MUSI 7525: Applying Music, Art & Practice

Spring 2016

Thu 14:00 – 16:30

Old Cabell Hall S008

Course instructor:   

Noel Lobley, Assistant Professor of Music (Critical and Comparative Studies)

Contact:                                      noel.lobley@virginia.edu

Office hours:           Tuesdays 12:00 – 14:00 (or by appt.), Wilson 109 (434-297-6987)

SYLLABUS SUBJECT TO REVISION – Definitive version always on Collab

Course description:

What could music change, do and heal? By combining approaches from applied musicology, political music-making and medical ethnomusicology, we will trace the stories and intersections linking music, civil liberties, land ownership, health programmes, cultural entrepreneurship and global migration.

Drawing on a wide range of applied global and local case studies, ranging from El Sistema to aboriginal songlines, and from Apple Music to Ugandan choirs combatting AIDS, we attempt to understand the active place and force of music and sound in the practical world today.

COURSE MATERIALS

During the semester, we will read and be guided by key texts and articles, many of which are available in full online, and most will remain on reserve at the Music library in Old Cabell Hall. According to class demand, I can arrange for copies to be ordered to be UVa bookstore.

Texts Available Online

Charry, E. 2012. Hip Hop Africa: New African Music in a Globalizing World. Bloomington, IN.: Indiana University Press.

Clark, M. & M. Koster (eds.). 2014. Hip Hop and Social Change in Africa: Ni Wakati. Lanham, Boulder, New  York & London: Lexington Books.

Meizel, K. 2011. Idolized: Music, Media and Identity in American Idol. Bloomington, IN.: Indiana University Press.

Moore, R. 2009. Sells Like Teen Spirit: Music, Youth Culture and Social Crisis. New York, NY.: New York University Press.

O’ Connell, J. & Castelo-Branco, S. (eds.). 2010. Music and Conflict.. Urbana, IL.: University of Illinois Press.

Pedelty, M. 2011. Ecomusicology: Rock, Folk, and the Environment. Philadelphia, PA.: Temple University Press.

Plageman, N. 2012. Highlife Saturday Night: Popular Music and Social Change in Urban Ghana. Bloomington, IN.: Indiana University Press.

Roscigno. R. & W. Danaher. 2004. Voice of Southern Labor: Radio, Music, and Textile Strikes, 1929-1934. Minneapolis, MN.: University of  Minnesota Press.

Rommen, T. 2011. Funky Nassau: roots, routes and representation in Bahamian music. Berkeley, CA.: University of California Press.

Rose, T. 2008. Hip-Hop Wars: What We Talk about When We Talk about Hip-Hop - and Why It Matters. New York, NY.: Basic Civitas.

Tejumola, O. 2004. Arrest the Music!: Fela and His Rebel Art and Politics. Bloomington, IN.: Indiana University Press.

Watkins, C. 2006. Hip Hop Matters: Politics, Pop Culture and the Struggle for the Soul of a Movement. Boston, Ma.: Beacon Press.

Williams, R. 2010. Reds, Whites, and Blues: Social Movements, Folk Music, and Race in the United States. Princeton, NJ.: Princeton University Press.

Also Valuable

(on reserve in the Music Library for three hour loan periods)

Baker, G. 2014 El Sistema: orchestrating Venezuala’s youth. New York & London: Oxford University Press.

Barz, G. 2006. Singing for Life: HIV/AIDS and music in Uganda. New York & London: Routledge.

Barz, G. & J. Cohen (eds.). 2011. The Culture of AIDS in Africa: hope and healing in music and the arts. Oxford & New York: Oxford University Press.

Grant. C. 2014. Music Endangerment: how language maintenance can help. New York and London: Oxford University Press.

Guillbault, J. 2007. Governing Sound: the cultural politics of Trinidad’s Carnival Musics. Chicago, IL.: University of Chicago Press.

Harrison, K. (et al.) (eds.). 2010. Applied Ethnomusicology: historical and contemporary approaches. Newcastle upon Tyne: Cambridge Scholars.

Koen, D. (et al.) (eds.). 2008. The Oxford Handbook of Medical Ethnomusicology. Oxford & New York: Oxford University Press.

Pettan, S. & J. Todd Titon (eds.). 2015. The Oxford Handbook of Applied Ethnomusicology. Oxford & New York: Oxford University Press.

Post, J. 2006. Ethnomusicology: a contemporary reader. New York & London:  Routledge.

Steinberg, J. 2008. Sizwe’s Test: a young man’s journey through Africa’s AIDS epidemic. New York: Simon & Schuster.

Most other reading, listening and viewing materials will be available online, and

there is also a short extra general bibliography at the end of the syllabus.

Useful Journals
 

Anthropology in Action

http://journals.berghahnbooks.com/aia/

Current Anthropology

http://www.journals.uchicago.edu/toc/ca/current

Ethnomusicology

http://www.ethnomusicology.org/?Pub_Journal

Ethnomusicology Forum

http://www.tandfonline.com/toc/remf20/current

Yearbook for Traditional Music

http://www.ictmusic.org/publications/yearbook-for-traditional-music

Useful Websites and Blogs

Applied Ethnomusicology Section of SEM

http://www.ethnomusicology.org/?Groups_SectionsAE

Ethnomusicology Review

http://ethnomusicologyreview.ucla.edu

ICTM Study Group on Applied Ethnomusicology

http://ictmusic.org/group/applied-ethnomusicology

Assessments

This semester we will complete three assignments in, ideally, creative formats: two short pieces of work [(i) a review article, and (ii) a curated playlist with commentary], plus a final project.

The first two assignments should be approximately 2000 words in length. For the final project (approx. 4000 words) you will be asked to identify a specific topic/ idea/ series of case studies that will enable you to explore some of the major themes of our course and tie them closely to your own developing and aspirational work and ideas.

Please discuss your ideas for your final paper with me immediately after spring recess. I encourage you all to propose possible alternative creative formats for your final paper, which need not be, but also certainly can be, a standard written paper.

All students will also be expected to prepare and share short presentations in class during the semester, exploring the key readings and case studies.

Course work will be assessed on the following basis:

20%     Participation (including attendance, responsiveness in class, timeliness of submissions, short presentations and overall engagement)

40%     Written assessments count as 20% each [(i) review article, (ii) curated applied musicology playlist and commentary]

40%     Final project broadly addressing the question(s) ‘what is the relationship between musical scholarship and practice? What could it be?’ [due in the last week of the semester]

Key Assessment Deadlines

1. First Written Assignment [Week 6]: a review article on applied musicology– due by 17:00 Friday 27th February [Approximately 2000 words]
2. Second Written Assignment [Week 12]: a curated applied musicology playlist and commentary exploring a narrative – due by 17:00 Friday 8^th April [Approximately 10-15 entries in YouTube (or equivalent), plus 2000 words commentary].
3. Third Written Assignment [Week 16]: Final Paper answering the broad question ‘What is the relationship between musical scholarship and practice? What could it be?’ – due in the last week of the semester [Approximately 3000 words]

Course attendance and participation

As this course is a seminar, participation in class discussions will be particularly important. Attendance and respectful participation are expected. More than two unexcused absences from class will adversely affect the final grade.
 

Course policies

No late assignments will be accepted without very good reason. It is always best to advise me in advance if you anticipate any problems meeting deadlines.

Please remember to turn off all cell phones during class. In general, no emailing or social media use is allowed during class. However, in most seminars I will invite us all to conduct research in class using our devices.
 

Honor

I trust every student in this course to comply with all of the provisions of the UVA honor system. You must pledge and sign your three written assignments. Your signature on the papers affirms that they represent your original work, and that any sources you have quoted, paraphrased, or used extensively in preparing the paper have been properly credited in the footnotes or bibliography.

Thematic Course Questions

Through a wide-ranging variety of literature, case studies, and audio-visual sources our course will address the following three broad thematic areas of investigation:

Course questions 


• What are the relationships between musical scholarship, musical practice, and social change?
• How do music scholars and practitioners design applied projects? How could they design them in future?
• What can music and art achieve?

Overview of Topics

I. Music and Change

Week 1: Welcome and introduction: what is applied musicology?
Week 2: Hip Hop and Social Change
Week 3: Music and Social Movements: folk, strikes and labour

II. Music, Environments and Social Movements

Week 4: El Sistema and the orchestration of youth in Venezuala and beyond
Week 5: Moving streets, overturning order: carnivals, marching, protest and change
Week 6: Soundscapes, ecomusicology and the environment

III. Music and healthy  identities

Week 7: Music, disease, health and healing
Week 8: Spring Recess
Week 9: The power of popular music
 

IV. Themes and Case-Studies Revisited

Week 10: Themes and case studies revisited with self-identified projects (i)
Week 11: Themes and case studies revisited with self-identified projects (ii)
Week 12: Themes and case studies revisited with self-identified projects (iii)

V. Towards Final Projects

Week 13: Themes and case studies revisited with emerging final projects (i)
Week 14: Themes and case studies revisited with emerging final projects (ii)

Return

Week 15: Revision: what is applied musicology? What could it be?

COURSE OUTLINE

I. MUSIC AND CHANGE
 

Week One:      Welcome and introduction

Class 1:          Thursday 21^st January 2016           

Introduction – Scope of the course: what is applied musicology?

Video Playlist for Class 1

https://www.youtube.com/playlist?list=PLuoiSwM3103Q81mWYruMTSSk6fAUdCeh4

Week Two:      Hip Hop and Social Change

Class 2:       Thursday 28^th January 2016

Key Questions:

1. What can hip hop change?
2. How is hop hop powerful?
3. What are hip hop messages?
    

Key Texts & Readings:

Charry, E. 2012. Hip Hop Africa: New African Music in a Globalizing World. Bloomington, IN.: Indiana University Press

Clark, M. & M. Koster (eds.). 2014. Hip Hop and Social Change in Africa: Ni Wakati. Lanham, Boulder, New  York & London: Lexington Books.

Rose, T. 2008. Hip-Hop Wars : What We Talk about When We Talk about Hip-Hop - and Why It Matters. New York, NY.: Basic Civitas.

Watkins, C. 2006. Hip Hop Matters: Politics, Pop Culture and the Struggle for the Soul of a Movement. Boston, Ma.: Beacon Press.

Video Playlist for Class 2

https://www.youtube.com/playlist?list=PLuoiSwM3103TzYSup-U7qRi8WuoTaErBI

Week 3:      Music and Social Movements: folk, strikes and labour

Class 3:       Thursday 4^th February 2016

Key Questions:

1. How does music form collectivity?
2. How and what does music protest?
3. Who listens to collectives and protests?

Key Texts:

Roscigno. R. & W. Danaher. 2004. Voice of Southern Labor : Radio, Music, and Textile Strikes, 1929-1934. Minneapolis, MN.: University of Minnesota Press.

Tejumola, O. 2004. Arrest the Music!: Fela and His Rebel Art and Politics. Bloomington, IN.: Indiana University Press.

Williams, R. 2010. Reds, Whites, and Blues : Social Movements, Folk Music, and Race in the United States. Princeton, NJ.: Princeton University Press.

Documentary for Class 3: Music is a Weapon (about Fela Kuti), by by Stéphane Tchal-Gadjieff and Jean Jacques Flori.

http://virginia.kanopystreaming.com/video/fela-kuti-music-weapon

II. MUSIC, ENVIRONMENTS AND SOCIAL MOVEMENTS

Week 4:    El Sistema and the orchestration of youth in Venezuala and beyond

Class 4:       Thursday 11^th February 2016

Key questions:

1. How and why do we apply classical music?
2. Why and how do regimes adopt music and art?
3. How is youth music communicated and transmitted?

Key Readings:

Baker, G. 2014 El Sistema: orchestrating Venezuala’s youth. New York & London: Oxford University Press.

Video Playlist for Class 4

https://www.youtube.com/playlist?list=PLuoiSwM3103Tsifz_sObO-gW29gGnwgNR

Week 5:      Moving streets, overturning order: carnivals, marching, protest and change

Class 5:          Thursday 18^th February 2016

Key questions:

1. What is carnival?
2. What does it do?
3. Who is in control of carnival?

Key Readings:

Guillbault, J. 2007. Governing Sound: the cultural politics of Trinidad’s Carnival Musics. Chicago, IL.: University of Chicago Press.

Rommen, T. 2011. Funky Nassau: roots, routes and representation in Bahamian music. Berkeley, CA.: University of California Press.

Video Playlist for Class 5

https://www.youtube.com/playlist?list=PLuoiSwM3103SpwJZZ_P-m-E4cm9ZEG2JE

Week 6:        Soundscapes, ecomusicology and the environment

Key questions:

1. What is ecomusicology?

2. Where is the environment in and for music?

3. What is sustainable music?

Key Readings:

Grant. C. 2014. Music Endangerment: how language maintenance can help. New York and London: Oxford University Press.

Farino, A. 2015. Soundscape Ecology: principles, patterns, methods and applications. Dordrecht: Springer Science and Business Media.

Pedelty, M. 2011. Ecomusicology: Rock, Folk, and the Environment. Philadelphia, PA.: Temple University Press.
 

Video Playlist for Class 6

https://www.youtube.com/playlist?list=PLuoiSwM3103R-vXUFk5R5x9vK1MRL_MV8

III. MUSIC AND HEALTHY IDENTITIES

Week 7:      Music, disease, health and healing

Class 7:          Thursday 3^rd March 2016

Key questions:

1. What can music heal?
2. What is medical ethnomusicology?
3. Is music healthy?

Key Readings:

Barz, G. 2006. Singing for Life: HIV/AIDS and music in Uganda. New York & London: Routledge.

Barz, G. & J. Cohen (eds.). 2011. The Culture of AIDS in Africa: hope and healing in music and the arts. Oxford & New York: Oxford University Press.

Koen, D. (et al.) (eds.). 2008. The Oxford Handbook of Medical Ethnomusicology.

Steinberg, J. 2008. Sizwe’s Test: a young man’s journey through Africa’s AIDS epidemic. New York: Simon & Schuster.

Week 8:      Spring Recess

Reading week (Saturday March 5^th – Sunday March 13^th): no classes

Week 9:      The Power of Popular Music

Class 9 :         Thursday 17th March 2016

Key questions:

1. Why study popular music?
2. Why and how is popular music so powerful?
3. How does popular music express and change individual and group identities?

Key Readings:

Meizel, K. 2011. Idolized: Music, Media and Identity in American Idol. Bloomington, IN.: Indiana University Press.

Moore, R. 2009. Sells Like Teen Spirit: Music, Youth Culture and Social Crisis. New York, NY.: New York University Press.

IV. THEMES AND CASE-STUDIES RE-VISITED

Week 10:      Themes and case studies revisited with self-identified projects (i):

The Power of Popular Music (Torie)

Class 10:        Thursday 24^th March 2016

For this week, our key readings will be:

Bayer, G. (ed.). 2009. Heavy Metal in Britain. Farnham, England & Burlington, VT: Ashgate.

Especially:

• Chapter 5, 'Images of Human-Wrought Despair and Destruction: Social Critique in British Apocalyptic and Dystopian Metal'
• Chapter 8, 'The Unmaking of the English Working Class: Deindustrialization, Reification and the Origins of Heavy Metal'
• Chapter 9, 'No Class? Class and Class Politics in British Heavy Metal'

[Available online via Virgo]

http://site.ebrary.com/lib/uvalib/reader.action?docID=10276604

Prato, G. Grunge is Dead: the oral history of Seattle Rock Music. Toronto, Ontario: ECW Press. [Available online via Virgo].

http://site.ebrary.com/lib/uvalib/reader.action?docID=10308936

Pruett, D. 2011. 'When the Tribe Goes Triple Platinum: A Case Study Toward an Ethnomusicology of Mainstream Popular Music in the U.S', Ethnomusicology 55(1): 1-30. [Available online]

http://www.jstor.org/stable/pdf/10.5406/ethnomusicology.55.1.0001.pdf?acceptTC=true

Tatro, K. 2014. 'The Hard Work of Screaming: Physical Exertion and Affective Labor Among Mexico City’s Punk Vocalists', Ethnomusicology 58(3): 431-453. [Available online]

http://www.jstor.org/stable/pdf/10.5406/ethnomusicology.58.3.0431.pdf?acceptTC=true

Wallach, J. 2008. 'Living the Punk Lifestyle in Jakarta', Ethnomusicology 52(1): 98-116. [Available online]

http://www.jstor.org/stable/pdf/20174568.pdf?acceptTC=true
 

General Resources (if you have time):

Reynolds, S. 2005. Rip it Up and Start Again: postpunk 1978-1984. London: Faber & Faber.

[For example, Ch. 1 'Public Image Belongs to Me: John Lydon and PiL', Ch. 10 'Just Step Sideways: The Fall, Joy Division and the Manchester Scene', and Ch. 15 'Ghost Dance: 2-Tone and the Ska Resurrection']

Savage, J. 2009. The England's Dreaming Tapes: University of Minnesota Press.

[= transcribed interviews to accompany Savage's 1991 classic history of punk England's Dreaming: anarchy, the sex pistols, punk rock and beyond]

[Available online via Virgo]

http://site.ebrary.com/lib/uvalib/reader.action?docID=10426605

**

The seminar will be structured in two sections around the break:

1. A way forward in pop music ethnography
   1. Pruett
   2. Prato
2. Social change and music scenes
   1. Bayer
   2. Wallach
   3. Tatro

We would like to assign the readings as follows (group):

Can everybody please read the Pruett article 'When the Tribe Goes Triple Platinum: A Case Study Toward an Ethnomusicology of Mainstream Popular Music in the U.S'.

Please also all refresh yourselves on Moore (mainly the introduction 'Anarchy in the USA', pp. 1-32) in order to obtain some critical distance on the argument, intent, methodology and language.

Moore, R. 2009. Sells Like Teen Spirit: Music, Youth Culture and Social Crisis. New York, NY.: New York University Press.

http://site.ebrary.com/lib/uvalib/reader.action?docID=10354089
*

We would like to assign the individual readings as follows:

Aldona: 'Living the Punk Lifestyle in Jakarta' by Wallach

**

Week 11:       Themes and case studies revisited with self-identified projects (ii)

Soundscapes, Ecomusicology and the Environment (ii): Music Endangerment Revisited (with Lydia and Ida)

Classes 11:     Thursday 1^st April 2016

This week we will be revisiting Catherine Grant's Music Endangerment in order to consider more of the pros and cons of creating frameworks for musical preservation. We will examining some of the underlying assumptions of Grant's work, and will also be looking at concrete local examples and considering some other options for musical preservation.

Grant. C. 2014. Music Endangerment: how language maintenance can help. New York and London: Oxford University Press.

Can everyone please read at least the introduction and Chapters 1-3 plus 6. The whole book will prove valuable for those that have time. Please note I have uploaded PDFs of the whole book in the 'resources' section on Collab under Week 11. There are also four other required articles, all available online or as a PDF on Collab where not readily available online.

Class Theme 1: Grant's Framework and Some Underlying Assumptions Examined

Moore, R., S. Pietikainen & J. Blommaert. 2010. 'Counting the Losses: numbers and the language of language endangerment', Sociolinguistic Studies 4(1): 1-26

[PDF in Resources on Collab]

Tsing, A. 2012. 'On Nonscalability: the living world is not amenable to precision-nested scales', Common Knowledge 18(3): 505-524

http://commonknowledge.dukejournals.org.proxy.its.virginia.edu/content/18/3/505.full.pdf+html


Class Theme 2 -  Comparing Grant's Framework with Concrete Case Studies: The Crooked Road and beyond

Rockwell, J. (2011). 'Time on the Crooked Road: Isochrony, Meter, and Disruption in Old-Time Country and Bluegrass Music',  Ethnomusicology 55(1), 55–76.

http://doi.org/10.5406/ethnomusicology.55.1.0055

http://www.jstor.org.proxy.its.virginia.edu/stable/pdf/10.5406/ethnomusicology.55.1.0055.pdf?_=1458909663070

Chaney, R. 'Straightening the crooked road', Ethnography 14(4) 387–411

http://DOI.org/10.1177/1466138112448024

http://eth.sagepub.com.proxy.its.virginia.edu/content/14/4/387.full.pdf+html

Please also spend a little time familiarising yourself with the Crooked Road Website in order to get a sense of the music and environment. We will look again at the resource together in class, time permitting.

(https://www.myswva.org/tcr)

Some Initial Questions to Consider:

What are the assumptions underlying Grant's work and framework?
Why and how should we study language endangerment?
Does it make sense to apply methods from linguistics to music endangerment?
Does Grant's approach assume or subvert scalability?
Is speed of the essence in music and language endangerment?
What power structures does Grant engage with?
Is the Crooked Road, with its network of festivals, competitions, and financial support to maintain a small genre, what Grant wants us to do?
How do we put the Crooked Road in conversation with her framework?

Hill, J. 2008. '"Expert Rhetorics" in Advocacy for Endangered Languages: Who Is Listening, and What Do They Hear?', Journal of Linguistic Anthropology 12(2): 119-133

http://onlinelibrary.wiley.com.proxy.its.virginia.edu/doi/10.1525/jlin.2002.12.2.119/epdf

Landau, C. & J. Topp Fargion (eds.). 2012. 'SPECIAL ISSUE: Ethnomusicology, Archives and Communities: Methodologies for an Equitable Discipline', Ethnomusicology Forum 21(2)

[** Especially introduction 'We're All Archivists Now: towards a more equitable discipline' (pp. 125-140) **]

http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=6&sid=cf5d06db-cfb4-4202-a2fc-0606937387aa%40sessionmgr4003&hid=4201

Thomas, A. E.. 2001. 'Practicing Tradition: History and Community in an Appalachian Dance Style', Western Folklore 60(2/3), 163–181.

http://doi.org/10.2307/1500375

http://www.jstor.org/stable/pdf/1500375.pdf?_=1459137248542

Week 12:       Themes and case studies revisited with self-identified projects (iii)

The Power of Popular Music Revisited (Tanner)

Class 12:        Thursday 7^th April 2016

This week we are re-visiting 'The Power of Popular Music' and, in particular, Meizel's 'American Idol'.

Please can everyone familiarise themselves with as much of the book as possible (available online). Tanner has also identified further contexts that he would like us to explore together.

Harrison, A.2011. '“We’re Talking about Practice(-Based Research)”: Serious Play and Serious Performance in the Practice of Popular Music Ethnography', Journal of Popular Music Studies, 23(2): 221-8. [Available online or as PDF in 'resources']
Harper, A. 2012.  'Comment: Vaporwave and the pop-art of the virtual plaza', Dummy

http://www.dummymag.com/features/adam-harper-vaporwave

Kotarba, J., J. Fackler & K. Nowotny. 2009. 'An Ethnography of Emerging Latino Music Scenes', Symbolic Interaction 32(4): 310-333. [Available online or as PDF in 'resources']

Howarth, C. 2016. 'All the Musics Which Computers Make Possible: questions of genre at the Prix Ars Electronica', Organised Sound 21(1): 15-29. [Available online or as PDF in 'resources']

Please also look at:

Cottrell, S. 2010. 'Ethnomusicology and the Music Industries: and overview', Special issue of Ethnomusicology Forum 19(1): 3-25. [Available online or as PDF in 'resources']

John Seabrook. 2012. 'The Song Machine: the hitmakers behind Rihanna', New Yorker March 26th 2012 Issue.

http://www.newyorker.com/magazine/2012/03/26/the-song-machine

[A precursor to his book 'The Song Machine: inside the hit factory', which is also very valuable]

It will also be worthwhile to compare, eventually, Louise Meintjes' Sound of Africa: making music Zulu in a South African Studio and Ben Ratliff's 'Every Song Ever: twenty ways to listen in an age of musical plenty'. Given the limits of time, feel free to just hold these two in mind for future reference.

Some preliminary questions to consider:

• Are there are any meaningful differences/similarities between online and offline musical scenes? What impact might these have on listeners' experiences?
• How can Harrison's emphasis on practice-based research (PBR) inform ethnographic work in electronic music communities?
• How does the Internet--as research tool, area of focus, and otherwise--alter the study of musical genre? Are there particular pitfalls to keep in mind?

V. TOWARDS FINAL PROJECTS

Week 13:      Themes and case studies revisited with emerging final projects (i)

Class 13:        Thursday 14^th April 2016

Class to be rescheduled.

Week 14:       Themes and case studies revisited with emerging final projects (ii)

Classes 14:     Thursday 21^st April 2016

This week we are revisiting the theme 'Music and Social Movements' with extra resources identified by Aldona and Kyle.

As per the syllabus, the topic was introduced in Week Three with these resources:

Week 3:      Music and Social Movements: folk, strikes and labour

Class 3:       Thursday 4^th February 2016

Key Questions:

1. How does music form collectivity?
2. How and what does music protest?
3. Who listens to collectives and protests?

Key Texts:

Roscigno. R. & W. Danaher. 2004. Voice of Southern Labor: Radio, Music, and Textile Strikes, 1929-1934. Minneapolis, MN.: University of Minnesota Press.

Roy, W. 2010. Reds, Whites, and Blues : Social Movements, Folk Music, and Race in the United States. Princeton, NJ.: Princeton University Press.

Tejumola, O. 2004. Arrest the Music!: Fela and His Rebel Art and Politics. Bloomington, IN.: Indiana University Press.

Documentary for Class 3: Music is a Weapon (about Fela Kuti), by by Stéphane Tchal-Gadjieff and Jean Jacques Flori

http://virginia.kanopystreaming.com/video/fela-kuti-music-weapon

For this week, Aldona and Kyle have researched and proposed the following resources and structure, with the aim of spending class time exploring questions in depth.

RETURN

Week 15:

Class 15: Thursday 28^th April 2016

Key question:

1. What is applied musicology? What could it be?

___________

Student Life

I will work hard to encourage a safe and equitable learning environment in this course.  But, what happens in the classroom will be just one element of your experience at UVA this semester. Although I may not always be able to address your questions and concerns, I will certainly be able to guide you towards all necessary support and resources, so please do not hesitate to contact me about any issues that may be affecting your experience of this class.

Additional resources that are available to you:

Resources for Addressing Sexual Violence:

The University’s central site is: http://www.virginia.edu/sexualviolence/.

You can also contact the Office of the Dean of Students: 434- 924-7133 (or after hours and weekends call 434-924-7166 for the University Police Department; ask them to refer the issue to the Dean on Call)

Sexual Assault Resources Agency (SARA) hotline: 434-977-7273 (24/7)

Shelter for Help in Emergency (SHE) hotline: 434-293-8509 (24/7);

UVA Women's Center: 435-982-2361; and

Student Health (CAPS).

Resources for Addressing Racial Violence or Other Instances of Harassment or Discrimination:

http://www.virginia.edu/justreportit/.

You can also contact the Office of the Dean of Students: 434-924-7133 (or after hours and weekends call 434-924-7166 for the University Police Department; ask them to refer the issue to the Dean on Call); and Student Health (CAPS).

In addition, the Center for Teaching Excellence (formerly the Teaching Resource Center) has assembled a wide-ranging list of sites and offices that can help respond to both academic and non-academic concerns.

You can find it at: http://trc.virginia.edu/resources/support-for-uva-faculty-and-students/.

Finally, if you have any questions about academic integrity or what counts as plagiarism, please let me know. The Honor Code applies to all assignments for this course. The Library also offers helpful information at:

http://guides.lib.virginia.edu/content.php?pid=385908&sid=3162708

Please see below for recommended actions to prevent and respond to violence involving students, faculty and staff in the department. These guidelines aim to promote safety, community and awareness amongst students in classes and ensembles, musicians and other members of the department.

Syllabi statement

The McIntire Department of Music is committed to providing a safe and equitable learning environment for all students, and holds the following two values as critically important:

1. Power-based personal violence will not be tolerated.
2. Everyone has a responsibility to do their part to maintain a safe community on Grounds.

Please know that as a faculty member, I support a safe and violence-free campus. If you or someone you know has been affected by power-based personal violence, more information can be found on the UVA Sexual Violence website, which describes reporting options and the many available resources. A link is given for reporting misconduct through the university’s Title IX process.

If you have concerns or questions about any aspect of this, you can approach any faculty or staff member of the music department, or any of these offices:

• ODOS Dean on Call: (434) 924-7166; DeanofStudents@virginia.edu
• CAPS (individual counseling) :
  • Day time – (434) 243-5150
  • After hours – (434) 972-7004
• SARA 24-hr Sexual Assault Hotline: (434) 977-7273
• University Women’s Center: (434) 982-2774 or sdvs@virginia.edu
• Campus Police à Call 911 for emergencies or (434) 924-8843

Reporting misconduct

• Misconduct includes any type of power-based personal violence and any type of sexual conduct and / or sexual intercourse that occurs without effective consent; misconduct includes intimate partner violence, domestic violence and stalking, as well as sexual harassment, defined as unwelcome verbal, written, physical or other conduct that is sex or gender-based and creates a hostile environment

The Gigging Musicians’ Guide to Getting Home Safely

Arrange how you’re getting home before you go

- Don’t wait and see if you can hitch a ride home, get in touch with the people you know who will be there and figure out a car pool! Don’t be shy; getting to know your fellow musicians may even turn out to be a great networking opportunity to line up future gigs!

- If you need to walk or take transportation after all, map out a route along the busiest streets where you are least likely to be alone.

On your way home: STAY ALERT

                        - Know what is going on around you, even in unfamiliar situations.

                        - If you’re walking or taking public transportation:

Stay awake

Don’t let yourself get lost in your phone or a book

- If your surroundings become unsafe, you need to be able to react quickly.

“Keep your cards close”!

- Keep your phone, wallet, laptop and any other valuables out of sight

- Take off any valuable jewelry before you leave and put them out of sight

- Wear instrument cases and other bags strapped as closely as possible to you

- If anyone asks you any questions, be polite but don’t give them any information that makes you look vulnerable and just keep walking or otherwise move away, for example:

            “Where are you headed so quickly?”

                                                “My friends are expecting me; have a good night!”

                                    “What do you have in that big bag? Is that an instrument?”

                                                “Too much stuff! Have a good night!”

Preventative measures

• Contact Buddies on Call to accompany you home after rehearsals, concerts and other evening events Thursday – Sunday: (434) 260 -0545
• Contact Campus Police for safe rides home: (434) 242-1122
• Safe Ride (434) 924-4225

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