4014POP Module Handbook Updated Sep 11

8/13/2019 4014POP Module Handbook Updated Sep 11

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LIVERPOOL JOHN MOORES UNIVERSITY

MODULE HANDBOOK| Dr Simone Krger & Dr Ron Moy

4014POP UNDERSTANDING MUSIC OF THE WORLD

Image: zirconicusso / FreeDigitalPhotos.net (used with permission)


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MODULE AIM

This module introduces students to popular music around the world, opening with specificfocus on Western pop and rock in relation to the concepts of popular music criticism, genre,grain, texture and meaning (Block I). The impact of technology is examined, especially in

relation to pop video and performance. Subsequently, the module introduces students topopular music found across the globe (Block II) by adopting an ethnomusicological approach tothe study of traditional and popular musics, examining the part played by music in its culturalcontext and exploring the types of questions commonly asked by ethnomusicologists.

Thus, this module adopts an eclectic, inclusive approach to the study of popular music bydrawing not only on British/American musical expressions, but also by focusing on thosepopular musics that can be found in various parts around the world. In doing so, this moduleseeks to promote an understanding of popular music the world around through the analysis oftexts, technology and audiences. It will introduce students to a selection of music cultures, andequip them with the necessary intellectual tools and transferable skills for studying the various

aspects of music in its cultural context. In studying popular musical expressions from around theglobe, students will draw upon popular texts for a study of aesthetics, constructions ofmeaning, and the consumption of music. Overall, the module will help students to develop theability to evaluate and analyse aspects of world music traditions.

LEARNING OUTCOMES

At the end of this module, students should be able to:1. identify key technological and musicological terminology.2. explain how popular music is linked to shifts in patterns of consumption and the construction

of meaning.3. demonstrate knowledge and appreciation of the diversity of forms of musical expression

found in different parts of the globe.

GRADUATE SKILLS DEVELOPMENT

The Graduate skills programme covers eight skills that have been recognised nationally asessential for graduates, whatever their degree subject (see table below). Graduate Skills arebasic tranferable skills, essential for graduate roles in all sectors and industries. The eightgraduate skills are broken down into smaller criteria, and these criteria have beenembedded across selected modules, including this one. They are now a part of all degreecourses at LJMU, and as such you will automatically be taught these skill criteria, have anopportunity to practise them, and then will be automatically assessed on them, receivingfeedback on your development of the criteria from the assessment. Once you have

successfully demonstrated each criterium, and proven that you can reflect on and articulatethat skill, LJMU will officially confirm that you are competent in this skill area. As such, you

4014POP Understanding Music of the WorldModule Leader: Dr Simone Krger

[email protected] 904 1148Office: Art & Design Academy 146

Tutors: Dr Ron [email protected]/ Credits: Level 1 (Year 1)/ 24 creditsPre-requisites: None, just an interest in popular musicSemester/ Year: Winter & Summer 2011Day/ Time: Friday, 10am - 1pmVenue: ADA Studio 5

Faculty of Media, Arts andSocial Science
mailto:[email protected]:[email protected]:[email protected]:[email protected]


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will receive a certificate when you finish your degree that lists all the skill criteria that yousuccessfully demonstrated during your course. See:http://www.ljmu.ac.uk/ECL/93103.htm.

In this module, the following graduate skills will be taught, learnt and assessed, and you willreceive formative and summative feedback (together with content-related feedback) on

your success in developing each skill:

A: Analysing and Solving Problems T L A

B: Team Working and Interpersonal Skills L

C: Verbal Communication L

D: Written Communication T L A

E: Personal Planning and Organising T L A

F: Initiative L

G: Numerical Reasoning L

H: Information Literacy and IT L A

TEACHING AND LEARNING

The course will be delivered by a combination of lectures, seminars and workshops. Lectures

will provide students with the underpinning theoretical knowledge and understanding aboutsubject-specific issues and academic skills. Seminarsand workshopswill enable students toapply theoretical knowledge that involves problem-solving through tutor-led discussion anddebate. Individual tutorialswill provide opportunities for students to discuss their PDP andacademic development with their personal tutor. Students learning will be supportedthrough using the Virtual Learning Environment Blackboard, which serves as a resource bankfor course materials, and as a platform for student-student and student-tutor onlineinteraction (with its inbuilt communication tools, including email and discussion board).Students will also engage in self-directed study to acquire knowledge and skillsindependently and autonomously, whilst taking own responsibility for the quantity andquality of their learning.

Lectures S/ WS Tutorial Fieldwork Other TOTAL

Contact

hours

26 39 N/A N/A 1 66

Non-

contact

hours

174(self-directedstudy)

174

TOTAL 240
http://www.ljmu.ac.uk/ECL/93103.htmhttp://www.ljmu.ac.uk/ECL/93103.htmhttp://www.ljmu.ac.uk/ECL/93103.htmhttp://www.ljmu.ac.uk/ECL/93103.htm


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SYLLABUSAT A GLANCE

September

w/c 19th:Week 1Welcome Week

Introduction to block I [Ron Moy]w/c 26th: Week 2 The sound picture

October

w/c 3rd: Week 3 Key terms and concepts

w/c 10th: Week 4 Conventions of the popular song

w/c 17th

: Week 5 Assessment 1: Class test

w/c 24t : Week 6 Individual tutorials

w/c31st: Week 7 Pop Criticism and Journalism

November

w/c 7

th

: Week 8 Strategies for Interpretation. Formative feedback on class testw/c 14th

: Week 9 Genre

w/c 21st: Week 10 Performance and media representation

w/c 28t

: Week 11 Value & authenticity

December

w/c 5th

: Week 12 Beyond Western pop

w/c 12th: Week 13 Tutorials: Essay plans

w/c 19t : Week 14 2n

assignment essay: due on 20 December 2011

w/c 26t

: Week 15: Christmas Break

26

th

& 27

th

: Bank Holiday

January

w/c 2nd: Week 16: Christmas Break

2n

: Bank Holiday

w/c 9th: Week 17 Introduction to block II [Simone Krger]

w/c 16th

: Week 18 Tradition and transformation in the music of Africa, part I

w/c 23rd: Week 19 Tradition and transformation in the music of Africa, part II

w/c 30th: Week 20 Diverse musics in Latin America part I: Cultural Influences

Februaryw/c 6th: Week 21 Musics in Latin America part II: Brazilian samba

w/c 13th: Week 22 Individual tutorials

w/c 20th: Week 23 European world musics: Spanish flamenco

w/c 27th: Week 24 Principles of Indian music part I: The sitar and Ravi Shankar

March

w/c 5th: Week 25 Principles of Indian music part II: Bollywood

w/c 12th

: Week 26 Special topic: Ethnomusicological fieldwork

w/c 19t : Week 27 Workshop: Portfolio writing

w/c 26th

: Week 28 Special topic: Music of Paraguay

April


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w/c 2n : Week 29: Spring Break

6th

: Bank Holiday

w/c 9th: Week 30: Spring Break

9th: Bank Holiday

w/c 16th:

Week 31: Assessment week: Portfolio due on 16 April 2012

w/c 23r

: Week 32: Assessment weekw/c 30

th: Week 33: Assessment week

SYLLABUSweek by week

Week 1

Introduction to block I

In this weeks session we will run through how the module will run, will be assessed, andlook briefly at each of the topics that will be covered. We will then have an introductorysession designed to introduce some key critical concepts. We will be playing some musical

examples and starting to think about how music defines our personal sense of memory andidentity. This session is intended to help everyone get to know each other, and hopefully,get lots of you involved in making verbal contributions. The more people that feelcomfortable in speaking in front of the whole group, the better the sessions will be, for youand me!

READINGS:

Borthwick, S & R Moy (2004) Popular Music Genres: An Introduction. Edinburgh UP.Whiteley, S. et al. (2005) Music, Space and Place. Ashgate.

Week 2

The Sound PictureWhat impact has multi-track and overdubbing had on the way that recordings manipulateour sense of time and space? We will begin by listening to about 30 minutes from a RadioOne documentary on the development of record production (The Art Of Noise, broadcast 3-12-94, producer Wendy Pilner). It is presented by George Martin, the Beatles producer.Amongst the people also appearing, or referred to are; Tom Dowd, Phil Spector, Joe Meek,Micky Most and Bruce Welch (guitarist with the Shadows).

Listen to the 'self-mythologising' that goes on. Several of the contributors hark back to asupposed 'golden age' when bands just waited for the record light to go on and then gave alive performance of a song. For some people, this is the 'honest' and 'authentic' way to play

and record. We'll be exploring the worth of such value-laden signifiers throughout thismodule. In particular, we'll be listening to some examples of 1960s recordings in order toproblematise notions of the 'organic recording'.

I'll be expanding upon the issues raised by this session (and indeed, all other first levelsessions) in 2nd and 3rd level modules. Tim will also return to these issues in greatertechnological detail at levels 1 & 3.

READINGS:

Cunningham, M. (1999) Good Vibrations. SanctuaryHawkins, S. (2002) Setting the Pop Score. Ashgate.

Jones, S. (1992) Rock Formation: Music Technology and Mass Communication. Sage.MacDonald, I. (2008) Revolution in the Head. Vintage.


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Massey, H et al (2000) Behind the Glass. Backbeat.Scott, D (ed) (2009) The Ashgate Research Companion to Popular Musicology. Ashgate.

CRITICAL ISSUES TO CONSIDER:

1) What sort of recordings do you favour - 'highly produced', or 'lo-fi'? and why? What

does this say about your values?2) How is your sense of time and space manipulated by recordings? Listen to a wide

variety of tracks in headphones.3) Listen to a wide historical range of tracks and recording techniques. How have things

changed? Is it all for the better?4) Why all the self-mythologising? What are the critical implications of myths

surrounding the 'organic' and the 'real'?

Week 3

Key Terms and Concepts

This session came about as a result of student feedback, which emphasises the importance

of the student reps. Some students felt that they needed more information relating to keyterms and their application, and help with identifying musical elements. As a result, thissession will focus upon taxonomy, or a system of classification for popular music. For thefirst part of the session, I will focus upon a few areas and illustrate them with extensivemusical examples. After the break, you will work in groups upon identifying some of theelements identified earlier.

The key areas under scrutiny will be:

1) IDENTIFICATION OF INSTRUMENTAL COMPONENTS2) IDENTIFICATION OF STUDIO TECHNIQUES & EFFECTS3) AFFECTIVE ANALYSIS OF THE MIX

4) IDENTIFICATION & AFFECTIVE ANALYSIS OF TEMPO & BPM5) MELODY & HARMONY

READINGS:

Beard, D. & K. Gloag (2005) Musicology: The Key Concepts. Routledge.Horner, B. & T. Swiss (1999) Key Terms in Popular Music and Culture. Blackwell.Shuker, R (2005) Key Concepts in Popular Music. Routledge.

Also worthwhile are the works by authors listed at the end of Session One. Even more usefulis for you all to listen to music closely, and analytically. Choose some of your own favouritetracks, and try to duplicate the group work from today's session on your own, or with a

chum. Music can be enjoyed and studied simultaneously, the one does not preclude theother, but actually increases your knowledge and listening pleasure.

Week 4

Conventions of the Popular Song

This session will look at the formal structures of a range of popular songs and ask whatimpact any of these conventions have upon our 'reading experiences'.

All of you are already experts in consuming and appreciating pop songs - you've heard manythousands and you implicitly understand a great deal about structure, conventions andaffect already. Today's session is intended to give you a critical framework in order to

understand and identify structure and conventions in a more formalised manner. It is not myjob to tell you what is good and bad, but rather to give you a methodology for accounting for


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your own construction of value and worth. Value and worth are apportioned partly as aresult of structural considerations. Think of a song as a piece of sonic architecture - as theequivalent of a room, with individual elements being pieces of furniture. Is the room sparseor cluttered? Is it a unified whole, or divided into separate areas? Are the surfaces absorbentor reflective? Are the furnishings contemporary or retro, synthetic or organic?

As well as having an architectural and spatial dimension, music is also temporal - it exists forthe listener in real time. So, affect is partly built upon duration, repetition and accumulationas well as spatial aspects. Compare a 3 or 4 minute pop song to other time-based narrativessuch as commercial films or TV dramas. Can we draw affective comparisons?

Think about the dialectic of TENSION v RESOLUTION. We'll be exploring how these twoelements exist in fruitful opposition in many popular song forms today, and arguing thatnarrative conventions or, if you like, clichs are a necessary and pleasurable aspect of mostpopular narrative forms.

READINGS:Moore, A. (2001) Rock: The Primary Text. Ashgate.

You should again listen analytically to a wide range of recordings in the light of today'sdiscussions. Think in particular about structure, conventions and affect. Don't forget that thisis not a musicology module. You are not being asked to provide formal analysis usingexclusive terminology. We are dealing with music as SOCIAL TEXT.

WORKSHOP EXERCISE:

You have listened to an example of a commercially and critically successful pop song. Ingroups, map out all those elements that you consider CONVENTIONAL, and all those you

consider UNCONVENTIONAL. On balance, how does this song relate to the conventions ofthe popular song that we have investigated and identified today?

Week 5

Class test

For this assessment, you will be played a piece of popular music twice. You will be allowed totake notes during this period. You will then be asked to answer a question that will ask youto respond to the track by drawing upon the work and methodologies already outlined onthis module. You will be given one hour to write your answer, you cannot refer to any notes,other than those you make in the session itself.

Please do not be late for this session. If you are 10 minutes late then you might as well notbother turning up at all as you will not have heard the stimulus material. This testconstitutes 20% of the total marks for this module, so it is worth taking seriously, but notgetting in a state over. You are reminded of the need for legibility and a good standard ofEnglish. It is not a formal musicological test - don't panic!

Your best methods of revision are simply to read how others in the critical field analyseparticular songs and tracks. Also, do review all the powerpoints relating to prior teachingsessions, and go over your own notes.

There will not be a teaching session after the class test finishes.

Good luck!


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Week 6

Individual Tutorials

This class is designated for individual tutorials, which will be held individually with Ron Moy.Please book an appointment via email in advance. Ron will be available to hand back yourclass test and discuss it with you, on an individual basis.

Week 7

Pop Criticism and Journalism

Someone once said that trying to describe music is like trying to describe a smell - music justis, it's about itself - it seems to by-pass rational thought processes. Yet we must use asymbolic sign system such as language in order to engage socially and critically with thismost sensual and emotive forms of communication. This session will offer an overview ofthe history of popular music criticism, and how this reflects upon wider social values.Particularly within the British critical establishment, this engages with issues such as class,aesthetics and 'Americanisation'.

You should also think about the term 'canon'. This describes a body of work in any creativefield deemed worthy of serious analysis - usually by a member of the critical establishmentitself. Why is Bob Dylan a canonic figure, and why isn't Kylie Minogue? Why is the bluescanonic and not techno? These are critical issues that will form the basis of many of ourdiscussions on the level 2 theory module.

As well as viewing a sequence from 25 Years of Smash Hitswe will be paying close attentionto two or three short pieces of pop criticism. As is usually the case, criticism reveals at leastas much about the times, the publication and the author's own agenda as it does about thetext, or performer under scrutiny.

READINGS:Frith, S. & A. Goodwin (eds) (1990) On Record: Rock, Pop and the Written Word. Routledge.Gorman, P. (2001) In Their Own Write. Sanctuary.Jones, S. (2002) Pop Music and the Press. Temple UP.Perry, M. (2009) Sniffin Glue. Omnibus.Reynolds, S. (2007) Bring the Noise. Faber & Faber. (Reynoldss body of work is well worthinvestigating, and he has an extensive online presence.)Savage, J. & H. Kureishi (1996) The Faber Book of Pop. Faber & Faber. (Jon Savage is anothertop rate music journalist who has published widely. His work is invariably of interest to fansand scholars alike.)

You should try and read a selection of both so-called serious criticism and pop journalism.Try and read some blogs (or other online comment), journals and examples of the musicpress. Investigate how genre journalism, or specialist writing, such as within 'roots' or 'black'music functions. Fanzines are another interesting source. You might also investigate recentdevelopments such as those found on archive sources (for example, Rocks Back Pages),criticism and reviews.

For a historical overview that is informative and provocative, try reading John Harriss DontLook Back article, accessed online @www.guardian.co.uk/music/2009/jun/27etc.

WORKSHOP QUESTIONS:

Analyse the examples of music journalism. How does each of them deal with:1) The implied audience
http://www.guardian.co.uk/music/2009/jun/27etchttp://www.guardian.co.uk/music/2009/jun/27etchttp://www.guardian.co.uk/music/2009/jun/27etchttp://www.guardian.co.uk/music/2009/jun/27etc


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2) Music analysis3) Language and literary style

Week 8

Formative Feedback: Strategies for Interpretation

This session follows up the class test. It will provide formative feedback by broadening theinterpretive process by focussing on several key and related aspects within the analysis ofpopular song and arguing that all academics need a holistic and self-reflexive approach tointerpretation. This approach includes elements of personal biography, ethnicity,temporality, and the track's social and political context. This is the last session dealing withtextual descriptive identification and analysis. By the end of this session you should beequipped with the critical tools and terminology to complete this module, and assist withbroader research. Anyone who still feels they are struggling is welcome to come and see mein office hours.

In the first part of the session I will be outlining several of the many interpretive strategies

that can be utilised when studying a popular music text. I will use one specific track and offeryou a close reading based upon my own strategies, then open it up for discussion. After thebreak I will make some general observations on the answers you gave in the first class test.Anyone needing a more personal appraisal can talk to me after the session.

READINGS:

To follow up today's session, try to read any song, or track-based criticism. This may begenre, gender, or artist-based. Try Alan Moore on rock, Robert Walser on metal, ColinHarper or Mike Brocken on folk, Lloyd Bradley on reggae, Hillegonda Rietveld or SherylGarratt on dance, Nelson George or Tricia Rose on rap, LeRoi Jones or Paul Oliver on blues,Dave Laing or Jon Savage on punk, Sheila Whiteley, Lucy O'Brien or Amy Raphael on women

and feminism. For music-based overviews of specific artists, David Buckley on Bowie andBrian Hinton on Joni Mitchell are both recommended.

The last few weeks' sessions ask you to acknowledge your own reading strategies, and tomove on from criticism that states that the meaning is somehow all 'in the music'. The musicis important, but often as a catalyst for your own investigations. Music is a symbolic realmthat allows us to explore, and account for our own values, desires and prejudices. As I oftenreiterate, there is a world of difference between saying a certain song is bad, and saying 'Idon't like it'. If you hate a song, or an artist, it's your problem, not the fault of the song orthe performer!

Week 9Genre

This session moves away from concentrating upon the sounds and conventions of pop todeal with areas of the music industry, and how aspects such as semiotics, etymology,packaging and marketing all have their part to play in the promotion of pop, and theconstruction of meaning. This topic often gets overlooked in pop criticism, which tends toconcentrate on either sociological or musicological approaches. It is often through genreanalysis that we come to understand how particular cultural artefacts connect with anaudience or subculture.

The genre workshop will ask you to consider how genre categorises and interpelates its

audience. It will ask you to bring semiotic analysis to bear, which you will by now be familiarwith from your media core modules.


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After the break we will be viewing a documentary entitled Souled Out: The Death of Pop,presented by the author and critic Tony Parsons (Channel 4, originally broadcast 4-5-93).Some of you may know his novels, but Parsons was originally a music journalist, and hassome interesting and polemical opinions that engage with a number of key critical concepts.

Take notes during the viewing, we will be discussing the programme at length.

SOULED OUT- WORKSHOP QUESTIONS:

1) What is the overall thrust of Parsons's arguments?2) Which aspects of his arguments do you agree, or disagree with, and why?3) What does this programme tell us about Parsons's value system?

READINGS:

As I am always at pains to emphasise, the popular music industry, and our appreciation ofthe form, is never just about the music. Analysis or criticism is never just anything, you don't

just like a band, or a performer, or a track - it's far more complex than that! Particularly in

the fields of promotion and marketing, image, costume, graphics, and other related iconicand linguistic elements are hugely important.

Ashurst, W. (2000) Stuff the Music Business. Sanctuary.Gorman, P. (2006) The Look. Adelita.Hebdige, D. (1988) Hiding in the Light. Routledge.Negus, K. (1993) Producing Pop. Hodder Arnold.

____ (1996) Popular Music in Theory. Polity.Thorgerson, S. (2007) Taken by Storm. Omnibus.

Week 10

Performance and Media RepresentationThis session explores some contrasting performance styles and how the televisual mediumpresents them, and particularly concentrates on what we might call the 'rock tradition' thatemerged in the mid to late 1960s.

We will investigate how rock performance differs from 'showbiz' and also explore how themediation of the performance assists this distinction. Particularly important is the role of thefront man/woman; their physical characteristics, and their relationship to the camera. Is theperformance one of projection or introspection? How do technical codes such as editing,camera movement and staging encourage a preferred reading? As the title of the sessionsuggests, the mediation process does not offer a 'mirror' into the soul, or represent an

objective reality, it re-presents. You never get 'the whole picture' or 'the real person'. Themedia always refract and distort, providing somebody else's idea of what is important, soyour own readings are always partially informed by others.

In workshops we will consider two specific staged live performances. Although there aresome similarities between the two, there are also significant differences. What conclusionscan be drawn relating to areas such as genre, tradition, staging, physiognomy and preferredreading?

WORKSHOP QUESTIONS:1) Analyse the technical codes of these two performance, how do they differ and how does

this influence your reading. Focus upon lighting


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camera movement

mise-en-scene

physical characteristics and performances of the front men

2) What do you think is the most effective live performance, and why?

READINGS:

Surprisingly little is written about the specifics of pop performance, as opposed to music orbiography. There are some interesting texts that relate to performance and its mediation by:

Auslander, P. (2008) Liveness. Routledge.Frith, S. (ed) (1993) Sound and Vision. Routledge.Fouz-Fernandez & Jarman-Ivens (2004) Madonnas Drowned Worlds. Ashgate.Laing, D. (1985) One Chord Wonders. Open UP.Mundy, J. (1999) Pop Music on Screen. Manchester UP.

Week 11Value and Authenticity

Do we still look for 'meaning' or 'truth' in popular music in these postmodern times? And ifso, how are such notions defined or constructed by the reader? Are some artists or genresmore authentic than others? This session explores these questions and the relationshipbetween the denoted and the connoted in pop texts.

Questions of race and gender are particularly significant in the construction of 'tastehierarchies'. In workshops we will be exploring a range of texts that allow us to investigatewhether race and gender issues are determinants in helping to construct an 'authenticityparadigm'. We will also be analysing a range of critical quotations that connect to today's

topic, and you will be asked to come up with a group response to these opinions.

READINGS:Particularly relevant are any writings that deal with race or gender. Many of the authorslisted as recommended at the end of the session 3 page are also useful for this topic. Do tryand read Reynolds's The Death of Soul, from his Blissed Out collection of essays - adifficult, but provocative read.

The best single text I have read on this subject is Faking It: The Quest for Authenticity inPopular Music, by Hugh Barker & Yuval Taylor (Faber & Faber, 2007). It is journalistic, ratherthan academic, but still an invaluable read.

Bracewell. M. (2009) England is Mine. Flamingo.Frith, S. (1998) Performing Rites. Oxford UP.Lynskey, D. (2011) 33 Revolutions per Minute. Faber & Faber.Reynolds, S. & J, Press (1995) The Sex Revolts. Serpents Tail.Rose, T. (1994) Black Noise. Wesleyan UP.Washburne, C. & M. Derno Bad Music: The Music We Love to Hate. Routledge.


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Week 12

Beyond Western Pop

This session moves away from concentrating upon Western Pop and broaches topics thatSimone will explore in much more detail in Block Two. We will investigate the relationshipbetween multinational capitalism and so-called world or roots music. Is the relationship

inevitably determined by economic disparities a form of musical imperialism, - or is theprocess one of dialogue and cultural eclecticism? We will overview the construction ofworld as a genre and the implications for western music hegemony. We will be listening totracks and viewing extracts from performances by Mory Kante, Sheila Chandra/Monsoonand Cheb Khaled,

Our case study will be Paul Simons Graceland. This album was a huge critical andcommercial success, although it also caused great controversy in certain circles. We will beviewing an extract from the Classic Albumsseries as part of our critical investigations.

READINGS:

Born, G. & D. Hesmondhalgh (2000) Western Music and its Others.Drewett, M. & M. Cloonan (eds) (2006) Popular Music Censorship in South AfricaFrith, S. et al. (1991) World Music, Politics and Cultural Change.Hyder, R. (2004) Brimful of Asia: Negotiating Ethnicity in the UK Music Scene.Jowers, P. (1993) Beating New Tracks: WOMAD and the British World Music Movement inMiller, S. (ed) The Last Post: Music After Modernism.

More contemporary views on Simon/Graceland can be found within online journals/essayseg:Boeschenstein, N (2011) Where We All Will Be Received (within online journal ThisRecording)

White, T (1997) Lasers in the Jungle: The Conception and Maturity of a MusicalMasterpiece

Week 13

Essay tutorials

This session allows you to bring along to me your draft plans for your essay. I am very willingto listen to you talk through these plans, and advise on sources, approaches, structuring etc.However, I will not be reading out already written essays. The idea is that you go away andcomplete your work after our discussions.

Week 14

Assignment deadline. Individual tutorialsDuring this session, there will be no formal class, but students have the opportunity to bookan individual tutorial (on any date) to discuss their assignment.

***2nd

assignment due on 20 December 2011***

CHRISTMAS BREAK

Week 17

Introduction to block II: world music or music cultures of the world?

This first session outlines to students the module and its study requirements, followed by anintroduction to world music studies. We will specifically ask questions as to the applicability


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of the term world music and popular music while concluding on the ways in which musicshould rather be studied within its cultural context. We will listen to a range of musicalexamples and introduce some relevant theories from ethnomusicology.

Required reading:

Titon, Jeff Todd. 2009. The Music Culture as a World of Music. In Worlds of Music: AnIntroduction to the Music of the Worlds Peoples. 5th ed. Belmont: Schirmer, 1-32.

Week 18

Tradition and transformation in the music of Africa, part I

The next two classes offer an introduction to a selection of musical cultures in the Africancontinent, with case studies including traditional and popular musical genres in sub-SaharanAfrica. In this session, we will specifically focus on the Griots in Mali.

Required reading:

Bakan, Michael B. 2007. Musical Conversations: Communication and Collective Expression in

West African Musics. In World Music: Traditions and Transformations. New York:McGraw, 185-215.

Week 19

Tradition and transformation in the music of Africa, part II

Continuing discussions on the musical cultures in the African continent, this session willconsider the ways in which musical traditions have been in transformation over centuries,and how this process became accelerated with the advent of globalisation and theemergence of new technologies.

Required reading:

Bakan, Michael B. 2007. Musical Conversations: Communication and Collective Expression inWest African Musics. In World Music: Traditions and Transformations. New York:McGraw, 185-215.

Week 20

Diverse musics in Latin America part I: Cultural Influences

In this session, we will move on to discussions on musics in Latin America by focusing on arange of traditional and popular musical examples to assess the ways in which these musicshave been shaped and modelled by various cultural influences during the history of thecontinent.

Required reading:Miller, Terry E. and Andrew Shahriari. 2006. Central and South America: New World Recipes.

In World Music: A Global Journey. New York: Routledge, 319-41.

Week 21

Musics in Latin America part II: Brazilian samba

Introduction to the Assessment: Portfolio writing

This session continues the discussions of musics in Latin America, but specifically focuses onsamba from Brazil. We will ask questions as to whether this musical style may be regardedas popular music, as if so, why.

In the second half of the session, we will consider the requirements of the assessment, e.g.the portfolio of pieces of work, to be submitted in April 2012.


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Required reading:

Miller, Terry E. and Andrew Shahriari. 2006. Central and South America: New World Recipes.In World Music: A Global Journey. New York: Routledge, 319-41.

Week 22Individual Tutorials

This class is designated for individual tutorials, which will be held individually with SimoneKrger. Please book an appointment via email in advance. Simone will be available to discussany drafts for your portfolio, on an individual basis.

Week 23

European world musics: Spanish flamenco

This class will critique the notion of world music being non-Western music, and also discussmusical styles and genres within Europe that may be marketed under the umbrella termworld music. With specific emphasis on flamenco, we will discuss the musical

developments of this musical genre from its earliest recorded forms to the present day.

Required reading:

Miller, Terry E. and Andrew Shahriari. 2006. Europe: Harmony and Hierarchy. In WorldMusic: A Global Journey. New York: Routledge, 259-87.

Week 24

Principles of Indian music part I: The sitar and Ravi Shankar

This session introduces you to the music cultures of the Indian sub-continent. We willspecifically focus on the characteristics of Indian classical music, including raga and tala, andlearn about it through the sitar music by Ravi Shankar.

Required reading:

Bakan, Michael B. 2007. Raga, Ravi Shankar, and Intercultural Crossings in Indian Music. InWorld Music: Traditions and Transformations. New York: McGraw, 117-52.

Week 25

Principles of Indian music part II: Bollywood

The medium of cinema is a powerful and successful business in modern India. This class willdiscuss the emergence, features and characteristics of Bollywood film music within thecontext of globalisation and hybridisation. Why can filmi music be regarded as popularmusic? To what extent is filmi music a hybrid genre?

Required reading:


Week 26

Special topic: Ethnomusicological fieldwork

Musicals practices around the world are embedded within and shaped by their culturalcontexts, and must as such be studied and understood. Ethnography, with its attendantmethodology of participant-observation and informal interviewing, will be introduced hereas a suitable means for studying and understanding the complex social processes and

relationships involved in the production, maintenance and consumption of music. We willdiscuss what ethnographic research is, and how it can be used to illustrate the social,


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cultural and historical specificity of peoples experiences.

Required reading:

Titon, Jeff Todd and David B. Reck. 2009. Discovering and Documenting a World of Music. InWorlds of Music: An Introduction to the Music of the Worlds Peoples, 5thed. Edited by

Jeff Todd Titon. Belmont: Schirmer, 533-59.Wade, Bonnie. 2004. Thinking About Fieldwork. In Thinking Musically: Experiencing Music,

Expressing Culture. New York: Oxford University Press, 152-57.

Week 27

Workshop: Portfolio writing

During this session, students will review the requirements of the portfolio of pieces of workto complete the assessment for the second block of this module.

Week 28

Special Topic: The Music of Paraguay

Music plays an important role in the formation of Paraguayan ideology and identity, pastand present. In this session, Simone will present some of the findings of herethnomusicological research in Paraguay during the summer 2011, whilst taking studentsonto a unique and colourful journey on the music of Paraguay that ranges from the pre-colonial days to the present time, and encompasses indigenous, folk, classical, religious andpopular musical settings.

No required reading.

SPRING BREAK

Week 31Portfolio deadline

***Portfolio due on 20 April 2012***

ASSESSMENT

The module enables students to demonstrate a range of academic and competency-basedskills and subject-specific knowledge, and an ability to use knowledge in applied contexts. Inorder to complete the module successfully, students must pass the following pieces of work(pass mark 40%):

ASSESSMENT COMPONENT Length Timing % of final

mark

Class test

Essay

Portfolio

Ca. 1,000 words

1,500 words

3,000 words

15 October 2011

20 December 2011

20 April 2012

20%

30%

50%

1. Class test (20%)

This one hour class test is based on the analysis of a recording. You will receive

detailed guidance and advice prior to the class test.


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2. Essay (30%)

Choose one of the following essay questions:

1) Is popular music essentially a 'conventional' form 'operating under the guise ofrevolution', as Jeff Nuttall claims? Discuss this notion with reference to at leastTWO of the following areas: authenticity, iconography, political movements,

technology, genre.2) 'We didn't want a band that pretended to lead an unbelievably squeaky clean

existence and who sing songs as bland as their image. We wanted to puttogether a group that was real.' (Chris Herbert, manager of 'boyband' 5ive,1998). Discuss notions of commercialism, marketing, and consumption withreference to popular music and written sources. (n.b. you do not need to talkabout 5ive as part of this answer)

3) When we study popular music we study ourselves. Respond to this claim withreference to written sources and musical examples of your own choice.

Advice on preparing your essay:

All essays should be headed with the full essay title (not your own versionplease).

Students are reminded of the need for accurate presentation, correctreferencing and a full bibliography of all sources both print and audio/visual.All essays should make reference to musical recordings. You will be markeddown for not doing so.

3. Portfolio (50%)

Your portfolio should contain the following TWO pieces of work:o Annotated bibliography of course readings (1,500 words)o Analytical essay (1,500 words)

I. ANNOTATED BIBLIOGRAPHY:

Select five articles from your reading pack, which you find most interesting, andwrite an annotated bibliography according to the following guidelines:

Each entry in the bibliography should be around 300 words long.

Each entry should reflect your thinking about the theoretical position of thepiece, as well as your consideration of the pieces source and reliability,what is excluded from consideration in the piece, and how it contributes toan understanding of world musics.

In total, the bibliography should include five items (1,500 words minimum).

You will receive thorough advice and a sample annotated bibliography in-

class to ensure that you are prepared to complete the task. This is anintensive and time-consuming task, so ensure that you begin reading yourpack early on in the module!

II. ANALYTICAL ESSAY:

You are required to write a critical response of 1,500 words to the followingquestion:

Why do we speak of music cultures rather than world music when studying

popular musics of the world?

Advice on preparing your essay: In your response, you should define the key terms in the question, and ensure


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Diagnostic class test

Essay

Workshops

Portfolio

15 October 2011

20 December2011

March 12

20 April 2012

Formative

Summative

Formative

Summative

Within 3 weeks

Within 3 weeks

In-class

Within 3 workingweeks

Please see proformas at the end of the handbook, which will be used to provide module

feedback.

The below ASSESSMENT MAP provides details about learning outcomes, assessment points,including formative and summative feedback.


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ASSESSMENT MAP Oct Nov Dec Jan Feb Mar Apr

Understanding Music of the World

Identify key technological and musicological terminology.

DiagnosticClass test20%

Explain how popular music is linked to shifts in patterns of

consumption and the construction of meaning

1500 words30%

Demonstrate knowledge and appreciation of the diversity offorms of musical expression found in different parts of the globe.

Portfoliowritingworkshops(formative)

Portfolio50%


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MARKING CRITERIA (GENERIC GRADE DESCRIPTORS)

85 % - 100% (A+)This is exceptional work in terms of structure and content, demonstrating a clearunderstanding of the subject matter. The work evidences critical evaluation of research.Proposals/arguments are well-defined and demonstrate a thorough consideration of all

relevant issues. A very high level of intellectual work.

70% - 84% (A)This work is perceptive, coherent, logical and precise. An awareness of relevant issues andbroad subject knowledge is clearly evident. The work demonstrates a high level of criticalanalysis including original and fresh insights. This is a high level of intellectual work.

60% - 69% (B)The work is accurate, structured and coherent. Arguments/proposals are clearly developedand relevant. The work demonstrates an appreciation of the main issues, but limitedawareness of the broader issues and lacks critical analysis. Good discussion and

interpretation of material evidences a competent understanding of the subject matter. Thisis a very good standard of work.

50% - 59% (C)This is a solid body of work which grasps the main issues. Proposals are appropriate but donot always recognise the broader implications associated with the subject matter.Discussions are largely general and descriptive, lacking in critical analysis. Proposals arepresented but lack development. This is a competent standard of work.

40% - 49% (D)The work demonstrates basic knowledge but is limited in its response. Critical analysis and

awareness of the broader issues are clearly lacking. Any attempted analysis is general andincomplete or inappropriate to the subject matter. The work is largely descriptive in itsapproach with proposals/arguments that are narrow in scope. This is a below averagestandard of work.

30% - 39% (E)The work evidences very limited grasp of the subject matter and teaching material. This is aninadequate approach demonstrating insufficient awareness and understanding of relevantissues. The work may be badly organised and lacking in coherence. This is an unsatisfactorystandard of work.

0% - 29% (F)This work is incomplete, and lacks basic structure or coherence. There is very limitedrelevant material, evidencing a total lack of understanding and grasp of the subject matter.There is no evidence of discussion and proposals/arguments may be irrelevant. The workpresented does not fulfil the requirements of the module.

BIBLIOGRAPHY (BLOCK I)

There is no substitute for critical reading of full-length texts. Websites, televisualdocumentaries and articles have their place, but you must get in the habit of reading booksextensively and regularly. Our library is now well equipped with relevant titles, and thecatalogue is constantly growing. We also subscribe to online resources such as ROCK'S BACK

PAGES (enter [email protected], then password ROCKMUSIC), and there are many relevantjournals in the periodicals section. Most of the books are found in the basement, indexed
mailto:[email protected]:[email protected]:[email protected]:[email protected]


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from 781 upwards. (More sociological texts are on the first floor around 300 upwards).There are also other texts on other floors. You will already know how the library functions -PLEASE USE IT!

PRIMARY RECOMMENDED TEXTS for BLOCK ONE

(Listed below are a few key introductions to the critical field. You will find a far moreextensive bibliography in the Popular Music Histories module booklet). The titles morespecific to sessions will be found elsewhere.

Barker, H & Y Taylor (2007) Faking It: The Quest for Authenticity in Popular Music. Faber &Faber. (highly recommended)Beard, D. & K. Gloag (2005) Musicology: The Key Concepts. Routledge.Borthwick, S & Moy, R (2004) Popular Music Genres: An Introduction. Edinburgh UPCunningham, M (1996) Good Vibrations. Castle.Frith, S (1996) Performing Rites. Oxford UPFrith, S (1990) On Record. Routledge.

& A. Goodwin Harris, J (2009) Dont Look Back Guardian Review pp1-4. (Available online@ www. Guardian.co.uk/music/2009/jun/27).Horner, B & T. Swiss (2000) Key Terms In Popular Music and Culture. Blackwell.Negus K (1996) Popular Music In Theory. Polity.Negus, K & D. Hesmondhalgh(2002) Understanding Popular Music. Arnold.Reynolds, Simon (2011). Retromania: Pop Cultures Addiction to its own Past. Faber & Faber.Toynbee, J. (2000) Making Popular MusicShuker, R (1994) Understanding Popular Music. Routledge.

____ (1998) Key Concepts In Popular Music. RoutledgeWashburne C et al. (2004) Bad Music: The Music We Love to Hate.Routledge.Whiteley, S. (2005) Too Much Too Young: Popular Music, Age and Gender. Ashgate.

You should try to read a few of these texts by the end of the module, and at least one ofthem by week 3, making notes as you go. Keep full bibliographical details, you will needthem when you come to reference texts in written work.

BIBLIOGRAPHY (BLOCK II)

STUDENT READER

Titon, Jeff Todd. 2009. The Music Culture as a World of Music. In Worlds of Music: AnIntroduction to the Music of the Worlds Peoples. 5th ed. Belmont: Schirmer, 1-32.

Bakan, Michael B. 2007. Musical Conversations: Communication and Collective Expression inWest African Musics. In World Music: Traditions and Transformations. New York:

McGraw, 185-215.Miller, Terry E. and Andrew Shahriari. 2006. Central and South America: New World Recipes.In World Music: A Global Journey. New York: Routledge, 319-41.

Miller, Terry E. and Andrew Shahriari. 2006. Europe: Harmony and Hierarchy. In WorldMusic: A Global Journey. New York: Routledge, 259-87.


Titon, Jeff Todd and David B. Reck. 2009. Discovering and Documenting a World of Music. InWorlds of Music: An Introduction to the Music of the Worlds Peoples,5thed. Edited byJeff Todd Titon. Belmont: Schirmer, 533-59.

Wade, Bonnie. 2004. Thinking About Fieldwork. In Thinking Musically: Experiencing Music,Expressing Culture. New York: Oxford University Press, 152-57.


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GENERAL WORLD MUSIC SURVEYS

ANDERSON, William M. and P. S. Campbell (eds): Multicultural perspectives in musiceducation (Music Educators National Conference, 1989)

ASSELINEAU, Michel and Eugene Berel with Tran Quang Hai (1994). Music of the World.Courlay/France: Editions J. M. Fuzeau.

CAMPBELL, Patricia Shehan (2004). Teaching Music Globally: Experiencing Music, ExpressingCulture. Oxford: Oxford University Press.

FLETCHER, Peter (2001). World Musics in Context: A Comprehensive Survey of the WorldsMajor Musical Cultures. Oxford: Oxford University Press.

MANUEL, Peter (1988). Popular Musics of the Non-Western World: An Introductory Survey.Oxford University Press.

MAY, Elizabeth ed. (1980). Musics of Many Cultures: An Introduction. Berkeley and LosAngeles: The University of California Press.

NETTL, Bruno, Charles Capwell, Isabell K. F. Wong, Thomas Turino and Philip V. Bohlman(1992). Excursions in World Music. Second Edition. New Jersey: Prentice Hall.

NIDEL, Richard: World Music The Basics (New York, 2005)

RAULT, Lucie (2000). Musical Instruments: A Worldwide Survey of Traditional Music-Making,Thames & Hudson.RECK, David (1977). Music of the Whole Earth. New York: Da Capo Press.SHELEMAY, Kay Kaufman (2001). Soundscapes: Exploring Music in a Changing World.

London: W. W. Norton & Company.STOCK, Jonathan (1996). World Sound Matters: An Anthology of Music from around the

World. London: Schott.TITON, Jeff Todd ed. (2002). Worlds of Music: An Introduction to the Music of the Worlds

Peoples. Fourth Edition. Belmont: Wadsworth Group/ Thomson Learning.WADE, Bonnie C. (2004). Thinking Musically: Experiencing Music, Expressing Culture. Oxford:

Oxford University Press.

WADE, Bonnie C. and Patricia Shehan Campbell eds. (2004). Global Music Series. (variousseparate titles). Oxford: Oxford University Press.

Other great reference books

Garland Encyclopedia of World MusicNew Grove Dictionary of Music and MusiciansSouth African Music EncyclopediaBROUGHTON, Simon et al. (eds.):World Music vols. 1 & 2 (Rough Guides, 1999).The British Journal of Ethnomusicology, Ethnomusicology, and World of Musicare also greatresources.See also the online journal Music and Anthropologyat

ETHNOMUSICOLOGY - RELATED

ABRAHAM, Gerald: The Tradition of Western Music (London, 1974)BAINES, Anthony (ed): Musical Instruments through the Ages (London, 1961)BAINES, Anthony: The Oxford Companion to Musical Instruments (Oxford, 1992)BALLENTINE, C.: Music and Its Social Meanings (New York, 1984)BARZ, Gregory F. & Timothy J. Cooley (eds.): Shadows in the Field: New Perspectives on

Fieldwork in Ethnomusicology (Oxford University Press, 1997).BLACKING, John: How Musical is Man? (Faber, 1976)BLACKING, John: Music, Culture and Experience (Chicago, 1995)BLACKING, John: The Study of Folk Music in the Modern World (Indianapolis, 1988)BRAILOIU, Constantin: Problems of Ethnomusicology (Cambridge University Press, 1984)BAUMANN, Max Peter (ed): World Music, Musics of the World: Aspects of Documentation,


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Mass Media and Acculturation (Florian Noetzer Verlag, 1992)BAUMANN, Max Peter et al (eds): European Studies in Ethnomusicology: Historical

Developments and Recent Trends (Wilhelmshaven, 1992)BAUMANN, Max Peter (ed): Music in the Dialogue of Cultures Traditional Music and

Cultural Policy (Wilhelmshaven, 1991)

BLUM, Stephen, Philip V. BOHLMAN and Daniel M. NEUMAN (eds): Ethnomusicology andModern Music History (Illinois, 1991)

BOHLMAN, Philip V.: Comparative Musicology and Anthropology of Music: Essays on theHistory of Ethnomusicology (Chicago, 1991)

BOWRA, C.M.: Primitive Song (New York, 1962)BRILOIU, Constantin: Problems of Ethnomusicology (Cambridge, 1984)BUCHNER, Alexander: Folk Music Instruments of the World (Prague, 1972)BUCKLEY, Ann: Hearing the Past Essays in Historical Ethnomusicology and the Archeology

of Sound (Liege, 1998)COHEN, Ronald D. (ed):Alan Lomax Selected Writings 1934 1997 (New York, 2003)CROSSLEY-HOLLAND, Peter (ed): Proceedings of the Centennial Workshop on

Ethnomusicology (California, 1974)DEVALE, Sue Carole (ed.): Issues in Organology(University of California Press, 1990).DOURNON, Genevieve: Guide for the Collection of Traditional Musical Instruments (Paris,

1981)EVERITT, Anthony:Joining in an Investigation into Participatory Music (London, 1997)FALCK, Robert and Timothy RICE (eds): Cross-cultural perspectives on Music (Toronto, 1982)FRISBIE, Charlotte J. (ed): Explorations in Ethnomusicology (Informal Coordinators, Detroit,

1986)GEIRINGER, Karl: Musical Instruments (London, 1945)GREEN, Lucie: Music in Society: Music on Deaf Ears (Manchester, 1988)HARRISON, F.: European Musical Instruments (London, 1964)

HENETEK, Ursula et al (eds): Manifold Identities Studies in Music and Minorities (London,2004)HERNDON, Marcia & ZIEGLER, Susanne (eds.): Music, Gender and Culture (Florian Noetzel

Verlag, 1990). ML82.M77 1990HOBSBAWM, Eric & RANGER, Terence (ed.): The Invention of Tradition (Cambridge

University Press, 1992).HOOD, Mantle: The Ethnomusicologist (McGraw-Hill Book Co., 1971).JENKINS, Jean (ed): Ethnic Musical Instruments (London, 1970)KAEMMER, JOHN E.: Music in Human Life (University of Texas Press, 1993).KARTOMI, Margaret J.: On Concepts and Classifications of Musical Instruments (Chicago,

1990)

KARTOMI, Margaret J. and Stephen Blum (eds): Music Cultures in Contact: Convergences andCollisions (Gordon & Breach, 1994)KAUFMANN, Walter: Selected Musical Terms of Non-Western Cultures: A Notebook-Glossary

(Michigan, 1990)KEIL, Charles and Steven FELD: Music Grooves (Chicago, 1994)KOSKOFF, Ellen (ed.): Women and Music in Cross-Cultural Perspective (Greenwood Press,

1987). ML82.W63 1987KUNST, Jaap: Ethnomusicology (The Hague, 1974)LEPPERT, Richard: Music and Society (Cambridge, 1987)LEVINE-WHITE, A.: Lost in Music, Culture, Style and the Musical Event (London, 1987)LOMAX, Alan: Folk Song Styles and Culture (Transaction Pub, 1994)MALM, Krister and Roger WALLIS: Media Policy & Music Activity (London, 1992)MARZAC-HOLLAND, Nicole: Selected Reports in Ethnomusicology Vol. IV (California, 1983)


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MERRIAM, Alan P.: The Anthropology of Music (Northwestern University Press, 1964).MIDGLEY, Ruth (ed): Musical Instruments of the World (London, 1976)MYERS, Helen (ed.): Ethnomusicology: An Introduction (New Grove Handbooks in Music;

MacMillan, 1992).MYERS, Helen (ed): Ethnomusicology Historical and Regional Studies (London, 1993)

NERCESSIAN, Andy: Postmodernism and Globalization in Ethnomusicology AnEpistemological Problem (Maryland, 2002)

NETTL, Bruno: The Study of Ethnomusicology: Twenty-nine Issues and Concepts(Universityof Illinois Press, 1983).

______: Ethnomusicology (Theory and Method) (Illinois, 1964)______: Encounters in Ethnomusicology a Memoir (Michigan, 2002)______: The Western Impact on World Music: Change, Adaptation and Survival (Schirmer

Books, 1985).______: Folk and Traditional Music of the Western Continents (Illinois, 1965)______: Music in Primitive Culture (Harvard, 1956)______: Reference Materials in Ethnomusicology (Illinois, 1967)

NETTL, Bruno and Philip V. Bohlman (eds): Comparative Musicology and the Anthropology ofMusic (University of Chicago Press, 1991)PESCATELLO, Ann M.: Charles Seeger A Life in American Music (Pittsburgh, 1992)POST, Jennifer C.: Ethnomusicology A Guide to Research (New York, 2004)RAULT, Lucie: Musical Instruments A Worldwide Survey of Traditional Music Making

(London, 2000)REICHL, Karl (ed): The Oral Epic: Performance and Music (Bamberg, 2000)SACHS Curt: The Wellsprings of Music (Martin Nijhoff, 1962).SCHUURSMA, Ann Briegleb: Ethnomusicology Research A Select Annotated Bibliography

(New York, 1992)SEEGER, Anthony: Studies in Musicology 1935-75 (California, 1976)

SHELEMAY, Kay Kaufman:A Century of Ethnomusicological Thought (New York, 1990)________: Musical Processes, Resources and Technologies (New York, 1990)________: Music as Culture (New York, 1990)SHELEMAY, Kay Kaufman (ed): The Garland Library of Readings in Ethnomusicology (7 vols.)

(Garland, 1990)SHEPHERD, John: Music as Social Text (Cambridge, 1991)SLOBIN, Mark: Micromusics of the West (New England, 1993)SMALL, Christopher: Music, Society, Education (London, 1977)STOKES, Martin (ed.): Ethnicity, Identity and Music: The Musical Construction of Place (Berg,

1994).STONE, Ruth M. (ed): The Garland Encyclopedia of World Music Volume 10: The Worlds

Music: General Perspectives and Reference Tools (New York, 2002)SUPICIC, Ivo: Music in Society: A Guide to the Sociology of Music (New York, 1987)VANMAANEN, John: Tales of the Field: On Writing Ethnography (Chicago: The University of

Chicago Press, 1988)VARIOUS: Essays for a Humanist An Offering to Klaus Wachsmann (New York, 1977)World of Musicvol. 33 (2), 1991: special issue on Women in Music and Music ResearchYUNG, Bell and Helen REES (eds): Understanding Charles Seeger, Pioneer in American

Musicology (Illinois, 1999)

ETHNOMUSICOLOGICAL FIELDWORK

I would like to draw your attention to the following chapters in:

MYERS, Helen (ed.): Ethnomusicology : An Introduction (New Grove Handbooks in Music:


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MacMillan, London, 1992) [Reference / Shankland Reading Room: ML3799.E82]

Ch. 2 Fieldwork (Helen Myers)Ch. 5 Transcription (Ter Ellingsen)Ch. 6 Notation (Ter Ellingsen)

Ch. 13 Ethical Issues (Mark Slobin)Ch. 14 Gender and Music (Margaret Sarkissian)Ch. 17 Recent Directions in Ethnomusicology (Bruno Nettl)

... and to the following chapters in:

NETTL, Bruno: The Study of Ethnomusicology: Twenty-nine Issues and Concepts [on Rota]

Ch. 6 I cant say a thing until Ive seen the score (transcription)Ch. 7 In the speech mode (transcription)Ch. 18 Come back and see me next Tuesday (fieldwork)Ch. 20 Hanging on for dear life (fieldwork)

Ch. 22 What do you think youre doing? (fieldwork)

AFRICA

AGAWU, Victor Kofi: African Rhythm: A Northern Ewe Perspective (Cambridge UniversityPress, 1995)

AGAWU, Victor Kofi: Representing African Music: Postcolonial Notes, Queries, Positions(Routledge, 2003).

AKPABOT, Samuel Ekpe: Foundation of Nigerian Traditional Music (Nigerian, 1986)AROM, Simha: African Polyphony and Polyrhythm(Cambridge University Press, 1991)ASKEW, Kelly M.: Performing the Nation: Swahili Music and Cultural Politics in Tanzania

(University of Chicago Press, 2002).

BALLANTINE, Christopher John: Marabi Nights: Early South African Jazz and Vaudeville(Raven Press, Johannesburg, 1993)BALLANTINE, Christopher: Joseph Shabalala: chronicles of an African composer, in British

Journal of Ethnomusicologyvol. 5 (1996).BARLEY, Nigel: The Innocent Anthropologist: Notes from a Mud Hut (Penguin, 1986)BARZ, Gregory F.: Music in East Africa : experiencing music, expressing culture(OUP, 2004)BAUMANN, Max Peter (ed.): World Music, Musics of the World: Aspects of Documentation,

Mass Media and Acculturation (Florian Noetzer Verlag, 1992)BAUMANN, Max Peter (ed.): Music in the Dialogue of Cultures: Traditional Music and

Cultural Policy(Florian Noetzel Verlag, 1991)BEBEY, Francis: African Music: A Peoples Art (Harrap, 1975)

BENDER, Wolfgang: Sweet Mother: Modern African Music (University of Chicago Press,1991)BERLINER, Paul F.: The Soul of Mbira: Music and Traditions of the Shona People of Zimbabwe

(University of Chicago Press, 1993)BLACKING, John: Venda Childrens Songs: A Study in Ethnomusicological Analysis (University

of Chicago Press, 1967)BRANDEL, Rose: The Music of Central Africa: An Ethnomusicological Study (Martinus

Nijhoff, 1973)BRINCARD, Marie-Thrse (ed.): Sounding Forms: African Musical Instruments (American

Federation of Arts, 1989)BROUGHTON, Simon et al. (eds.): World Music: The Rough Guide, vol. 1 (1999).CHARRY, Eric S.: Mande Music: Traditional and Modern Music of the Mandinka of Western

Africa (University of Chicago Press, 2000)


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CHERNOFF, John Miller: African Rhythm and African Sensibility: Aesthetics and Social Actionin African Musical Idioms (University of Chicago Press, 1981)

COPLAN, David: In Township Tonight! South Africas Black City Music and Theatre(Longman, 1985)

COPLAN, David B.: In the Time of Cannibals: The Word Music of South Africas Basotho

Migrants (University of Chicago Press, 1994)DAGAN, Esther: Drums : The Heartbeat of Africa (Montreal, 1993)DURAN, Lucy: Birds of Wassulu: freedom of expression and expressions of freedom in the

popular music of Southern Mali, in British Journal of Ethnomusicologyvol. 4 (1995).ERLMANN, Veit: Nightsong: Performance, Power, and Practice in South Africa(University of

Chicago Press, 1996)ERLMANN, Veit: African Stars: Studies in Black South African Performance (University of

Chicago Press, 1991)ERLMANN, Veit: Music, Modernity, and the Global Imagination: South Africa and the West

(Oxford University Press, 1999)EUBA, Akin: Essays on Music in Africa (Bayreuth African Studies, vol. 1: 1988, vol. 2: 1999)

EUBA, Akin: Yoruba Drumming: The Dndn Tradition (Elekoto Music Centre, Lagos, 1990)EWENS, Graeme:Africa o-ye! A Celebration of African Music (Da Capo Press, 1992)FANSHAWE, David: African Sanctus: A Story of Travel and Music (Quadrangle - New York

Times Book Co., 1975)FLOYD, Malcolm: Composing the Music of Africa: Composition, Interpretation and

Realisation (Ashgate, 1998)FLOYD, Samuel A.: The Power of Black Music: Interpreting its History from Africa to the

United States(Oxford University Press, 1995)FRITH, Simon (ed.): World Music, Politics and Social Change (Manchester University Press,

1989). [ML3795 .W58 1989] - Ch. 1: Popular Music in West Africa (Colins &Richards).

GASKIN, L.J.P.:A select Bibliography of Music in Africa (London, 1965)GRAHAM, Ronnie (ed.): The World of African Music (Pluto Press, 1992)GRAY, John: African Music A Bibliographical Guide to the Traditional, Popular, Art, and

Liturgical Musics of Sub-Saharan Africa (New York, 1991)GUNDERSON, Frank & Barz, Gregory F. (eds): Mashindano!: Competitive Music Performance

in East Africa(Mkuki Na Nyota Publishers, 2000).HALE, Thomas A.: Griots and Griottes: Masters of Words and Music (Indiana University

Press, 1998)HAMM, Charles: Putting Popular Music in its Place (Cambridge University Press, 1995) -

includes chapters on South Africa, Radio Bantu and Graceland.JACKSON, Irene V. (ed.): More than Dancing: Essays on Afro-American Music and Musicians

(Greenwood Press, 1985)JACKSON, Irene V. (ed.): More than Drumming: Essays on African and Afro-Latin AmericanMusic and Musicians (Greenwood Press, 1985)

JAMES, Willis Lawrence: Stars in de Elements A Study of Negro Folk Music (Durham, 1995)JONES, A. M.: Studies in African Music (Oxford University Press, 1959) - 2 vols.KROLYI, Ott: Traditional African and Oriental Music (Penguin, 1988) [ML350.K28]KEBEDE, Ashenafi: Roots of Black Music: The Vocal, Instrumental and Dance Heritage of

Africa and Black America (African World Press, 1995)KIRBY, Percival R.: The Musical Instruments of the Native Races of South Africa

(Johannesburg, 1968)KISLIUK, Michelle: Seize the Dance!: BaAka Musical Life and the Ethnography of

Performance (Oxford University Press, 1998)KOFIE, Nicholas: Contemporary African Music in World Perspective: Some Thoughts on


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in Popular Musicvol. 15/3 (1996).GRADENWITZ, Peter: The Music of Israel (Oregon, 1996)HERNDON, Marcia & ZIEGLER, Susanne (eds.): Music, Gender and Culture (Florian Noetzel

Verlag, 1990) - See especially Susanne Ziegler: Gender-Specific TraditionalWedding Music in Southwestern Turkey; Ursula Reinhard: The Veils are Lifted:

Music of Turkish Women.KAROLYI, Otto: Traditional African and Oriental Music (Penguin, 1998)LANGLOIS, Tony: The local and global in North African popular music, in Popular Musicvol.

15/3 (1996).MOUSTAFA, Gadalla: Egyptian rhythm: the heavenly melodies (Tehuti Research Foundation,

c2002)NELSON, Kristina: The art of reciting the Quran (American University in Cairo Press, 2001)NIEUWKERK, Karin van: A trade like any other : female singers and dancers in Egypt

(University of Texas Press, 1995)NULMAN, Macy: Concise Encyclopedia of Jewish Music (USA, 1975)POLIN, Clair C. J.: Music of the Ancient Near East (Westport, Conn., Greenwood Press, 1974,

c1954RIMMER, J.:Ancient Musical Instruments of Western Asia (London, 1969)SAKATA, Hiromi Lorraine: Music in the Mind The Concepts of Music and Musician in

Afghanistan (Washington, 2002)SCHADE-POULSEN, Marc: Men and Popular Music in Algeria: The Social Significance of Rai

(University of Texas Press, 1999)SCHADE-POULSON, Marc: The power of love: rai music and youth in Algeria Youth cultures:

a cross-cultural perspective, eds. Vered Amit-Talai and Helena Wulff (Routledge,1995)

SHELEMAY, Kay Kaufman: Let jasmine rain down : song and remembrance among SyrianJews (University of Chicago Press, c1998)

SHILOAH, Amnon: Music in the World of Islam (Scolar Press, 1995)SHILOAH, Amnon: The theory of music in Arabic writings (c. 900 1900) (G. Henle VerlagMunich, 2003)

TOUMA, Habib Hassan: The Music of the Arabs (Amadeus Press, 1996)ZUHUR, Sharifa (ed): Images of enchantment: visual and performing arts of the Middle East

(American University in Cairo Press, 1998)

SOUTH ASIA INDIA

ARNOLD, Alison (ed): The Garland Encyclopedia of World Music Volume 5: South Asia: TheIndian Subcontinent (Efrog Newydd/New York, 2000)

BLUM, Stephen, Philip V. Bohlman, Daniel M. Neuman (eds): Ethnomusicology and modern

music history (University of Illinois Press, 1991)CLAYTON, Martin: Time in Indian music : rhythm, metre, and form in North Indian ragperformance(OUP, 2000)

DANIELOU, Alain: The ragas of Northern Indian music (London Barrie & Rockliff the CressetP, 1968)

DESAI, Jigna: Beyond Bollywood : the cultural politics of South Asian diasporic film(Routledge, 2004)

DESHPANDE, Vamanrao: Indian Musical Traditions (Bombay, 1973)DUDRAH, R. K.: Bollywood: A Sociological Reading of Film(Sage, 2005)FARRELL, Gerry: Indian Music and the West (Oxford University Press, 1997). ML338.F37

1997FARRELL, Gerry: Indian music in education (Cambridge, 1990)FLOYD, Leela: Indian Music (OUP, 1980)


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GANTI, Tejaswini: Bollywood : a guidebook to popular Hindi cinema(Routledge, 2004)GRITTON, Peter: Folk Songs from India (Faber Music, 1993)HOLROYDE, Peggy: Indian music a vast ocean of promise (London Allen and Unwin, 1972)JOSHI, Baburao: Understanding Indian music(Greenwood Press, 1974)JUNIUS, Manfred: The Sitar the instrument and its technique (Amsterdam, 1974)

KABIR, Nasreen: Bollywood : the Indian cinema story(Channel 4 Books, 2001)MANUEL, Peter: Cassette Culture: popular music and technology in North India (Chicago,

1993)MASSEY, Reginald and Jamila: The Music of India (London, 1976)MINER, Allyn: Sitar and Sarod in the 18thand 19thCenturies (Berlin, 1993)MISHRA, Vijay: Bollywood cinema : temples of desire(Routledge, 2002)NIJENHUIS, Emmie te: Indian music: history and structure (Brill, 1974)PESCH, Ludwig: The illustrated companion to South Indian classical music (OUP, 1999)RITWIK, Sanyal and Richard Widdess: Dhrupad: tradition and performance in Indian music

(Asghate, 2004)ROWELL, Lewis: Music and musical thought in early India (University of Chicago Press, 1992)

SANYAL, Ritwik and Richard WIDDESS: Dhrupad Tradition and Performance in Indian Music(Hampshire, 2004)STRANGEWAYS, Fox: The Music of Hindostan (Oxford, 1914)VISWANATHAN, T. and M.H. ALLEN: Music in South India (Oxford, 2004)WIDDESS, Richard: The ragas of early Indian music : modes, melodies, and musical notations

from the Gupta period to c. 1250 (OUP, 1995)WIDDESS, R. and WOLPERT: Music and Tradition (Cambridge, 1981)WOODFIELD, Ian: Collecting Indian Songs in late 18th-century Lucknow: problems of

transcription, British Journal of Ethnomusicology vol. 3, 1994, pp. 73-88.

SOUTHEAST ASIA Malaysia, Thailand, Indonesia

BAKAN, Michael B.: Music of death and new creation: experiences in the world of Balinesegamelan beleganjur (University of Chicago Press, 1999)HERBST, Edward: Voices in Bali Energies and Perceptions in Vocal Music and Dance Theatre

(New England, 1997)HOOD, Mantle: The evolution of Javanese gamelan (Peters, 1980)KUNST, Jaap: Music in Java: its history, its theory and its technique (Nijhoff, 1973)LINDSAY, Jennifer:Javanese gamelan (OUP, 1979)MATUSKY, Patricia and Tan Sool BENG: The Music of Malaysia (Hampshire, 2004)MCPHEE, Colin: Music in Bali : a study in form and instrumental organization in Balinese

orchestral music(Da Capo Press, 1976)MILLER, Terry and Sean WILLIAMS (eds): The Garland Encyclopedia of World Music Volume

4: Southeast Asia (New York, 1998)MORTON, David: The Traditional Music of Thailand (California, 1976)SORRELL, Neil: A Guide to the Gamelan(Faber and Faber, 1990).SPILLER, Henry: Gamelan : the traditional sounds of Indonesia (Santa Barbara, Calif. : ABC-

CLIO, c2004)SUMARSAM: Gamelan : cultural interaction and musical development in central Java

(University of Chicago Press, 1995)SUTTON, Richard Anderson: Traditions of gamelan music in Java : musical pluralism and

regional identity(Cambridge University Press, 1991)TAYLOR, Eric: Musical Instruments of South East Asia (Oxford, 1989)TENZER, Michael: Balinese music (University of Washington, 1991)TENZER, Michael: Gamelan gong kebyar : the art of twentieth-century Balinese music

(University of Chicago Press, 2000)


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EAST ASIA China, Japan, Korea

DEFERRANTI, Hugh:Japanese Musical Instruments (Oxford, 2000)JONES, Stephen: Folk music of China : living instrumental traditions(OUP, 1994)LIEBERMAN, Fredric: Chinese music : an annotated bibliography(Garland Pub, 1979)MALM, William P.: Music cultures of the Pacific, the Near East, and Asia (Englewood Cliffs,

N.J. : Prentice-Hall, c1977)_____: Traditional Japanese Music and Musical Instruments (Tokyo, 2000)MINGYUE, Liang: Music of the Billion: An Introduction to Chinese Musical Culture (New York,

1985)MU, Yang: Chinese Musical Instruments (Auckland, 1993)PRATT, Kieth: Korean Music Its History and its Performance (London, 1987)PROVINE, TOKUMARU, WITZLEBEN (eds): The Garland Encyclopedia of World Music

Volume 7: East Asia: China, Japan and Korea (New York, 2002)SHEN, Sin-yan: Chinese music and orchestration : a primer on principles and practice

(Chicago, USA : Chinese Music Society of North America, 1991)WADE, Bonnie C.: Music in Japan (OUP, 2005)

WITZLEBEN, J. Lawrence: Silk and Bamboo Music in Shanghai the Jiangnan SizhuInstrumental Ensemble Tradition (Ohio, 1995)

AMERICA & AUSTRALIA, PACIFIC

AVERILL, Gage:A Day for the Hunter, a day for the prey: popular music and power in Haiti(Chicago, 1997)

BEHAGUE, Gerard: Music in Latin America (New Jersey, 1979)CAUTHEN, Joyce H.: With Fiddle and Well-Rosined Bow A History of Old-Time Fiddling in

Alabama (Alabama, 1989)COLLAER, Paul: Music of the Americas (New York, 1973)COOK, Harold, E.: Shaker Music: A Manifestation of American Folk Culture (New Jersey,

1973)COURLANDER, Harold: Negro Folk Music in the USA (Columbia, 1963)DENSMORE, Frances: Cheyenne and Arapaho Music (California, 1964)

__________: Chippewa Music II (Washington, 1913)__________: Menominee Music (Washington, 1932)__________: Nootka and Quileute Music (Washington, 1939)__________: Northern Ute Music (Washington, 1922)__________: Papago Music (Washington, 1929)__________: Pawnee Music (Washington, 1929)__________: Teton Sioux Music and Culture (London, 1992)__________: Seminole Music (Washington, 1956)

__________: Yuman and Yaqui Music (Washington, 1932)DIAMOND, Beverley, M.S. CRONK, F. VONROSEN: Visions of Sound Musical Instruments ofFirst Nations Communities in Northeastern America (Chicago, 1994)

ELLIS, Catherine J.:Aboriginal Music Education for Living (Queensland, 1985)EWBANK, Alison J. and Fouli T. PAPAGEORGIOU (eds): Whose master's voice? : the

development of popular music in thirteen cultures(Greenwood Press, 1997)FRYER, Peter: Rhythms of resistance : African musical heritage in Brazil(Pluto, 1999)IZIKOWITZ, K.G.: Musical and other Sound Instruments of the South American Indians

(Sweden, 1970)JACKSON, Irene V.: More than drumming : essays on African and Afro-Latin American music

and musicians(Westport, Conn. : Greenwood Press, 1985)KAEPPLER, Adrienne L. and J. Wainwright LOVE (eds): The Garland Encyclopedia of World

Music Volume 9: Australia and the Pacific Islands (New York, 1998)


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KEELING, Richard (ed): Women in North American Indian Music: Six Essays (Indiana, 1989)KOSKOFF, Ellen (ed): The Garland Encyclopedia of World Music Volume 3: The United

States and Canada (New York, 2001)KURATH, Gertrude Prokosch: Iroquois Music and Dance: Ceremonial Arts of Two Seneca

Longhouses (Washington, 1964)

_______: Tutelo Rituals on Six Nations Reserve, Ontario (Michigan, 1981)KUSS, Malena (ed): Music in Latin America and the Caribbean (Texas, 2004)LARKIN, Colin (ed): The Virgin encyclopedia of reggae (London : Virgin in association with

Muze UK, 1998)LAWS, G. Malcolm Jr: Native American Balladry (Texas, 1964)MANUEL, Peter L.: Caribbean currents : Caribbean music from rumba to reggae (Temple

University Press, 1995)MCGOWAN, Chris: The Brazilian sound : samba, bossa nova, and the popular music of Brazil

(Temple University Press, 1998)MCLEAN, Mervyn: Weavers of Song Polynesian Music and Dance (Auckland, 1999)MILLER, Terry E.: Folk Music in America A Reference Guide (New York, 1986)

MOYLE, Alison Marshall (ed): Music and Dance of Aboriginal Australia and the South Pacific The Effects of Documentation on the Living Tradition (Sydney, 1992)MOYLE, Richard M.:Alyawarra Music Songs and Society in a Central Australian Community

(Canberra, 1986)_________: Traditional Samoan Music (Auckland, 1988)_________: Tongan Music (Auckland, 1987)MURRELL, Nathaniel Samuel, William David SPENCER, and Adrian Anthony MCFARLANE

(eds): Chanting down Babylon : the Rastafari reader(Temple University Press, 1998)OLSEN, Dale A.: Music of the Warao of Venezuela (Florida, 1996)OLSEN, SHEEHY (eds): The Garland Encyclopedia of World Music Colume 2: South America,

Mexico, Central America, and the Caribbean (New York, 1998)

____________: The Garland Handbook of Latin American Music (New York, 2000)ROMERO, Raul R.: Debating the Past Music, Memory and Identity in the Andes (Oxford,2001)

SEEGER, Anthony: Why Suya Sing: a musical anthropology of an Amazonian people(Cambridge University Press, 1987)

SEEGER, Ruth Crawford: The Music of American Folk Song (New York, 2001)SHAW, Lisa: The social history of the Brazilian samba (Ashgate, 1999)SOUTHERN, Eileen: The Music of Black Americans (New York, 1997)SOUTHERN, Eileen and Josephine WRIGHT: Images Iconography of Music in Black African-

American Culture (1770s-1920s) (New York, 2000)STEVENSON, Robert: Music in Aztec and Inca Territory (Los Angeles, 1968)

THOMPSON, Donald (ed): Music in Puerto Rico (London, 2002)TURINO, Thomas: Moving away from Silence: Music of the Peruvian Altiplano and theExperience of Urban Migration (Chicago, 1993)

VAN DER LEE, Pedro:Andean Music from Incas to Western Popular Music (Goeteborg, 2000)VIANNA, Hermano: The mystery of samba : popular music & national identity in Brazil

(Chapel Hill : University of North Carolina Press, c1999)WAXER, Lise: Situating salsa : global markets and local meanings in Latin popular music

(Routledge, 2002)WILKEN, Lois: The Drums of Vodou (Arizona, 1992)

EUROPE

ABRAMOVICH-GOMON, Alla: The Nenets Song A Microcosm of a Vanishing Culture(Hampshire, 1999)


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ALBURGER, Mary Anne: Scottish Fiddlers and their Music (London, 1983)ARMSTRONG, Bruce: The Irish and Highland Harps (Edinburgh, 1904)ATKINSON, David: The English Traditional Ballad (Hampshire, 2002)BAOSIN, Ethel: The Old Songs of Skye (London, 1977)BARTOK, Bela: Hungarian Folk Music (London, 1931)

____ Rumanian Folk Music, Vols 15 (The Netherlands, 1962)BELIAEV, Viktor M.: Central Asian Music (Wesleyan University, 1975)BITHELL, Caroline: Polyphonic voices: national identity, World Music and the recording of

traditional music in Corsica, in British Journal of Ethnomusicology vol. 5 (1996).____ review essay on Bernard Lortat-Jacobs Chants de Passion, in British Journal of

Ethnomusicology vol. 8 (1999).____ Telling a Tree by its Blossom: the Notion of a Traditional Music of the 21st Century

in Music and Anthropology vol.6 (2001). ____ Polyphony in the Corsican Tradition: Structure, Style, Contexts, Motivation, in

Problems of Folk Polyphony(V. Saradjishvili Tbilisi State Conservatoire, 2000) (copy incourse folder).

____ On the Playing Fields of the World (and Corsica): Politics, Power , Passion andPolyphony, in British Journal of Ethnomusicologyvol. 12/1 (2003).BLACKIE, John Stuart: Scottish Song its Wealth, Wisdom and Social Significance (Edinburgh,

1889)BOHLMAN, Philip V.: The Study of Folk Music in the Modern World (Indiana University Press,

1988)BOHLMAN, Philip V.: The Music of European Nationalism Cultural Identity and Modern

History (California, 2004)BOULLIER, Dianna: Exploring Irish Music and Dance (Dublin, 1998)BOYDELL, Brian (ed): Four Centuries of Music in Ireland (London, 1979)BOYES, G.: The Imagined Village: Culture, Ideology and the English Folk Revival (Manchester,

1993).BREATHNACH, Breandan: Folk Music and Dances of Ireland (Dublin, 1980)BROCKEN, Michael: The British Folk Revival 1944 2002 (Hampshire, 2003)CAMPBELL, J.L. (ed): Hebridean Folksongs (Oxford, 1969)CARLIN, Richard: English and American Folk Song (New York, 1987)CARRINGTON, Dorothy: Granite Island: A Portrait of Corsica(Penguin, 1984)CHASE, Gilbert: The Music of Spain (New York, 1941)COLLINSON, Francis: The Traditional and National Music of Scotland (London, 1966)COMOTTI, Giovanni: Music in Greek and Roman Culture (London, 1989)CONSTANTINE, Mary-Ann and PORTER, Gerald: Fragments and Meaning in Traditional Song

(Oxford, 2003)

COOKE, Peter: The Fiddle Tradition of the Shetland Isles (Cambridge, 1986)COWAN, Jane: Dance and the Body Politic in Northern Greece (Princeton University Press,1990)

COWDERY, James, R.: The Melodic Tradition of Ireland (Kent, 1990)COX, Gareth and Axel KLEIN (eds): Irish Musical Studies, Vols 1-3, 7 (Dublin, 1990-2003)CZECHANOWSKA, Anna: Polish Folk Music (Montreal, 1993)DAWE, Kevin: The engendered lyra : music, poetry and manhood in Crete, in British

Journal of Ethnomusicology vol. 5 (1996).____ Bandleaders in Crete: musicians and entrepreneurs in a Greek island economy, in

British Journal of Ethnomusicology vol. 7 (1998).____ Minotaurs or musonauts?: world music and Cretan music, in Popular Musicvol. 18

/2 (1999).____ Roots music in the global village: Cretan ways of dealing with the world at large, in


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The World of Musicvol. 42(3) (2000).DU BOULAY, Juliet: Portrait of a Greek Mountain Village(Clarendon Press, Oxford, 1974)EDWARDS, Gwynne: Flamenco (Thames and Hudson, 2000)EYDMANN, Stuart: The concertina as an emblem of the folk revival in the British Isles in

British Journal of Ethnomusicology vol. 4, 1995, pp. 41-49.

FINNEGAN, Ruth: The Hidden Musicians Music Making in an English Town (Cambridge,1989)

FLAM, Gila: Singing for Survival Songs of the Lodz Ghetto 1940-45 (Illinois, 1992)FLEISCHMANN, Aloys (ed): Sources of Irish Traditional Music c. 1600-1855, Vols. 1 and 2

(New York, 1998)FERRIS, W.: Folk Music and the Modern Sound (Jackson, 1982)GIBSON, John G.: Traditional Gaelic Bagpiping (Montreal, 1998)GLASSIE, IVES, SZWED: Folksongs and their Makers (Ohio, 1968)GOERTZEN, Chris: Fiddling for Norway Revival and Identity (Chicago, 1997)HAAS, Ken and Gwynne EDWARDS: Flamenco!(London, 2000)HARKER, D.: Fakesong: The Manufacture of British Folksong (Oxford University Press,

1975).HERNDON, Marcia & ZIEGLER, Susanne (eds.): Music, Gender and Culture (Florian NoetzelVerlag, 1990) - See especially Ankica Petrovic: Women in the Music CreationProcess in the Dinaric Cultural Zone of Yugoslavia.

HERZFELD, Michael: The Poetics of Manhood: Contest and Identity in a Cretan MountainVillage (Princeton University Press, 1985)

HICKEY, Donal: Stone Mad for Music The Silabh Luachra Story (Dublin, 1999)HODGSON, Antony: Scandinavian Music (London, 1984)HOLST-WARHAFT, Gail: Road to Rembetika: Music of a Greek Subculture: Songs of Love,

Sorrow and Hashish (D. Harvey, Athens, 1994)HOLST-WARHAFT, Gail: Dangerous Voices: Womens Laments and Greek Literature

(Routledge, 1995)HOPKINS, Pandora:Aural Thinking in Norway (New York, 1986)HORTON, John: Scandinavian Music and short History (London, 1963)HOWES, Frank: Folk Music of Britain and Beyond (London, 1969)KARPELES, Maud:An Introduction to English Folk Song (New York, 1973)KOSKOFF, Ellen (ed.): Women and Music in Cross-Cultural Perspective (Greenwood Press,

1987) - See Susan Auerbach: From Singing to Lamenting: Womens Musical Role ina Greek Village; Patricia K. Shehan: Balkan Women as Preservers of TraditionalMusic and Culture.

KOO, Eno:Albanian Urban Lyric Song in the 1930s(Scarecrow Press, 2004)KODALY, Zoltan: Folk Music of Hungary (London, 1960)

LANGE, Barbara Rose: Hungarian Rom (Gypsy) political activism and the development offolklorensemble music in World of Musicvol. 39 (3), 1997, pp. 5-30.LANGE, Kristian: Norwegian Music (London, 1958)LANIER, S.C.: It is new-strung and shant be heard: nationalism and memory in the Irish

harp tradition in British Journal of Ethnomusicology vol. 8, 1999, pp. 1-26.LEBLON, Bernard: Gypsies and Flamenco(University of Hertford Press, 2003)LEE, Edward: Music of the People Popular Music of Great Britain (Bristol, 1970)LEVIN, Theodore: The Hundred Thousand Fools of God Musical Travels in Central Asia

(Indiana, 1996)LING, Jan:A History of European Folk Music (Sweden, 1997)LLOYD, A.L.: Folk Song in England (London, 1967)LORTAT-JACOB, Bernard: Sardinian Chronicles (University of Chicago Press, 1995)MACAOIDH, Caoimhin: Between Jigs and Reels (Manorhamilton, 1994)


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MACDONALD, Sharon (ed.): Inside European Identities: Ethnography in Western Europe(Berg, 1993).

MACKENZIE, Bridget: Piping Traditions of the North of Scotland (Edinburgh, 1998)MACKERNESS, E.D.:A Social History of English Music (London, 1964)MACKINNON, Niall: The British Folk Music Scene Musical Performance and Social Identity

(Buckingham, 1993)MAGRINI, Tullia (ed): Music and Gender: Perspectives from the Mediterranean(University of

Chicago Press, 2003) - Includes CBs chapter A mans game? Engendered song andthe changing dynamics of musical activity in Corsica.

MARIAN-BALASA, Marin: Birds in cages still sing well: an introduction to the musicalanthropology of Romanian jails in Ethnomusicologyvol. 46 (2), 2002, pp. 250-264.

MCCANN, May: Music and Politics in Ireland: the specificity of the folk revival in Belfast inBritish Journal of Ethnomusicology vol. 4, 1995, pp. 51-75.

MCCARTHY, Marie: Passing it on: The transmission of music in Irish culture (Cork, 1999)MELHUISH, Martin: Celtic Tides: Traditional Music in a New Age (Quarry Press, 1998).MITCHELL, Timothy: Flamenco Deep Song (Yale University Press, 1994)

MOISALA, Pirkko & DIAMOND, Beverley (eds): Music and Gender (University of Illinois Press,2000) - See CERIBASIC, Naila: Defining Women and Men in the Context of War:Images in Croatian Popular Music in the 1990s.

MUNRO, Ailie: The Democratic Music Folk Music Revival in Scotland (Scotland, 1996)OCANAINN, Tomas: Traditional Music in Ireland (London, 1978)ONIELL, Capt. Francis: Irish Folk Music (Pennsylvania, 1973)PEGG, Carole: Mongolian Music, Dance & Oral Narrative (Washington, 2001)PETTAN, REYES, KOMAVER: Music and Minorities (Ljubljana, 2001)PETTAN, Svanibor (ed.): Music, Politics, and War: Views from Croatia(Zagreb, 1998).PETROPOULOS, Elias: Songs of the Greek Underworld: A Rebetika Tradition (SAQI, 2000)PICKERING, Michael: Village Song and Culture (London, 1982)

PINA-CABRAL, Joo de & CAMPBELL, John (eds.): Europe Observed (Macmillan, 1992) -Includes papers on anthropological fieldwork in Greece, Crete, Italy and Andalusia.PINE, Richard (ed): Music in Ireland 1848-1998 (Colorado, 1998)PLASTINO, Goffredo (ed): Mediterranean Mosaic: Popular Music and Global Sounds

(Routledge, 2003)PORTER, James: The Traditional Music of Britain and Ireland: A Research Guide (New York,

1990)PRATT, R.:A Dictionary of Old English Music and Musical Instruments (London, 1923)PROCTOR, David: Music of the Sea (London, 1992)PROKHOROV, Vadim: Russian Folk Songs Musical Genres and History (Maryland, 2002)PURSER, John: ScotlandsMusic (Edinburgh, 1992)

RAMNARINE, Tina K.: Ilmatars Inspirations Nationalism, Globalisation, and the ChangingSoundscapes of Finnish Folk Music (Chicago, 2003)RASMUSSEN, Ljerka V. Newly Composed Folk Music of Yugoslavia(Routledge, 2002)REICHL, Karl (ed): The Oral Epic: Performance and Music(VWP, 2000)REUER, Bruno B. (ed): New Centuries, Old Sounds? Cultural Identity and Social Change in

Southeastern Europe (Muenchen, 1999)RICE, Timothy: May It Fill Your Soul: Experiencing Bulgarian Music (University of Chicago

Press, 1994).RICE, Timothy: Reflections on music and meaning: metaphor, signification, and control in

the Bulgarian case in British Journal of Ethnomusicologyvol. 10/1, 2001, pp. 19-38.ROSENBERG, Neil V. (ed.): Transforming Tradition: Folk Music Revivals Examined (University

of Illinois Press, 1993).RUSSELL, Ian (ed): Singer, Song and Scholar (Sheffield, 1986)


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Understanding Popular Music. Questions Mean rating

Q1. Clear information was provided about the content of the module (eg in themodule handbook, on Blackboard)

4.36

Q2. Teaching materials (eg handouts and resources on Blackboard) are useful 4.64

Q3. Academic staff are generally supportive 4.55

Q4. The wa

4014POP Module Handbook Updated Sep 11

Documents

Transcript of 4014POP Module Handbook Updated Sep 11