music and dance forms.
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Thirteenth week:
Gain an understanding of the music of Eastern Europe. After introducing the region, the
material will focus on the general characteristics of Eastern European folk music. The musical
ideas of harmony and melody will be learned in this context. The influence of Middle Eastern
music on Eastern Europe will be examined.
Fourteenth week:
Achieve a basic understanding of the music and dance forms from South America. How
music evolves as a blend of different cultural traditions will be a continual current in this
week, such as how the Western music concept of harmony blends with African rhythms and
the tone colors of indigenous music. The material will focus on the music of Brazil, Peru, and
the music of other Andean mountain countries.
Fifteenth week:
Review and Final
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LIBRARY FORM
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CHANCELLOR’S REPORT FORM
Section AIV: New Course
AIV.I. Humanities Department
Course Number: MUS 1212
Title: Introduction to World Music
Hours: 3 Class Hours
Credits: 3 Credits
Pre / Co-Requisites: ENG 1101
Course Description: Introduction to World Music surveys music from the Middle East, China,
Africa, Eastern Europe, South America, India, Japan, and Korea, including traditional, classical,
folk and popular styles. Musical terms such as rhythm, melody, harmony, pitch, and meter form
the basis for the exploration, comparison and study of different international styles.
Rationale: A common offering among colleges within the CUNY system and at other universities,
multi-cultural music studies help promote cultural understanding and tolerance, which are
becoming increasingly important in our global society.
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CUNY Common Core Course Submission Form
College
Course Prefix and
Number (e.g.,
ANTH 101, if
number not
assigned, enter
XXX)
Course Title
Department(s)
Discipline
Credits
Contact Hours
Pre-requisites (if
none, enter N/A)
Co-requisites (if
none, enter N/A)
New York City College of Technology
MUS 1212
Catalogue
Description
Introduction to World Music surveys music from the Middle East, China, Africa, Eastern Europe, South
America, India, Japan, and Korea, including traditional, classical, folk and popular styles. Musical terms
such as rhythm, melody, harmony, pitch, and meter form the basis for the exploration, comparison and
study of different international styles.
Special Features
(e.g., linked
courses)
Sample Syllabus
Introduction to World Music
Humanities
Music
3
3
ENG 1101 English Composition
ENG 1101 English Composition
Syllabus must be included with submission, 5 pages max recommended
Indicate the status of this course being nominated:
current course
revision of current course X a new course being proposed
CUNY COMMON CORE Location
Please check below the area of the Common Core for which the course is being submitted. (Select only one.)
Required
English Composition
Mathematical and Quantitative
Reasoning
Life and Physical Sciences
If you would like to request a waiver please
check here:
Flexible
X World Cultures and Global Issues
US Experience in its Diversity
Creative Expression
Individual and Society
Scientific World
Waiver requested
II. Flexible Core (18 credits)
Six three-credit liberal arts and sciences courses, with at least one course from each of the following five areas and no more than
two courses in any discipline or interdisciplinary field.
A. World Cultures and Global Issues
A Flexible Core course must meet the three learning outcomes in the right column.
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MUS 1212 Introduction to World Music
Students will read both primary and secondary sources
from textbooks and other material, as well as critically
listen to a number of recordings and live concerts.
Through listening exams, written assignments, and
classroom discussion, students will demonstrate their
ability to analyze different pieces of music by
determining instrumentation, structure, melodic,
harmonic, and rhythmic components, and from this
analysis identify the cultural source of each.
In written assignments and essays, students will
demonstrate the ability to draw conclusions about the
differences and similarities of the music of different
cultures, as well as how the cultural identity informs
and shapes the unique music of each.
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 Gather, interpret, and assess information from a variety of
sources and points of view.
 Evaluate evidence and arguments critically or analytically.
 Produce well-reasoned written or oral arguments using
evidence to support conclusions.
A course in this area (II.A) must meet at least three of the additional learning outcomes in the right column. A student will:
Students will demonstrate the ability use correct formal
musical terminology when they write about the music of
each culture and communicate in the classroom. They
will also be able to identify generic and specific classes
of instruments and voices in listening exams and at
concerts.
They will use basic concepts of
ethnomusicology and cultural studies as they
differentiate between and amongst cultures, and reflect
on how culture informs musical expression.
Papers and written answers on essays will require
students to demonstrate knowledge about how each
culture has developed their unique musical identity, and
an awareness of how each musical style developed
within the context of the culture from which it arose.
They will further be able to identify similarities and
differences between musical performances of
contrasting cultures, and in the process develop an
appreciation of how aesthetics is shaped. For example,
Mid-eastern vocal techniques generate a vocal style
that may be considered “ugly” within the context of
other cultures.
Students will read primary and secondary texts, and
from this material write well-reasoned essays and
papers that demonstrate their knowledge about how a
particular musical tradition arises from the historical
development of each culture. Students will listen to
historically important recordings in class or as
assignments, and then contrast these with a live
modern performance, discussing this within the context
of their concert paper.
 Identify and apply the fundamental concepts and methods of a
discipline or interdisciplinary field exploring world cultures or
global issues, including, but not limited to, anthropology,
communications, cultural studies, economics, ethnic studies,
foreign languages (building upon previous language
acquisition), geography, history, political science, sociology, and
world literature.
 Analyze culture, globalization, or global cultural diversity, and
describe an event or process from more than one point of view.
 Analyze the historical development of one or more non-U.S.
societies.
 Analyze the significance of one or more major movements that
have shaped the world's societies.
 Analyze and discuss the role that race, ethnicity, class, gender,
language, sexual orientation, belief, or other forms of social
differentiation play in world cultures or societies.
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