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Course Criteria
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3.00 Credits
Explores popular music from South Asia, the Middle East, and North Africa, as well as from these regions' diasporic populations in the United States and Europe. Considers how technology, mass media, and migration have shaped and still shape communities' respective cultural identities, particularly in the contemporary context of globalization. Block 6: Popular Music from South Asia, the Middle East, and North Africa. This course explores popular music from South Asia, the Middle East, and North Africa - as well from these regions' diasporic populations in the United States and Europe. Throughout the course, we consider how technology, mass media, and migration have over the last century shaped and still shape communities' respective cultural identities, particularly in the contemporary context of globalization. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Anthropology 222 and Asian Studies 250.) 1 unit - Bhattacharjya.
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1.00 Credits
Examines how film music has helped define the global industry now known as "Bollywood." Also examines how film song sequences, hallmarks of Indian popular cinema, work within and outside films' narratives to create a unique aesthetic. Course surveys both old and recent popular Bombay films. It explores elements of songs within the film including stylistic conventions, context within films, and their life outside the cinema hall. Block 7: From Bombay to Bollywood: Music and the Popular Indian Film. Since the 1930s, the presence of the film song sequence has been a hallmark of Indian popular cinema, to the extent that film song sequences and songs often play an important role in helping promote the films they appear in. This course examines how film music has helped define Bombay cinema as the global industry now known as "Bollywood", as well as how film song sequences work within and outside films' narratives to create a unique aesthetic. Although international audiences have enjoyed Bombay films and film music since the 1950s, the term "Bollywood" did not emerge until the late 1980s. Since then, it has often accompanied descriptions of Bombay films' transformation from a regional industry into a multimedia global brand- experienced through cinema; the Internet; satellite television; music and video recordings; radio; and ring tones, almost all of which feature music at their core. This viewing-intensive course surveys older as well as recent popular Bombay films and explores their film songs' stylistic conventions, context within films, and their life outside the cinema hall. In doing so, students trace the shift from Bombay to "Bollywood" as well as gain a fundamental understanding of South Asian popular culture. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Anthropology 222 and Asian Studies 223.) 1 unit - Bhattacharjya.
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1.00 - 9.00 Credits
Explores American Indian history, culture, society, religion, ritual, aesthetic expression, and contemporary issues through the domain of music. Develops ability to identify, describe, and analyze various American Indian music; considers diverse styles and performance contexts. Addresses traditional as well as new music. This course meets the ethnomusicology requirement for the music minor. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Not offered 2008-09.) 1 unit.
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1.00 - 9.00 Credits
Music and culture of Southwest American Indians, with emphasis on Pueblo and Athabascan peoples. Considers origin narratives, cosmology, ritual drama, dance, and other aesthetic modes as related to Southwest Indian musical performance. Addresses traditional as well as new music. This course meets the ethnomusicology requirement for the music minor. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Not offered 2008-09.) 1 unit.
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3.00 Credits
Explores the role of music in the expression of ethnicity and ethnic identity among Latino peoples of the United States. Various musical styles and genres performed by New Mexicans, Texas-Mexicans, Native Americans, Puerto Rican Americans, and Cuban Americans are considered. Traditional and popular Latino music is examined within their cultural and historical contexts. This course meets the ethnomusicology requirement for the music minor. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Not offered 2008-09.) 1 unit.
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1.00 Credits
Surveys Indonesian history, culture, society, religion, and aesthetic values through music. Students become familiar with a variety of Indonesian musical repertories, styles, and performance contexts, including court traditions of Java, Sunda, and Bali and village traditions throughout the Indonesian archipelago. Traditional as well as new music is discussed. This course meets the ethnomusicology requirement for the music minor. (Meets the Critical Perspectives: Diverse Cultures and Critiques requirement.) (Also listed as Asian Studies 295.) 1 unit - Lasmawan.
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3.00 Credits
Practical guidance in the composition of original music, with reference to 20th century music theory and compositional methods. Students will be able to concentrate on both the creative and the analytical aspects of contemporary composition. Prerequisite: Consent of instructor. 1 unit - Ben-Amots.
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3.00 Credits
Prerequisite: Consent of instructor. (Not offered 2008-09.) 1 unit.
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3.00 Credits
Music of the Ancient World, Middle Ages, Renaissance, and Baroque. Forms, techniques, media, and aesthetic elements as fundamentals of style. An examination of music and music theory from classical antiquity through the middle of the 18th century, including the diffusion of early Christian chant, the rise of mainstream sacred polyphony in Paris during the twelfth and thirteenth centuries, the spread of sacred and secular forms during the late Middle Ages, the influence of English style on the French-Flemish composers who would dominate sacred musical style in the fifteenth and early sixteenth centuries, the appearance of important Italian composers in the late Renaissance, the national manifestations of Renaissance and early Baroque secular forms, and the international High Baroque style of Vivaldi, Bach, Handel, and Rameau. Prerequisite: Consent of instructor and 199. Music 315 and 316 TOGETHER equals "W" credit. (Meets the Critical Perspectives: The West in Time requirement.) 1 unit - Agee.
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3.00 Credits
Music of the Classical and Romantic periods, and the 20th century until 1945. Forms, techniques, media, and aesthetic elements as foundations of style. Music of the Classical era concentrating on the works of Haydn, Mozart, and Beethoven, studied in the context of the age of Enlightenment and the freedom of the composer from patronage systems. The emergence of a romantic ideal in 19th century music with special focus on Schubert, Schumann, Chopin, Liszt, Berlioz, Brahms, Verdi, Wagner, nationalistic composers in Russia, and Mahler. The languages of 20th-century music as a part of rapid cultural change including the music of Debussy, Stravinsky, Schonberg, Webern, Berg, and Bartok. Note: Music History I and II do not have to be taken in sequence and credit is given for each course completed. Prerequisite: Consent of instructor and 199. Music 315 and Music 316 TOGETHER equals "W" credit. (Meets the Critical Perspectives: The West in Time requirement.) 1 unit - Grace.
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