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Department of Spanish and Portuguese – Spring 2015
Portuguese | Latin American Studies 307 – Brazilian Music and Culture
Instructor and Director of the Portuguese Program:
Prof. Ricardo Vasconcelos
Contact:
rvasconcelos@mail.sdsu.edu; Arts and Letters 113; 619 594-1678.
Professor Vasconcelos’s Academia Website
<https://sdsu.academia.edu/RicardoVasconcelos>.
Schedule:
Tuesdays and Thursdays, 12:30 PM – 1:45 PM, AH 2112
Office Hours: Tuesdays and Thursdays 2:00 PM – 3:00 PM, or by appointment.
1. COURSE DESCRIPTION
Portuguese 307 focuses extensively on 20th and 21st-centuries’ Brazilian music and culture. Its basic
structure includes at-home preparation readings and in-class listening of and discussion about musical
compositions associated with diverse periods and music genres, both classics and contemporary. All
readings and discussions will be in English. Although lyrics are in Portuguese, translations will be
provided.
Discussions will center both on the esthetic languages of the musical compositions and genres and on
the cultural insights they provide, establishing meaningful links to historical and social aspects.
Among other topics, we will discuss the role, in the Brazilian and international music scene, of the
genres and movements samba, bossa nova, MPB (Música Popular Brasileira), Brazilian pop and
rock, as well as the punk movement; some attention will be paid to other genres such hip-hop and
funk, technobrega and forró, among others.
The course will also provide insights into other Lusophone (and adjective meaning Portuguesespeaking) music, namely that of Portugal. In the last weeks of the course we will discuss different
Portuguese musical genres (particularly fado and resistance/protest music), address the importance of
music before during and after the revolutionary period, and analyze how it is currently engaged in the
context of the current financial and economic crisis.
2. STUDENT LEARNING OUTCOMES
Students are expected to prepare before coming to class and to have an active participation during
class discussions, both by keeping notes and intervening consistently and pertinently in a collegial
discussion. It is your class and I expect you to be active in it. You are also expected to be professional
regarding your work, and have a cordial attitude towards your colleagues and instructor.
Please take responsibility for the energy you bring to the classroom. As with any class, what you put
into it is what you get out of it. This is a class for those who are willing to put the time, energy, effort,
and a good attitude into that learning. It pays off!
By the end of the course, students will be able to
2.1. characterize main Brazilian and other Lusophone musical genres;
2.2. identify main Brazilian and other Lusophone musical authors and performers;
2.3. address their relevance in the Brazilian and Portuguese music panorama;
2.2. establish connections between these genres and the history of the societies in which they were
developed.
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3. COURSE MATERIALS
The following Required Books can be found at the Aztec Bookstore:
McGowan, Chris, and Ricardo Pessanha. The Brazilian Sound – Samba, Bossa Nova, and the Popular
Music of Brazil. Revised and Expanded Edition. Philadelphia: Temple U. P., 2009. Print.
Perrone, Charles. Masters of Contemporary Brazilian Song – MPB 1965-1985. Austin: U. of Texas P.
1989. Print.
Perrone, Charles, and Christopher Dunn, eds. Brazilian Popular Music & Globalization. New York:
Routledge, 2002. Print.
Excerpts of other scholarly works, as well as lyrics translations, will be made available to students
through Blackboard, and occasionally will be provided in class.
Recommended Readings:
Skidmore, Thomas. Brazil: Five Centuries of Change. 2nd Edition. New York: Oxford U.P., 2010.
Fausto, Boris. A Concise History of Brazil. Trans. Arthur Brakel. New York: Cambridge U.P., 1999.
MLA Handbook for Writers of Research Papers or the online resource:
http://owl.english.purdue.edu/owl/resource/747/01/
4. ASSIGNMENTS
4.1. Homework
Students are required to read for each class the critical studies indicated in the course schedule and to
prepare a typed personal response to one point in one of the articles, addressing the aspects s/he
considers the most striking in the article/chapter (a maximum of 150 words). You have to both upload
this to Blackboard and bring it to classroom, where every meeting a few students will randomly be
chosen to present it. The purpose of this homework is to prepare for original in-class discussions. No
late submissions will be accepted.
4.2. Presentation
Students are required to make one class presentation on one Portuguese-speaking singer/composer or
band of their choice. This presentation will be assessed based on 1) research; 2) content; 3)
performance. Please see the assessment sheet in the end of the syllabus. The goal is for you to
complement our course by presenting on a musician we will not be discussing in depth in class, so
please check the detailed calendar, and your instructor will also let you know if you pick someone we
will be covering.
4.3. Response papers
Students will write 3 response papers focusing on a topic of in-class discussions, choosing one of the
different prompts provided. Guidelines for the format and evaluation of the commentaries will be
provided separately.
4.4. Final paper
For the last week of the class (please see the detailed schedule below), students will write a 6-page
final paper (MLA Style), which may be an expansion of one of the commentaries previously written
and corrected by the instructor, or may focus on a new topic. This final paper allows each student to
focus on a specific topic / musician or band / musical genre / movement, while adding a research
component to the activity. A part of the grade of the final paper is dedicated to quantity and quality of
research; students are advised to individually meet with the instructor to present their outline for the
paper and discuss their sources before writing it. By looking up critical sources, the student has the
opportunity to assess their relevance, while also being able to become more familiar with critical
analysis in academic texts. Guidelines for the format and evaluation of the commentaries will be
provided separately.
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4. GRADING
4.1. Grade breakdown
• Homework (reading of studies and writing of personal points) – 20%
• Individual Presentation (research, content, performance) – 10%
• 3 response papers (3 pages, double-spaced) – 40%
• Final research paper (expansion of one of the commentaries written previously or a new theme; 6
pages double-spaced, MLA Style) – 30%
4.2. Conversion percentage grade / letter grade
A+
A
A_
98-100
93-97
90-92
B+
B
B_
87-89
83-86
80-82
C+
C
C_
77-79
73-76
70-72
D+ 67-69
D 63-66
D_ 60-62
F 0-59
5. OTHER COURSE POLICIES AND INFORMATION
5.1. Attendance and participation
Students should be aware that absenteeism directly affects their participation and more
importantly the development of knowledge that arises from class discussions. You are
investing time and money to be in this class – don't take yourself away from it!
5.2. Academic Conduct and Integrity
Students are expected to follow SDSU’s code of academic conduct. This class requires that
you familiarize yourself with the section on “Cheating and Plagiarism” in SDSU’s University
Policies
(http://arweb.sdsu.edu/es/catalog/2012-13/graduate/parts/060070_University%20Policies.pdf; pages 66-67). The infringement of these rules will lead to
the disciplinary actions described therein. You can also get more information about these in
the website of SDSU Center for Student Right and Responsibilities
<http://studentaffairs.sdsu.edu/SRR/cheating-plagiarism.html>.
If in doubt about the legitimacy of any strategy to prepare work that will be assessed
by your professor, please talk with him for advice.
5.3. Electronic Devices
All cellular phones, IPods, etc. must be turned off during class time. Flashing cell
phones, vibration mode, text-messaging, etc. are not OK. You are investing time and
money to be in this class – please don't take your mind away from it.
5.4. Students with Disabilities
If you are a student with a disability and believe you will need accommodations for this class,
it is your responsibility to contact Student Disability Services at (619) 594-6473. To avoid
any delay in
the
receipt
of
your
accommodations, you should contact
Student Disability Services as soon as possible. Please note that accommodations are not
retroactive, and that accommodations based upon disability cannot be provided until you
have presented your instructor with an accommodation letter from Student
Disability Services. Your cooperation is appreciated.
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6. PORTUGUESE MINOR
The Minor in Portuguese consists of a minimum of 15 units, nine of which must be approved
upper division courses, to include at least six units of upper division courses taught in
Portuguese. Any course taught in English needs department approval to apply to the minor
requirements. The following courses are acceptable for the Portuguese minor: Portuguese
101, 201, 299, 301, 307, 401, 443, 499; Latin American Studies 307. Courses in the minor
may not be counted toward the major, but may be used to satisfy preparation for the major
and general education requirements, if applicable. A minimum of six upper division units
must be completed in residence at San Diego State University.
For a full description of the
http://arweb.sdsu.edu/es/catalog/.
program,
please
see
the
General
Catalog
7. COURSE SCHEDULE
*THE LIST OF READINGS IS SUBJECT TO CHANGES
DURING THE COURSE OF THE SEMESTER*
You are required to read all of the following texts before coming to class.
TBS corresponds to the required book The Brazilian Sound.
BPMG corresponds to the required book Brazilian Popular Music and Globalization.
MCBS corresponds to the required book Masters of Contemporary Brazilian Song.
BB corresponds to texts uploaded to Blackboard.
25 August
CLASS CONTENTS AND READING ASSIGNMENTS
27 August
Presentation of Syllabus
Brazilian Music and Globalization
McGowan, Pessanha. “Five Centuries of
Introduction to Brazil and the Portuguese- Music,” TBS.
speaking World and Music
1 September
3 September
McCann. “Samba and National Identity,” BB.
Samba
Perrone, Dunn. “Chiclete com Banana,”
BPMG.
McGowan, Pessanha. “Samba, The Heartbeat
of Rio,” TBS.
8 September
10 September
Samba and Carnival
Lorenz.
“Embodying
the
Favela: Moura. “World of Fantasy, Fantasy of the
Representation, Mediation and Citizenship in World: geographic Space and Representation
the Music of Bezerra da Silva,” BB.
of Identity in the Carnival of Salvador, Bahia,”
BPMG.
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Armstrong. “Songs of Olodum: Ethnicity,
Activism, and Art in a Globalized Carnival
Community,” BMPG.
15 September
In-class screening of O Samba
17 September
In-class screening of O Samba
22 September
24 September
Bossa Nova
McGowan, Pessanha. “Bossa Nova: The New
Way,” TBS.
Perrone. “Introduction / Brazilian Popular
Music, MPB, and Song Literature,” MCBS
29 September
RESPONSE PAPER #1
Due on Blackboard
Internationalization of Bossa Nova
Perrone. “Myth, Melopeia, and Mimesis:
Black Orpheus, Orfeu and Internationalization
in Brazilian Popular Music,” BPMG.
1 October
Perrone. “Chico Buarque: A Unanimous
Construction,” MCBS.
MPB – Chico Buarque
McGowan, Pessanha. “MPB: A Musical
Rainbow,” TBS (only 79-95).
Skidmore. “Rule of the Military,” BB.
6 October
8 October
Dunn. “Tropicália, Counterculture and the
MPB – Caetano Veloso and Tropicália
Perrone. “Other Words and Other Worlds of Diasporic,” BPMG.
Caetano Veloso,” MCBS.
Veloso. “Carmen Mirandada,” BPMG.
13 October
15 October
MPB and Beyond – Gilberto Gil
MPB
“Gilberto Gil: Guidance and Afro-Brazilian,” Perrone. “Conclusion / MPB: Muse, Protest,
MCBS.
and Beat,” MCBS.
McGowan, Pessanha. “Bahia of All the Sandroni. “Farewell to MPB,” BB.
Saints,” TBS.
20 October
Rock / Pop – From the late 60s to the 90s
22 October
Skidmore. “Redemocratization – New Hope,
Skidmore. “Redemocratization – New Hope, old Problems,” BB (continued).
old Problems,” BB.
In-class screening: Rock Brasília
In-class screening: Rock Brasília
27 October
29 October
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Rock / Pop – From the late 60s to the 90s
Filler. “The Sensual
Niemeyer,” BB.
Vision
of
Rock / Pop – From the late 60s to the 90s
Oscar “Tropical Rock,” TBS.
“Tropical Rock,” TBS.
3 November
RESPONSE PAPER #2
Due on Blackboard
5 November
Portugal: Classical and modern fado
Elliott. “Songs of Disquiet,” BB.
Contemporary Brazilian Musical Trends
and Other Sounds
McGowan, Pessanha. “More Brazilian
Sounds,” TBS.
10 November
12 November
Portugal: Classical and modern fado
Elliott. “Songs of Disquiet,” BB
(continuation).
Portugal: Classical and modern fado
11 November
Portugal: From the Carnation Revolution
(1974) to our days
Guimarães-Costa et al. “Poetry in Motion –
Protest Songwriting as a Strategic Resource,”
BB.
24 November
RESPONSE PAPER #3
Due on Blackboard
Lopes. “Portugal: 200 Years of Fado,” BB.
19 November
Baum, Glatzer. “Incomplete Modernity or
Typically Modern? Portuguese National
Identity in an Era of Rapid Transition,” BB.
THANKSGIVING
Vasconcelos. “Questioning National Identity
through Punk Aesthetic in Edgar Pêra’s Punk
Is not Daddy,” BB.
In-class film screening: Punk Is not Daddy
(excerpts).
1 December
3 December
Punk in São Paulo
Punk in São Paulo
In-class screening: Viva Viva, by Carolina In-class screening: Viva Viva, by Carolina
Pfister
Pfister
8 December
10 December
Punk in São Paulo
FINAL PAPER DUE THURSDAY, 10
DECEMBER, 12:30 PM,
Interview with Carolina Pfister
on Blackboard
Discussion about final papers
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SDSU – PORTUGUESE 307
Professor Ricardo Vasconcelos
EVALUATION CRITERIA FOR INDIVIDUAL PRESENTATIONS
Name: _____________________________ Date: _____________________________
GRADING CRITERIA FOR ORAL PRESENTATIONS
Research
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Quantity and quality of sources
0
1
1,5
2
Use of research in presentation
0
0,5
1
1,5
Content
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Relevance
0
0,5
1
1
Coherence
0
0,5
1
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Validity and strength of point
0
0,5
1
1,5
Performance
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Readiness to begin on time
0
0,5
1
1,5
Student delivery
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0
1
1
Ability to answer questions.
0
0,5
1
1,5
TOTAL (10 points)
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Instructor Notes:
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