Graduate Course Proposal Form Submission Detail - MUH6052
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- Department and Contact Information
Tracking Number Date & Time Submitted 1551 2009-02-16 Department College Budget Account Number Music FA 2402-00 Contact Person Phone John O. Robison 9744278 email@example.com
- Course Information
Prefix Number Full Title MUH 6052 Intercultural Music in the 20th and 21st Centuries Is the course title variable? N Is a permit required for registration? Y Are the credit hours variable? N Is this course repeatable? If repeatable, how many times? 0 Credit Hours Section Type Grading Option 3 C - Class Lecture (Primarily) R - Regular Abbreviated Title (30 characters maximum) Intercultural Music Course Online? Percentage Online -
An in-depth investigation of composers born after c. 1880, from all parts of the world, who have attempted to integrate elements from two or more cultures into their compositions.
A. Please briefly explain why it is necessary and/or desirable to add this course.
With increased contacts between cultures, one of the emerging trends since the early twentieth century has been the concept of intercultural composition. With the introduction of the concept Western-style composition into Africa, Asia, Australia and Lati
B. What is the need or demand for this course? (Indicate if this course is part of a required sequence in the major.) What other programs would this course service?
There will be a significant demand for this course, since the music faculty voted in April 2008 that this course topic would be one of the options for our M.M. level core requirements in music history/literature/theory. In addition to unanimously recommending that a graduate level course on this topic should be created, the faculty also indicated that this class should be one of three possible options to fulfill our twentieth-century requirement on the M.M. level (the other options are Twentieth-Century Music Literature, which covers the standard European/American composers, and a theoretical course in Twentieth-Century Analysis). Master’s level students in music education could conceivably take this course, and it is possible that someone in African or Asian studies may be considered based on a consultation with the instructor. Since our Master’s level curriculum focuses almost exclusively on European/American composers falling within the Western tradition in, there is a tremendous need for a course that will expose graduate students to composers from Africa, Asia, Australia and Latin America.
C. Has this course been offered as Selected Topics/Experimental Topics course? If yes, how many times?
D. What qualifications for training and/or experience are necessary to teach this course? (List minimum qualifications for the instructor.)
The instructor should have a Doctoral degree in music.
- Other Course Information
(1) To identify composers from all parts of the world who may be classified as intercultural, and to study their cultural/social backgrounds, their professional training, their compositions, and their stylistic features.
(2) To compare and contrast the composers of a country, continent, or distinct area of the world with one another, and to determine their most significant achievements. This includes considering any differences in their backgrounds (such as growing up in an urban vs. a rural environment, their general education, and their advanced studies in music), and comparing the types of vocal and instrumental music that they created.
(3) To recognize and distinguish aurally and in writing between those musical elements (melody, harmony, rhythm, texture, form) that are indigenous to the composer's culture, and those that are taken from another culture (either within the same country, from another country in the same continent, or from another continent).
(4) To categorize composers according to their basic creative development (non-Western composers who have become interested in Western music, Western composers who have become interested in non-Western music, etc.), and according to their stylistic features.
(5) To consider the role of interculturalism in twentieth/twenty-first century music, and to determine its place in the music of the future. This includes anticipating what a composer might write in the future on the basis of what is known, and deciding what paths to follow in future intercultural works. Such projections might vary, depending on whether we are thinking from a Western perspective or from a non-Western viewpoint.
B. Learning Outcomes
Students will accomplish these goals through three extensive take-home papers, ones that average between 15-20 pages in length. These papers must be done in essay format, and should include detailed information on the following topics:
(1) childhood background and experiences (early education, exposure to music, etc.);
(2) training as adults (what they studied and where, etc.);
(3) professional careers (as teachers, performers, scholars).
(4) significance as a composer (general accomplishments, musical style, pieces).
(5) specific comments on individual compositions (actual references to melody, rhythm, harmony, texture, etc., along with measure numbers where they occur and comments about what makes this music intercultural).
C. Major Topics
Basic differences between African, Asian, European and Latin American
Common characteristics of Western music in the twentieth century.
II. African composers:
Ghana/Nigeria: Ephraim Amu, Fela Sowande, Joseph H. Kwabena Nketia,
Samuel Akpabot, Ayo Bankole, Akin Euba, Gyimah Labi, Joshua Uzoigwe.
East and Central Africa: Solomon Mbabi-Katana, Justinian Tamusuza.
III. Music in the Middle East and the former U.S.S.R. satellites:
Egypt: Halim El-Dabh, Gamal Abdel-Rahim, Rageh Daoud, Mauna
Turkey: Ulvi Cemal Erkin, Ahmet Adnan Saygun, Yalcin Tura, Kamran
Ince, Fazil Say.
Lebanon: Walid Gholmieh.
Israel: Paul Ben-Haim, Abel Ehrlich, Odeon Partos, Ami Maayani, Ben-
Zion Orgad, Tzvi Avni.
Azerbaijan: Kara Karayev, Uzeir Hajibeyov, Fikret Amirov, Franghiz Ali-
IV. India, China, Japan, & Korea:
India: John Mayer, S.A.K. Durga.
China: Ma Sicong Shu Tsang-hovei, Chou Wen-chung, He Xuntian, Qu
Xiaosong, Wang Lisan, Zhu Jianer, Tan Dun, Zhou Long, Chen Yi.
Japan: Tishio Hosokowa, Jo Kondo, Yoritsune Matsudaira, Yoriaki
Matsudaira, Ikuma Dan, Masahiro Miwa, Kinichi Nakanoshima, Somei
Satoh, Takashi Yoshimatsu.
Korea: Yun Isang, Hwang Byung-ki, Lee Gui-Sook, Lee Hae-Sung, Lee
Hyun-Joo, Lim June-Hee, Kim Eun-Hye, Lee Boknam, Min Yoon-Hwa.
V. The Pacific Islands, Australia and Latin America:
Indonesia and Malaysia: Paul Gutama Soegijo, Valerie Ross, Razak Aziz.
Australia: Larry Sitsky, Peter Sculthorpe, Richard Meale, Helen Gifford,
Latin America: Juan Orrego-Salas, Camargo Guarnieri, Francisco
Mignone, Marlos Nobre, Jose Serebrier, Carloz Chavez, Amadeo Roldán,
Julian Orbón, Héctor Campos-Parsi, Juan Bautista Plaza, Roque Cordero,
Roberto Sierra, Paquito D’Rivera.
There is no single textbook for this course, although the professor submitting this proposal expects to write one eventually. Since this is a topic that has not been adequately covered by musicologists and ethnomusicologists, the course relies on a large number of readings from scholarly journals and chapters from selected books:
Sadie, Stanley (ed.). The New Grove Dictionary of Music and Musicians (www:grovemusic.com). New York: Macmillan, 2000 (numerous articles on individual composers, and surveys of art and folk music in most countries. For most composers discussed in this c
E. Course Readings, Online Resources, and Other Purchases
F. Student Expectations/Requirements and Grading Policy
G. Assignments, Exams and Tests
H. Attendance Policy
I. Policy on Make-up Work
J. Program This Course Supports
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