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General Information

Course ID (CB01A and CB01B)
MUSI D001C
Course Title (CB02)
Music Appreciation: World Music in America
Course Credit Status
Credit - Degree Applicable
Effective Term
Fall 2023
Course Description
An introduction to music through world music and its influence on current musical trends in the United States. Music of diverse cultures which will include Native Americans, Asia/Pacific Rim, India, Africa, South and Central America, Mexico, and the Caribbean are presented in conjunction with American and European traditions; listening skills for distinguishing musical cultures, instrumentations and artists.
Faculty Requirements
Course Family
Not Applicable

Course Justification

This course belongs on the Music AA degree. It is UC and CSU transferable. This course meets a general education requirement for °®¶¹´«Ã½, CSUGE and IGETC. This course offers a unique, global perspective on music.

Foothill Equivalency

Does the course have a Foothill equivalent?
Yes
Foothill Course ID
MUS F002D

Course Philosophy

Formerly Statement

Course Development Options

Basic Skill Status (CB08)
Course is not a basic skills course.
Grade Options
  • Letter Grade
  • Pass/No Pass
Repeat Limit
0

Transferability & Gen. Ed. Options

Transferability
Transferable to both UC and CSU
°®¶¹´«Ã½ GEArea(s)StatusDetails
2GC1°®¶¹´«Ã½ GE Area C1 - ArtsApproved
CSU GEArea(s)StatusDetails
CGC1CSU GE Area C1 - ArtsApproved
IGETCArea(s)StatusDetails
IG3AIGETC Area 3A - ArtsApproved

Units and Hours

Summary

Minimum Credit Units
4.0
Maximum Credit Units
4.0

Weekly Student Hours

TypeIn ClassOut of Class
Lecture Hours4.08.0
Laboratory Hours0.00.0

Course Student Hours

Course Duration (Weeks)
12.0
Hours per unit divisor
36.0
Course In-Class (Contact) Hours
Lecture
48.0
Laboratory
0.0
Total
48.0
Course Out-of-Class Hours
Lecture
96.0
Laboratory
0.0
NA
0.0
Total
96.0

Prerequisite(s)

Corequisite(s)

Advisory(ies)

ESL D272. and ESL D273., or ESL D472. and ESL D473., or eligibility for EWRT D001A or EWRT D01AH or ESL D005.

Limitation(s) on Enrollment

Entrance Skill(s)

General Course Statement(s)

(See general education pages for the requirements this course meets.)

Methods of Instruction

Lecture and visual aids

Discussion of assigned reading

Quiz and examination review performed in class

Homework and extended projects

Collaborative learning and small group exercises

Live Concert Attendance

In-class listening to audio examples

Assignments

  1. Required reading from the textbook
  2. Required weekly listening to selected music and written assignments on each
  3. Written report on one live world music concert, from four to seven pages long
  4. Written assignments from each chapter using study guides or handouts

Methods of Evaluation

  1. Weekly quizzes evaluating knowledge and comprehension of textbook readings and listening assignments.
  2. Midterm test(s), and final exam consisting of objective and essay questions, some based upon listening to musical examples, evaluated for comprehension, analysis, description, and interpretation of assigned reading, classroom discussion and listening assignments .
  3. Written assignments based upon assigned readings in text and elsewhere and on listening to recorded musical examples, evaluated on comprehension of readings and understanding of musical concepts presented in class.
  4. One concert report describing live performance including an objective description of the performances, the student's subjective reaction to the music and a summary critique, along with related background research from approved sources on music style(s) represented in concert
  5. Participation in class discussions

Essential Student Materials/Essential College Facilities

Essential Student Materials: 
  • Access to CD player
Essential College Facilities:
  • Classroom with piano, high-fidelity audio-video playback system (for audiocassette, record, compact disk, mp3, VHS tape, DVD)
  • Extensive collection of audio and video recordings

Examples of Primary Texts and References

AuthorTitlePublisherDate/EditionISBN
*Miller, Terry and Andrew Shahriani. "World Music: A Global Journey," 4th ed. (with CDs or file download). Routledge, 2017
Alves, William. "Music of the Peoples of the World," 3rd ed (with CDs). Cengage, 2012.
Nettl, Bruno, ed. "Excursions in World Music." 7th ed. Routledge, 2017.

Examples of Supporting Texts and References

AuthorTitlePublisher
Barkley, Elizabeth, F. "Crossroads: Popular Music in America," 2nd ed. Pearson, 2006.
Bakan, Michael. "World Music: Traditions and Transformations," 2nd ed. McGraw-Hill, 2017
Malm, William. "Japanese Music and Musical Instruments." Tokyo, Rutland, Vt.: C. E. Tuttle Co., 1959.
McPhee, Colin. "Dance in Bali in Traditional Balinese Culture." Edited by Jane Belo. New York: Columbia University Press, 1970.
Rice, Timothy and James Porter, et al, eds. "The Garland Encyclopedia of World Music." 10 vols. New York: Garland Publishing, 1998 - (available in campus library).
Roberts, John Storm. "Black Music of Two Worlds" 2nd ed. Belmont: Thompson/Wadsworth, 1998.
Schechter, John M. "Music in Latin American Culture-Regional Traditions" (with accompanying CDs). Belmont: Wadsworth/Thompson, 1999.
Simon Broughton, ed. "The Rough Guide to World Music." 3rd ed. 2 vols. London, New York: Rough Guides, dist. By Penguin Group, 2009.
White, Robert. Music and Globalization: Critical Encounters. Indiana University Press, 2011
Tenzer, Michael. "Balinese Music." Singapore: Periplus Editions, 1991.
Cohen, John. "Mountain Music of Peru." Berkeley, CA: University of California Extension, Center for Media and Independent Learning, 1984.
Goldman, Michal. "Umm Kulthum: a voice like Egypt." Arab Film Distribution, c1996 (available in Learning Center).
Home Vision Video: "Repercussions: A Celebration of African-American Music." 5 vols.: "Africa Come Back", "The Popular Music of West Africa;" "Traditional Music from the Gambia;" "Caribbean Crucible;" "Drums of Dagbon;" "On the Battlefield: Gospel Quartets." 1984.
Ichikawa, Katsumori, ed. "JVC Anthology of World Music and Dance." 30 videocassettes. JVC-Victor Company of Japan, 1988 (available in Learning Center).
Lomax, Alan. "The Land Where the Blues Began." Vestapol Video, 1991.
Pasler, Jan. "Taksu: Music in the Life of Bali." PBS video, 1992.

Learning Outcomes and Objectives

Course Objectives

  • Employ a basic vocabulary of common music terms to describe observations of recorded and live music.
  • Demonstrate an understanding of the roles of music in human cultures
  • Identify genres, musical elements and cultural contexts for several musical traditions
  • Compare World-wide historical developments
  • Analyze aspects of inter- and intra-cultural conflict including colonialism, class and racism in relation to world music
  • Distinguish various styles of world music and representative artists who have integrated their musical/cultural backgrounds into music in the United States

CSLOs

  • Employ a basic vocabulary of common music terms to describe observations of recorded and live music.

  • Recognize individual instruments and voices and the various ensembles in which they are used.

Outline

  1. Employ a basic vocabulary of common music terms to describe observations of recorded and live music.
    1. Basic elements of musical sound
      1. Pitch: frequency, intervals, scales, definite and indefinite pitch.
      2. Rhythm - additive, divisive, and polyrhythms
      3. Dynamics/volume
      4. Tone color/timbre
    2. Performing media
      1. Voice - Western vs. non-Western concepts
      2. Instruments
        1. Western instrument classification concepts
        2. Hornbostel-Sachs instrument classification: Chordophones, Aerophones, Ideophones, Membranophones, Electrophones
    3. Basic concepts of musical organization and structure
      1. Scales and tonality: major, minor, pentatonic, chromatic, modes, bimodality, non-western concepts of tonality
      2. Melody: pitch and rhythm components, phrases
      3. Harmony: chords, progressions
    4. Texture: monophonic, polyphonic, homophonic, heterophonic
    5. Form: strophic, binary and ternary, non-repeating forms
    6. Application of music terminology through description and discussion of musical examples, both recorded and performed live
      1. Objective descriptions of musical features
      2. Subjective responses, particularly as related to music features
  2. Demonstrate an understanding of the roles of music in human cultures
    1. Uses of music in human societies
      1. Music as entertainment
      2. Ceremonial and religious music
      3. Music as art
      4. Music as an expression of popular culture
      5. Relationships between traditional, popular and art music
    2. Contemporary and historic issues of gender in musical practice
      1. Traditional gender roles in music and dance
      2. Gender discrimination, especially in instrumental music
      3. Emergence of women’s music ensembles
      4. Film and the recording industry in the rise of woman "stars"
    3. Folkloric music as both genre and political tool
    4. Sacred vs. secular music
  3. Identify genres, musical elements and cultural contexts for several musical traditions
    1. Native Americans
      1. Traditional concepts of musical composition and song ownership (vision quest)
      2. Ceremonial music combined with dance
      3. Vocables/syncopation in vocals
      4. Percussion instruments/additive rhythms
      5. Flutes and strings (Apache fiddle)
    2. Mexican/Hispanic music
      1. Regional styles and instruments
      2. Canciones and corridos
      3. Mariachi bands - instrumentation and function
      4. Banda music - concert bands with vocals based on polkas and quadrilles
      5. Son Jarocho
      6. Son Huasteca
    3. Representative Sub-Saharan African musical contexts and instruments
      1. Religious, political, social ceremonies - all with dance
      2. Percussion instruments - "talking" drums; drumming "orchestras;" polyrhythms
      3. Vocal traditions - call and response and work songs
      4. Pitched instruments - kora, mbira, harps, flutes, trumpets
      5. Scale types - Pentatonic, non-western diatonic scales
      6. Choral music traditions
    4. Music of North Africa, the Middle East and Iran
      1. Cradle of civilization, birthplace of many of the world’s instruments
        1. Lute: Oud
        2. Zither: Qanum
      2. Rhythmic concepts: iqa, pulsitile and non-pulsitile music
      3. Melodic concepts: mode
        1. Arabic Maqam
        2. Iranian dastgah system; the radif as basis for improvisation
      4. Form: instrumental and vocal “suitesâ€
      5. Concepts of what constitutes music; varying interpretations of Koran that sometimes discourage music, particularly dance genres
      6. Popular Genres: Algerian rai, Arabic Sha’bi, Arabesk, Layali-muwwal
    5. Music of Japan
      1. Scale and tuning systems
      2. Art music accompanying Noh and Kabuki theaters
      3. Nohgaku instruments: flute, drums
      4. Koto and other stringed instruments
      5. Shinto festival music
      6. Shakuhachi flute and Buddhist ritual music
    6. Music of Han people of China
      1. Scale and tuning systems
      2. Representative Instruments: sheng, ch'in, p'ip'a, yanqin
      3. Music and politics
        1. Confucius and feudal China
        2. Western influence
        3. Mao and music in Communist China
      4. Music and religion
        1. Taoism and Buddhism
        2. Confucius
      5. Chinese opera
      6. Modern contexts for traditional music
    7. Music of North India (Hindustani music)
      1. Vadi: drone tone played by tamboura
      2. Rag: scales or modes, 200 types from which ragas are based
      3. Tala: rhythmic cycles played by tabla (tunable percussion)
      4. Sitar - improvised rag - creates rasas (feeling)
    8. Indonesia
      1. Balinese Gamelan orchestras
        1. Balinese gamelan: gamelan gong gede, gamelan kebyar
        2. Related genres: kecak, Barong dance
      2. Javanese Gamelan
        1. Gendhing: compositions, levels of organization; core and elaborating melodies
        2. Gongan: gong cycles, punctuation as organizing principal
    9. South American Music
      1. Brazilian: bossa nova, samba batucada, candomble religious music and dance, capoeira music and dance
      2. Argentina: tango music; bandoneon, drums, bass, clarinet
      3. Andean highlands: flutes (pan pipes), guitars, and percussion, mestizo traditions
    10. Music of the Caribbean
      1. Trinidad and Tobago: steel drums
      2. Jamaica: Reggae and ska
      3. Cuba: "son" complex, afro-Cuban drum-dance traditions, salsa music
    11. Jewish-American music: Klezmer instrumentation and traditions from Eastern Europe
    12. Cajun and Zydeco music
      1. Historical and ethnic differences resulting in distinct traditions
      2. Instrumentation: washboard, bass, guitar, drums, violin, vocals, harmonica
      3. Style elements: Based on quadrilles and other French folk songs and dances
  4. Compare World-wide historical developments
    1. Current Native American developments which including tribal/techno Pop, waila, contemporary stomp dances, powwow
    2. Indigenous and Spanish influences in Mexico and Southwest United States
      1. Tejano music
      2. Latin rock/rock en espanol
    3. African influences in Gospel, Rhythm and Blues, Jazz, Rock and Roll, Rap and Hip-Hop
    4. Evolution of concept of classical music in Asia, meant to stay preserved and not to evolve as in Western traditions
      1. Blending ancient Japanese music (gakaku) with western-style compositions - Hideki Togi
      2. Group singing now including mediated Music: Karaoke ("empty orchestra")
      3. American taiko drumming
    5. Hindu vedas as basis of Indian music and evolves into use in jazz and progressive rock
    6. Brazilian music: syncretized indigenous, Portuguese, and African cultures; incorporation into international jazz
    7. Cuban music: syncretized Spanish, and African cultures, incorporation into international jazz
    8. The international rap music explosion
  5. Analyze aspects of inter- and intra-cultural conflict including colonialism, class and racism in relation to world music
    1. The effects of European and US colonialism on the music of North and South America, the Caribbean, Indonesia, India, and the African continent
    2. Creole musicians; black military bands in the U.S; race records in the 1920s-1950s; Black Musicians Union in San Francisco until 1962
  6. Distinguish various styles of world music and representative artists who have integrated their musical/cultural backgrounds into music in the United States
    1. Native Americans - Jack Teagarden, Buffy St. Marie, Robbie Robertson and Men of the Wolf, Carlos Nakai
    2. Mexican/Hispanic artists - Linda Ronstadt, Carlos Santana, War. Los Lobos, Ozomatli, Selena; from El Salvador - Ruben Blades and Michael Camillio
    3. African Americans
      1. Spirituals and Gospel music - Mahalia Jackson, Staple Singers, Take Six, Charles Tindley, Thomas Dorsey
      2. Rural Blues - Robert Johnson, Leadbelly, and Charlie Patton
      3. Urban Blues - Ma Rainey, Bessie Smith, B.B. King, and Muddy Waters
      4. Motown - Supremes, Temptations. Four Tops, Marvin Gaye, and Stevie Wonder
      5. Rap artists - MC Hammer, Tupac, Guru, and Puff Daddy
      6. Urban contemporary - Aretha Franklin, Whitney Houston, Anita Baker, Lionel Ritchie, and Luther Vandross
      7. Other rock, pop artists: Jimi Hendrix, Earth, Wind and Fire, Prince
    4. Japanese artists - Hiroshima, Toshiko Akiyoshi, Midori, Kitaro, and Hideki Togi
    5. Chinese artists - Yo-Yo Ma, Jon Jang, Twelve Girl Band, Cui Jian
    6. Indian musicians - Ravi Shankar, Ali Akbar Khan, Shakkti and Zubin Mehta
    7. Filipino-Americans - vocal group, Kai and Bobby Rodriguez
    8. Brazilian artists - Antonio Carlos Jobim, Joao Gilberto, Tonhino Horta, Milton Nascimento, Elaine Elias, and Sergio Mendes
    9. Argentina - Astor Piazolla and Columbia - Claudia Gomez
    10. Caribbean artists - Paquito D'Rivera, Arturo Sandoval, Gloria Estefan, Irakere, Gonzalo Rubalcaba, Los Van Van, Bob Marley, Mongo Santamaria, Paul Gonsalves, Juan Tizol, and Pancho Sanchez, Familia Valera-Miranda
    11. Jewish-American artists - George and Ira Gershwin, Irving Berlin, Leonard Bernstein, Isaac Stern, Jascha Heifetz, Arthur Rubenstein, Itzhak Perlman, and Benny Goodman
    12. Local and area clubs, artists and ensembles
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