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Conrad Grebel University College University of Waterloo Department of Music

!MUSIC 390/391: MUSIC AND RITUAL

Fall 2014

Class Time: M & W 10:30am-12:00pm Location: CGUC 1301 Instructor: Prof. Maisie Sum Office: CGUC 1102 Office Hours: M 2:00-4:00pm, T 2:30-3:00pm, Th 2:30-3:00pm, or by appointment Office Phone: 519-885-0220 x24219 Email: msum@uwaterloo.ca (respond within 48hrs, unless otherwise indicated) Course Description: Music is imbued with power and intention. In ritual, music plays an integral role in the structure and process of events. As ritualized practice, music—its sound, context, and meaning—transforms as the circumstances of a society or generation changes. This upper-level course examines perspectives, dimensions and functions of music and ritual, as well as their interactions, connections and transformations; investigates music and ritual traditions from societies including but not limited to Cuba, India, Indonesia Morocco, New Zealand, Canada, and more; considers music as a ritualized practice through the works of Cage, Schafer and Part; and provides a forum in which to reflect on your own and people’s experiences of music and ritual. You will also be given an opportunity to create a new ritual that incorporates aspects of music (nature and spirituality) and ritual attributes, structure and process and social functions. Throughout the course a variety of discourse will be used—classic and recent literature, newspaper articles, ethnographic studies, internet sources, AV material including documentary film clips. Class time will combine lectures, discussion, student presentations, musical activity (listening, viewing, participation), and guest lectures. Prerequisite: MUSIC 100 and departmental consent.

Required Materials: (must have access to LEARN, no purchases necessary) 1. Assigned reading available as electronic resources on LEARN (link to Course e-Reserves OR uploaded

under Course Materials/Content/*) [free access] 2. Assigned listening available on/via LEARN (under Course Materials/Content/* OR internet links-details

below), some are found only on reserve in the CGUC Library (3rd Floor) • Bakan, Michael. 1999. Music of Death and New Creation. Chicago: University of Chicago Press.

(companion CD with book [ML345.I5 B35 1999]) • Beck, Guy., ed. 2006. Sacred Sound: Experiencing Music in World Religions. Wilfred Laurier University

Press. (companion CD with book [ML3921 .S123 2006]) • Becker, Judith. 2004. Deep Listeners: Music, Emotion and Trancing. Indiana University Press.

(companion CD with book [ML3838 .B433 2004]) • Berliner, Paul, prod. Zimbabwe: The Soul of Mbira. Nonesuch 9 72054-2 [CGC CD900 Zim Fol-1] • Gold, Lisa. 2005. Music in Bali: Experiencing Music, Expressing Culture. New York: Oxford

University Press. (companion CD with book [ML345.I5 G65 2005]) • Mennonite Hour Chorus (MHS). 1997. Hallelujah! Amen! [CGC CD800 Men Cho-1] • Mills, Simon. 2007. Healing Rhythms: The World of South Korea’s East Coast Hereditary Shamans.

Burlington: Ashgate Publishing Company. (companion CD with book [ML 3752 M55] • Nafziger, Kenneth James. 2001. Singing: Treasures From Mennonite Worship. (Eastern Mennonite

University, Chamber Singers) [CGC CD800 Hym Hym-3] • Qureshi, Regula Burckhardt. [1995] 2006. Sufi Music of India and Pakistan: Sound, Context and

Meaning in Qawwali. Pakistan: Oxford University Press. (companion CD with book [ML3197.Q74 1995])

• Tenzer, Michael. 2006. Analytical Studies in World Music. New York: Oxford University Press. (companion CD-set with book [MT90.A56 2006]) (N.b. TUG online access for text only)

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Intended Learning Outcomes:

• Recognize and name unfamiliar music and ritual practices, identify types and aspects of music and ritual practices

• Explain how music is used in rituals and the impact of ritual events on musical structure and process • Explain the use and functions of music and ritual traditions from various societies, and the connection

and meaning of these traditions on the life of people who participate in them • Apply ritual theories (event sequence and function) to describe the structure and process, and assess the

impact of globalization (e.g., tourism, internet) on some traditions • Compare music and ritual practices cross-culturally; describe and assess similarities and differences in

structure, process (event sequence, unfolding), function, meaning • Observe and interpret music and ritual practices with an increased openness, awareness, understanding

and curiosity, and enrich your experience and understanding of music in ritual contexts • Acquire sensitivity to the limits of our interpretations in the absence of insider musical and cultural

knowledge in the study of unfamiliar traditions • Reflect critically on our society’s relationship to music (and ritual) and how it is reflected in various

institutions (e.g., media, church, medicine, etc.), and in your personal day-to-day activities. Evaluation Procedure and Due Dates:

Participation 10% 4 Assignments (5%each) 20% Sept 24, Oct 6, Nov 12, TBA Event Response 15% By Nov 3 Final Project (Essay)

- Abstract, Proposal & Outline 10% - Essay 25%

35% Oct 20 (meet by Oct 9) Dec 8

Presentation Optional assignment

20% 5% (bonus)

Nov 17-Dec 1 By Nov 26

Course Work:

1. Participation (2 @ 5% each = 10%) a. Overall engagement (5%): Part of the grade draws on your engagement throughout the course

including discussions in and out of class, listening activities, responses to assigned AV material and readings, and attitude. While this is largely based on your attendance, your attention is also important. (*N.b. You are assessed for your efforts and participation.) This portion will be based on your self-assessment (2.5%) and the instructor’s assessment (2.5%).

b. Engagement and Peer Assessment (5%): This portion of the grade is based on your engagement and peer assessment during student presentations. Be prepared to ask at least one question following a presentation by your peers and to assess the presentation (guidelines will be distributed).

2. Four take-home assignments (4 @ 5% each = 20%): Primarily focused on assigned readings; may also draw on class discussions. For assignments 2, 3, and 4, use the “Self-Learning Guide” posted on LEARN. a. Assignment 1: Tools For Understanding Music and Ritual Practice. Due Sept. 24. b. Assignment 2: Reading Response. Due Oct. 6. c. Assignment 3: Comparative Analysis. Watch two short video clips of a New Orleans Jazz Funeral

(LEARN/JazzFuneral) (use reference: Shelemay, Kay Kaufman. Soundscapes: Exploring Music in a Changing World, 2nd Edition. [MT90 .S53 2006] (225–231) posted on LEARN for background information). Compare to another funerary rite studied in class. Due Nov. 12.

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d. Assignment 4: First Word. A five-minute synopsis based on the assigned readings and listening presented at the beginning of the class. Scheduled on first day of class.

3. Event Response (15%). Read “Attending Event Guide” posted on LEARN before you visit one of the

music and ritual events listed below. Use the “Self-Learning Guide” posted on LEARN as a tool to organize your ideas and enhance your understanding. Your response should be 700-900 words (2-4 pages, ds). Due by Nov. 3. • Attend one (or more) of the following church services. The service program MUST be included in

your Event Response, otherwise you will be subject to a 5% reduction: o Bethel Ethiopian Evangelical Church - 358 Ottawa St S, Kitchener ON N2M 3S5 o First Hmong Mennonite Church - 93 Doon Rd, Kitchener ON N2G 3E1 o Rockway Mennonite Church - 32 Weber St W, Kitchener ON N2H 3Z2 o Stirling Avenue Mennonite Church - 57 Stirling Ave N, Kitchener ON N2H 3G4 o Grace Lao Mennonite Church - 575 Lancaster St W, Kitchener ON N2K 1M5 o Waterloo North Mennonite Church - 100 Benjamin Rd, Waterloo ON N2V 2J9

Additional events I encourage you to attend. If you choose to, you may use this as your SECOND Event Response for the optional assignment. • Sept 27 (S): 11:00am-2:00pm - 20th Annual East Asian Festival (Renison College) - free admission.

https://uwaterloo.ca/renison/events/20th-annual-east-asian-festival • Sept 27 (S): 12:00pm-5:00pm - 11th Annual Traditional Pow Wow (St.Paul’s College Green) - free

admission. https://uwaterloo.ca/stpauls/events • Sept 28 (Sun): 7:30pm - Ecumenical Services with Taizé Song - St. Anthony Daniel Catholic

Church, 29 Midland Drive, Kitchener, ON Link to all Taizé events in K-W area: https://docs.google.com/spreadsheet/pub?key=0Asvw5SFeIfqtdEZVckVhaTF1cFI2SUc0YnBxWWIwUWc&single=true&gid=0&output=html For more information - www.taize.fr

• Oct 8 (W): 12:30pm - Njacko Backo Concert (CGUC Chapel) - free admission • https://uwaterloo.ca/music/events/noon-hour-concert-njacko-backo • Oct 8 (W): 2:00pm - Njacko Backo Workshop (CGUC Chapel) - free admission • Oct 26 (Su): 4:00pm - Spiritus Ensemble: Bach Cantata 90 (service) - The Church of St. John the

Evangelist (Anglican), 23 Water St. N., Kitchener, ON • Oct 26 (Su): 7:30pm - Ecumenical Services with Taizé Song - St. Teresa of Avila Catholic Church,

19 Flamingo Dr, Elmira, ON • Nov 22 (S): 7:30pm Grebel Gamelan Concert (Humanities Theatre on UW main campus) - free

admission • Nov 23 (Su): 7:30pm - Ecumenical Services with Taizé Song - TBA • Nov 30 (Su): 4:00pm - Spiritus Ensemble: Bach and Vivaldi (concert) - The Church of St. John the

Evangelist (Anglican), 23 Water St. N., Kitchener, ON • https://uwaterloo.ca/music/events/gamelan-ensemble-concert-0 • For more Noon Hour Concerts at CGUC go to https://uwaterloo.ca/music/events • Other concerts announced in class.

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4. Final Project/Essay (a + b = 35%):

a. Abstract & Outline 10% (see “Abstract Instructions”). Due Oct. 20. b. Essay 25%. Your paper should be 1250-1500 words (5-6 pages, ds). See “Essay Guide” for details;

use “Self-Learning Guide” as needed). Due Dec. 8. Choose one of the following: 1. A Ritual Criticism/Analysis Project: A paper that is a description and critique of an existing ritual in

which music plays an integral role (see “Essay Topics” for ideas). Explore similarities/differences to a practice studied in class. Reflect on what it means to you and how it may (or may not) relate to a practice you are familiar with or participate in.

2. A Constructive “Creative” Project: A paper that describes a music and ritual practice you invent or radically re-design. Use music and ritual practices studied in class or seen/heard in a video clip as an inspiration for an original idea. Use Questions 1, 2, and 3 of the Self-Learning Guide to aid your creative process. Identify key patterns (and perhaps movements) in the music and ritual practice. You may want to engage your classmates in the enactment of your music and ritual practice during the presentation portion of your final project (see “Presentation Guide")

5. Presentation (20%*): Your presentation is based on your final project/essay. The format will depend on the project you choose to do. See “Presentation Guide” on LEARN for details. During the final weeks of class (TBA). Scheduled between Nov. 17–Dec. 1 *N.b. 5% of your grade will be based on peer assessment and 15% on instructor assessment.

6. Optional course work (5% bonus): Due by Nov. 26.

a. Video Clip Search and Response. Search for a video clip of a music and ritual practice. Follow the Self-Learning Guide for your response.

b. Two Reflections. Each Reflection will be one page in length (~250 words) and responds to any of the readings and AV materials assigned (distinct from Assignment 2: Reading Response), or/and class discussions (include date and topic and what elicited your response).

c. Second Event Response. d. Second First Word.

Essay Topic Ideas:

• Santería (Cuba) • Mission Hymns and Shembe Community (South Africa) • Dhrupad (worship music in North India) • Bhajan or Kriti (devotional song in South India) • Obon Festival (Japan) • Kut Ritual (Korea) • Healing Music of Malaysia • Tibetan Chant • Mevlevli Whirling Dervishes (Turkey) • Pentecostal Church Service • Ethiopian Christian Chant • Powwow (Indigenous peoples of Canada and the U.S.) • Potlatch Ritual (Indigenous peoples of Canada and the U.S.) • Syrian Jewish Pizmon (“praise”) • Carnival (Brazil) • Mardi Gras (New Orleans) • Balinese Kecak (Vocal Chant) • Tarantism (Italy) • Stambeli (Tunisia)

See the reserve shelf in the CGUC Library for additional ideas.

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Course Expectations, Policies and University of Waterloo 1. Assignment Deadlines

Assignments must be submitted electronically on LEARN by the due date indicated on the Course Calendar (pp 9–10). Submissions will be closed by 11:59 pm. See point #9. Accommodation Due to Illness below for exceptional cases.

2. Missed Tests Tests must be written and submitted in class on the date indicated on the Course Calendar (pp 9–10). See Accommodation Due to Illness below for exceptional cases.

3. Laptop, Tablet and Phone Policy The use of laptops and tablets in the classroom is a privilege. Please be considerate towards your peers as your use of these devices may disturb their learning. Laptops and tablets should only be used for taking notes and consulting course materials. Phones should be silenced and kept out of sight for the duration of the class period. The instructor reserves the right to modify this policy as needed throughout the term.

4. Academic Integrity In order to maintain a culture of academic integrity, members of the University of Waterloo community are expected to promote honesty, trust, fairness, respect and responsibility. See the UWaterloo Academic Integritity Webpage (https://uwaterloo.ca/academic-integrity/) and the Arts Academic Integrity Office Webpage (http://arts.uwaterloo.ca/current-undergraduates/academic-responsibility) and https://uwaterloo.ca/arts/current-undergraduates/student-support/ethical-behavior for more information.

5. Discipline A student is expected to know what constitutes academic integrity to avoid committing academic offenses and to take responsibility for his/her actions. A student who is unsure whether an action constitutes an offense, or who needs help in learning how to avoid offenses (e.g., plagiarism, cheating) or about “rules” for group work/collaboration should seek guidance from the course professor, academic advisor, or the undergraduate associate dean. For information on categories of offenses and types of penalties, students should refer to Policy 71, Student Discipline (http://www.adm.uwaterloo.ca/infosec/Policies/policy71.htm). For typical penalties check Guidelines for the Assessment of Penalties (http://www.adm.uwaterloo.ca/infosec/guidelines/penaltyguidelines.htm).

6. Grievance A student who believes that a decision affecting some aspect of his/her university life has been unfair or unreasonable may have grounds for initiating a grievance. Read Policy 70, Student Petitions and Grievances, Section 4 (https://uwaterloo.ca/secretariat/policies-procedures-guidelines/policy-70). When in doubt please be certain to contact the department’s administrative assistant who will provide further assistance.

7. Appeals A decision made or penalty imposed under Policy 70, Student Petitions and Grievances (other than a petition) or Policy 71, Student Discipline may be appealed if there is a ground. A student who believes he/she has a ground for an appeal should refer to Policy 72, Student Appeals (http://www.adm.uwaterloo.ca/infosec/Policies/policy72.htm).

8. Access Ability Services - Accommodation for Students with Disabilities https://uwaterloo.ca/disability-services/ The University of Waterloo and Grebel share a commitment to support the participation and access to university programs, services, and facilities by persons with disabilities. Note for Students with Disabilities • Contact the Office of AccessAbility Services at 519-888-4567 ext. 35082 or visit Needles Hall 1132. Book an

appointment to meet with an advisor to discuss the available services and supports. The Office for Persons with Disabilities (OPD) collaborates with all academic departments to arrange appropriate accommodations for students with disabilities without compromising the academic integrity of the curriculum. If you require academic accommodations to lessen the impact of your disability, please register with the Office at the beginning of each academic term.

9. Accommodation Due to Illness From time to time students become ill or have ongoing medical conditions that prevent them from meeting academic obligations. The University is committed to assisting students who are ill and has established the following policy: Documentation • Students in on-campus courses who are ill and unable to meet assignment due dates or write a term test or

final examination should seek medical treatment and provide confirmation of the illness to the instructor(s) within 48 hours. A doctor’s note or form created by the physician or clinic is acceptable

• In the case of a missed test (midterm or final exam), students must submit within 48 hours medical documentation that contains the same information specified on the UW Verification of Illness Form.

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Reading List Week 1 Sept 10: • Dissanayake, Ellen. 2006. “Ritual and Ritualization: A Musical Means of Conveying and Shaping Emotion

in Humans and Other Animals.” In Music and Manipulation: On the Social Uses and Social Control Of Music, edited by Steve Brown and Ulrich Voglsten, 31–56. Oxford and New York: Berghahn Books. [LEARN] (31–56)

• Becker, Judith. 2004. Deep Listeners: Music, Emotion and Trancing. Indiana University Press. [ML3838.B433 2004] (45, 54–56, 69-77, 127-129, 153–154)

• Bell, Catherine. 1997. Ritual: Perspectives and Dimensions. New York: Oxford University Press. [BL600.B47 1997]. Also ONLINE access via PRIMO (91–137)

• Driver, Tom F. 1998. Liberating Rites: Understanding the Transformative Power of Ritual. Boulder: Westview Presss. [CGC BL600.D75 1998] (166–191) - optional

Week 2 Sept 15: • Crafts, Susan D., Cavicchi, Daniel, and Keil, Charles. 1996. My Music: Explorations of Music in Daily Life

(Music/Culture Series). Middletown: Wesleyan University Press. [ML3920 .M98 1993] (8–11, 207–210) • Berliner, Paul. 1993[1981]. The Soul of Mbira: Music and Traditions of the Shona People of Zimbabwe.

Chicago: University of Chicago Press. (1-7) Sept 17: • Duck, Ruth C. 2013. Worship for the Whole People of God: Vital Worship for the 21st Century. Louisville:

Westminster John Knox Press. [BV15.D84 2013] (35–56)

Week 3 Sept 22: • Oyer, Mary K. 2005. “The Sound in the Land.” In Sound in the Land: Essays on Mennonites and Music,

edited by Maureen Epp and Carol Ann Weaver, 21–33. Kitchener: Pandora Press. [ML3169.S685 2005] • Graber, Katie J. 2005. “Identity and the Hymnal: Can Music Make a Person Mennonite?” In Sound in the

Land: Essays on Mennonites and Music, edited by Maureen Epp and Carol Ann Weaver, 64–77. Kitchener: Pandora Press. [ML3169.S685 2005]

Week 4 Sept 29: • Qureshi, Regula B. 2006. “Islam and Music.” In Sacred Sound: Experiencing Music in World Religions,

edited by Guy L. Beck, 89–111. Waterloo: Wilfred Laurier University Press. [ML3921.S123 2006] (89–109)

• Becker, Judith. 2004. Deep Listeners: Music, Emotion and Trancing. Bloomington: Indiana University Press. [ML3838.B433 2004] (77–82, 123–125)

• Qureshi, Regula B. 1987. “Qawwali: Making The Music Happen In the Sufi Assembly.” In Performing Arts In India: Essays on Music, Dance and Drama, Monograph Series No. 21, edited by Bonnie C. Wade, 118–157. Center for South and Southeast Asia Studies, University of California, Berkely California. [LEARN] (Qureshi Tr. 7: 136–143, 154–157)

Oct 1: • Sum, Maisie. 2013. “Music for the Unseen: Interaction between Two Realms During a Gnawa Lila.”

African Music: Journal of the International Library of African Music 9(3): 151–182. [LEARN] (151–161, 171–178)

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Week 5 Oct 6: • Kapchan, Deborah. 2008. “The Festive Sacred and the Fetish of Trance: Performing the Sacred at the

Essaouira Gnawa Festival of World Music.” Gradhiva: Revue d’Anthropologie et de Muséologie 7(1): 52–67. http://gradhiva.revues.org/1014

• Kapchan, Deborah. 2008. “The Promise of Sonic Translation: Performing the Festive Sacred in Morocco.” American Anthropologist 110(4): 467–483. [LEARN] (all)

Oct 8: • Berliner, Paul. 1993[1981]. The Soul of Mbira: Music and Traditions of the Shona People of Zimbabwe.

Chicago: University of Chicago Press. [ML350.B47 1993] (186–206) Week 6 No readings Week 7 Oct 20: • TBA

Oct 22: • Mills, Simon. 2007. Healing Rhythms: The World of South Korea’s East Coast Hereditary Shamans.

Burlington: Ashgate Publishing Company. (companion CD with book [ML 3752 M55] Week 8 Oct 27: • Gold, Lisa. 2005. Music in Bali: Experiencing Music, Expressing Culture. New York: Oxford

University Press. [ML345.I5 G65 2005]. (1–27) Oct 29: • Gold, Lisa. 2005. Music in Bali: Experiencing Music, Expressing Culture. New York: Oxford University

Press. [ML345.I5 G65 2005] (122–123) • Covarrubias, Miguel. 1946. Island of Bali.Singpore: Periplus Editions. [LEARN] (326–334, 335–339) • Becker, Judith. 2004. Deep Listeners: Music, Emotion and Trancing. Bloomington: Indiana University Press. [ML3838.B433 2004] (82–85).

Week 9 Nov 3: • Gold, Lisa. 2005. Music in Bali: Experiencing Music, Expressing Culture. New York: Oxford University

Press. [ML345.I5 G65 2005] (151–155) • Bakan, Michael. 1999. Music of Death and New Creation. Chicago: University of Chicago Press.

[ML345.I5 B35 1999] (68–77) Nov 5: • Murray, David. 2010 [2000]. “Haka Fracas? The Dialectics of Identity in Discussions of a Contemporary

Maori Dance.” The Australian Journal of Anthropology 11(2): 345–357. http://onlinelibrary.wiley.com.proxy.lib.uwaterloo.ca/doi/10.1111/j.1835-9310.2000.tb00049.x/abstract.

• Poon, Erica. 2011. “All Blacks Sign Deal to Use Maori Dance.” Mangaging Intellectual Property, March (207): 212.

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Week 10 Nov 10: • Small, Christopher. 1998. Musicking: The Meanings of Performing and Listening. Middletown: Wesleyan

University Press. [LEARN] (130–135, 183–189) • Cage, John, 1961. Silence: Lectures and Writings. Middletown: Wesleyan University Press. [ML60.C13S5

1961] (TBA) • Ross, Alex. 2010. “Searching for Silence.” The New Yorker 86(30) October: 52.

http://go.galegroup.com.proxy.lib.uwaterloo.ca/ps/retrieve.do?sgHi...577622&&docId=GALE|A238577622&docType=GALE&role=&docLevel=FULLTEXT

• Cage, John. 2009. “Ryoanji: Solos for Oboe, Flute, Contrabass, Voice, Trombone with Percussion or Orchestral Obbligato (1983–85).” PAJ: A Journal of Performance and Art, PAJ 93, 31(3): 57–64. [LEARN]

• BBC journalist. 2003. “First Notes for 639-year Composition.” BBC News: World Edition. [LEARN] http://news.bbc.co.uk/2/hi/entertainment/2728595.stm

Nov 12: • TBA

Week 11 Nov 17: • Schafer, R. Murray. 1977. “The Acoustic Designer.” In The Tuning of the World, 237–245. Toronto:

McClelland and Stewart Limited. [ML3805.S3 1994] • Schafer, R. Murray. 1977. “Silence.” In The Tuning of the World, 253–259. Toronto: McClelland and

Stewart Limited. [ML3805.S3 1994] • Schafer, R. Murray. 1991. Patria and the Theatre of Confluence. Indian River: Arcana Editions.

[ML410.S23 A25 1991] (TBA) • Hoshowsky, Robert. 1997. “Breaking the Sound Barrier: R. Murray Schafer.” Performing Arts &

Entertainment in Canada. 31(2) Fall: 12. • Vincent, Michael L. 2013. “Music in the Cold: The Remarkable R. Murray Schafer.” La Scena Musicale

19(3). http://www.scena.org/lsm/sm19-3/sm19-3_schafer_en.html • Eatock, Colin. 2005. “Mystic Composer in a Magical Forest.” The New York Times.

http://www.nytimes.com/2005/08/27/arts/music/27patr.html?pagewanted • Doolittle, Emily. 2001. “Thoughts on R. Murray Schafer’s Wolf Project.”

http://emilydoolittle.com/wolfpaper.pdf

Nov 19: • Weiss, Sarah. 2013. “Perspectives on Balinese Authenticities: Sanggar Çudamani’s Odalan Bali.” In

Performing Arts in Postmodern Bali: Changing Interpretations, Founding Traditions, edited by Kendra Stepputat, 279–307. Aachen: Shaker Verlag. [LEARN] (TBA)

• Daboo, Jerri. 2010. Ritual, Rapture, and Remorse: A Study of Tarantism and Pizzica in Salento. [ML3662.D33 2010] (TBA)

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MUSIC 390/391 Course Calendar WEEK DATE TOPIC LISTENING READING DUE DATE 1 M Sept 8 Introduction

W Sept 10 Ritual and Ritualization Music, Emotion and Meaning

LEARN/Intro1 Dissanayake: 31–56 Becker: see list Bell: 135–137

2

M Sept 15 Ritual Categories, Process and Function Fieldwork

LEARN/Intro2 Crafts et al.: 8-11; 207-210 Bell: 91–135 Berliner: 1–7

W Sept 17 Music and Rites of Exchange and Communion Music and Christianity

LEARN/Christianity Beck CD/8–14 Nafziger CD/1

Duck: 35–56

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M Sept 22 Panel Discussion: Ed Janzen, Marlene Epp, Ken Hull

Nafziger CD/1, 4, 12 Oyer: 21–33 Graber: 64–77

W Sept 24 Guest Lecture: Marlys Neufeldt MHS CD/1, 6 Assignment 1: Perspectives and Dimensions 5%

4

M Sept 29 Music and Calendrical Rites I Music and Islam Sufi Music in India and Pakistan

Beck CD/15–20 Becker CD/3, 4 Qureshi CD/7

Qureshi (Beck): 89–109 Becker: 77–82, 123–125 Qureshi: 136–143, 154–157

First Word: Christine

W Oct 1 Gnawa Lila in Morocco LEARN/Gnawa Sum: 151–161, 171–178

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M Oct 6 Music, Feasting, Fasting and Festivals Gnawa and World Music Festival Fez Festival of Sacred Music

LEARN/Gnawa Kapchan: 52–67 Kapchan: 467–483

Assignment 2: Reading Response 5%

W Oct 8 Music and Rites of Affliction Shona Bira in Zimbabwe

Zimbabwe CD/1, 3 Berliner: 186–206

W Oct 8 African Music with Njacko Backo Concert 12:30-1:15pm (Grebel Chapel) Workshop 2:00-3:10pm (Grebel Chapel)

ATTEND ONE (or BOTH, if you wish)

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M Oct 13 Thanksgiving

W Oct 15 Videos The Miracle of Bali: The Midday Sun (13’+26’) “Mudang-Kut” JVC Video Anthology (11’) An Initiation Kut For A Korean Shaman (36’)

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WEEK DATE TOPIC LISTENING READING DUE DATE

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M Oct 20 Calls and Songs: Music and Ritual among Birds Guest Lecture: Lyle Friesen

LEARN/Animals Essay Proposal & Outline 10%

W Oct 22 Korean Kut Guest Artist: Dong-Won Kim

Mills CD/1, 2 Mills: 1–28

8 M Oct 27 Music and Calendrical Rites II Music and Hinduism (Bali)

Gold CD/2–11

Gold: 1–27

Mid-Term Evaluation

W Oct 29 Odalan: Temple Anniversary Calonarang Sanghyang Dedari: Dance of the Heavenly Nymphs Video excerpts: The Miracle of Bali: Night

Gold CD/16, 30–34, 9-10

Gold: 122–123 Covarrubias: 326–339 Becker: 82–85

9 M Nov 3 Rites of Passage Ngaben: Funerary Rites in Bali

Gold CD/9, 10, 41 Bakan CD/3–6, 10–14 LEARN/Bali

Gold 151-155 Bakan 68-77

Event Review 10%

W Nov 5 Music, Sports and Political Rites

LEARN/Sports&Politics Murray: 345–357 Poon: 212

First Word: Joanna

10 M Nov 10 Music, Ritual and Ritualization Silence & Imagination: John Cage

LEARN/MRR LEARN/Cage

Small: 130–135; 183–189 Cage1: TBA Ross: online Cage2: 57–64 BBC: online

First Word: Danielle

W Nov 12 Arvo Part Guest Lecturer: Mark Vuorinen

TBA TBA Assign 3: Video Response (5%)

11 M Nov 17 R. Murray Schafer: Patria Video: Music for the Wilderness

LEARN/Schafer Schafer1: 237–245 Schafer2: 253–259 (+ see Reading List)

First Word: Jacob

W Nov 19 Impact of Globalization on Music And Ritual Traditions

Weiss: TBA Daboo: TBA

S Nov 22 Grebel Gamelan Concert Concert 7:30pm (UW Humanities Theatre) ATTEND 12 M Nov 24 Student Presentations

W Nov 26 13 M Dec 1 Student Presentations *The above schedule may change from time-to-time to reflect the pace of the course and to better refine the course schedule. Changes to this schedule will be announced in class and by announcement on LEARN.