Lafayette College

World Music Traditions --Assignments
Music 103
Dr. J. Larry Stockton
stocktoj@lafayette.edu

[Syllabus]     [World Music Links]     [Stockton Homepage]         [Music Department]     [Lafayette College]

ANNOUNCEMENTS                                                                      NOTES

LISTENING

Updated: 4/26/2012

DRUMMING FINAL ON TUESDAY
Djembe Video:    Click Here

Djembes are available for practice on 2nd floor Williams---Practice Rooms
PERCUSSION ENSEMBLE CONCERT:  MONDAY 4/30:  8:00 p.m. (paper due: no later than  5/11)
Please bring others with you !!!

For Tuesday, 5/1:

Final Drumming Tests


For Tuesday, 4/24:

-- Concert Paper Number 2 is due

Review all material for Japan Test on Thursday !!!


For Thursday, 4/26

Japan Test



For Tuesday, 4/17:

Nagauta:   Read  J 20-J-25    (Listening:  CD3:  Tracks 6,7,9)

http://jtrad.columbia.jp/eng/u_nagauta.html


For Thursday, 4/19:

http://www.taiko-center.co.jp/english/history_of_taiko.html  ----- ALL

For Tuesday, 4/10

http://nobleharbor.com/tea/chado/WhatIsWabi-Sabi.htm

Read:  http://jtrad.columbia.jp/eng/index.html

Japanese Aesthetics PowerPoint  


Listening:  CD3:  Tracks 6,7,9



For Thursday, 4/12

Read:  Text:  J20-25 & J35- 42  & http://en.wikipedia.org/wiki/Kabuki


                  http://jtrad.columbia.jp/eng/i_shamisen.html


Listening:  CD 3, Tracks 7 & 9




For Tuesday, 4/3  India Test

You can check your answers for the Rag: Maru-Bihag Assignment here  ! 

fron text, Internet Readings, & Rag Maru-Bihag Assignment

--Listening portion will consist of two or excerpts taken from the
      Maru Bihag assignment.


-- Terminology is a big part of this test.  Make sure you know the terms covered
       in the text and in class!  (this will be done in a matching format).  All basic terms in the chapter

-One essay Question:  ---i.e. discuss the role of improvisation in Indian Rags,
        elaborate the hand and finger counting system,  or even a "biggie" such as:
        define the basic elements of traditional Indian Ragas and explain how they
        interact in a musical performance.



For Thursday, 4/5:

------------------------------------------Begin Japan Unit ------------------------------------

Reading:  TEXT:  pp.J3-14

Japanese Pronunciation Guide ---- PRACTICE !!!

Listening:  CD3:  Tracks 1,2,3 (guides: J-26A & J27)

For Tuesday, 3/27:

Spirit of Uganda paper due.

First part of Rag: Maru Bihag assignment is due--We will go over the results in class


For Thursday, 3/29:

Review all India Materials for next Tuesday's Test----we will do an overview of concepts

 -Complete Rag Maru Bihag Assignment

rTest next 4/3 on text, Internet Readings, & Rag Maru-Bihag Assignment

--Listening portion will consist of two or three excerpts taken from the
      Maru Bihag assignment.


-- Terminology is a big part of this test.  Make sure you know the terms covered
       in the text and in class!  (this will be done in a matching format).  All basic terms in the chapter

-overall format will be short answer, fill-in, true-false---etc.  with at least one
        essay question---i.e. discuss the role of improvisation in Indian Rags,
        elaborate the hand and finger counting system,  or even a "biggie" such as:
        define the basic elements of traditional Indian Ragas and explain how they
        interact in a musical performance.





For Tuesday, 3/20:     WELCOME BACK

LECTURE / DEMO BY MEMBERS OF SPIRIT OF UGANDA--- (meet in 123 first... then we go to auditorium) in preparation for Wednesday Concert

http://www.empowerafricanchildren.org/spirit.asp

Concert paper on the Wednesday Evening performance due on Tuesday, 3/27:

   -2-3 page overview of the basic performance elements: music, drumming, dance, costumes
   -include observations about Coollective (communal) Sensibilty as exhibited in the performance

For Thursday, 3/22:

Read:  http://www.bombaymuseum.org/powm/jubilee/ragamala.htm

Listening:  CD2- Tracks 10 & 11



 --Review of all India Materials in preparation for Maru Bihag Assignment

For Tuesday, 3/6:

Read:  ReviewTERMINOLOGY...PLUS

http://www.indianmelody.com/musicintro1.htm

Listening:  CD2- Tracks 5,6
Tala Exercises --- Listen to tracks 5 & 6 while maintaining hand counts for
                                Tintaal (track 5) and Jhaptaal (track 6)




For Thursday, 3/8

http://cnx.org/content/m12502/latest/

Listening:  CD2- Tracks 10 & 11

Practice Rhythm Exercises (page I-9) as per Tuesday's Class

For Tuesday, 2/28:

Begin INDIA UNIT

Read: India:  pp. I1-13
Internet:  An Appreciation of Indian Music


For Thursday, 3/1

Read  http://www.buckinghammusic.com/tall.html
Read:  http://chandrakantha.com/articles/indian_music/sitar.html
Listening:  CD2:  Tracks 1-4---Refer to Listening Guides in the text


For Tuesday, 2/21:

Review for Test #1

A.  Time-line recognition (as illustrated in class )

      In this section there will be from 5-7 box notation examples, either taken directly
      from the CD (Tracks 13-18/ Text: pages A-27-28) OR examples "similar" to those.
      For each example, I will play a pattern and ask you to identify the correct notation
      from the three or four choices listed.  It is not necessary for you to memorize them.
     
B.  Indentify instruments, as specificially as possible, in order of entrance.

C.  Listening Analysis

      In this section I will test your knowledge of aural concepts of traditional African
      music.  There will likely be 2 or three musical excerpts, taken either directly from
      the CD or "similar" ones.  You should be able to identify instruments and vocal
      qualities and concepts such as: call-and-response, additive texture, polyrhythms, etc.
      The best way to study for this is to review the CD (especially tracks 1-12 and 30-39)
      along with the corresponding guides in the text.

Part Two --- Multiple Choice, definitions, true/false, short answer, and possible short
                    essay.

       These questions will be taken from the text (beginning through Africa), the
       assigned internet articles, and lecture notes.  The purpose is to test your understanding
       of basic concepts of World Music (ethnomusicology) and the traditional music of
       Ghana.  Everything that has been presented is "fair game," but in your studying it
        would be wise to outline major points and give them more emphasis.  Straight forward
        definition of terms will be minimal, however, there will be occasions where you will need
        to "demonstrate" your understanding of the concepts.

    Review Internet articles !!!!!

        The following study questions are designed to assist you in organizing your study.  These
        are NOT intended to indicate either specific questions that will be asked or to eliminate
        material for study.

        1.  Define "ethnomusicology", "world music", and "non-Western music."  How do
             they differ in terms of approach and coverage?

        2.  "Ethnocentricity" is a stumbling block in learning to appreciate and understand
             other cultures.  What is the problem and what are some possible cures?

        3.  What do various theories of musical perception teach us about how music is
             processed and internalized?  How does this information relate to learning about
             new musical cultures?

        4.  How are musical instruments categorized to encompass music from all over
             the globe?  Can you give specific examples of instruments in all of the major
             categories?

         5.  Why is it dangerous, and inaccurate, to generalize about African musical
              traits or customs.  What major factors make such generalizations
              problematic?

         6.  How does the Western practice of a "sound ideal" (a prescribed tone or sound
              for an instrument or voice) relate to traditional African performance practices?

         7.  What are the "major" percussion instruments in an Anlo-Ewe drum group?  What
               are some of the specific playing techniques?

          8.  Why is repetition an important structural element in much traditional African
               music?

          9.  How does the Ghanaian concept of polyrhythms differ from the "divisionary"
               organization of rhythm in the West?

         10.  What are some of the major conventions of musical performance in traditional
                Ghanaian music?

          11.  What is the basic structure of  indigenous religious practice, and ritual,
                  in Ghana?  Relate this specifically to Anlo-Ewe beliefs.

          12.   What are  the major functions of music in Ghana?

          13.  Discuss "rote learning" as it applies to the music of Ghana.

          14.  List some important facts about modern Ghana.

          15.  Relate the Western ideas about melody and harmony to traditional
                 music in Africa.

          16.  What is the tension/repose continuum.  Give specific examples in Western
                 and African music.



For Thursday, 2/23:

  TEST # 1

For Tuesday, 2/14:

Visiting Lecturer:  Svjetlana Bukvich-Nichols will discuss Balkan music and the music of Goran BregovicBalkan music and the music of Goran Bregovic

-This is a great time to review Africa Chapter and Internet readings !!

Listening:   CONTINUE PRACTICING TIME-LINE PATTERNS (pagesA27-28) 

Balkan music and the music of Goran Bregovic
For Thursday, 2/16:

Download & do a time scale analysis of:   Wildlife     (as discussed in class on Tuesday) ---be ready for thorough class discussion ---To Be handed in ..as discussed in class

Listening:  CD1: Tracks 30-34 (follow via time lines)-- practice all parts


For Tuesday, 2/7

-Discussion of previously assigned Internet articles (African music) and review of basic musical concepts

http://www.afrikaworld.net/afrel/community.htm

Listening:  TIME-LINE PATTERNS (pagesA27-28): Practice and listen CD-1, Tracks 13-24


For Thursday, 2/9

Read: http://www.alokli.com/site/articles/ch3_dancedrumming.pdf

          Varieties of African Music 

Listening:  CD-1:  Tracks 5-12 (refer to Listening Guides)    

TIME-LINE PATTERNS---Be ready to perform in class

For Tuesday, 1/31

READ:  Text-----Pages A1- A17

Read and be ready to discuss:  Christopher Small:  Musicking

LISTENING:  CD1-- Tracks 1-4 (refer to listening guides pp A19-22)  


Listening:   CD 1-track 1:  Tu Tu Gbovi

Listen to the selection as many times as needed.  Do a general analysis, indicating as many basic
sound observations as you can (melody, rhythm, timbre [identify instruments and vocal timbres], and form).
This should be a page or so in length (to be handed in).  The organization is free.... show me how much
musical information you can glean from the example. ---ONE PAGE TO BE HANDED IN.

For Thursday, 2/2

Web: http://home.comcast.net/~dzinyaladzekpo/Intro.html

           http://home.comcast.net/~dzinyaladzekpo/Drums.html
           

LISTENING:  CD1-- Tracks 5-8 (refer to listening guides pp A19-22)


For Thursday, 1/26

BRING YOUR TEXT TO CLASS

Read: TEXT:  Beginning through page 13

READ:  Introductory "Ethnomusicology" article






email:  stocktoj@lafayette.edu