Advanced Methods in Cultural Theory and Musical Practice Ethnomusicology Seminar 2621 Tuesday 3:00-5:30 Instructor: Andrew Weintraub MB 206 (624-4184) Office hours by appt. This seminar is designed to explore the ways in which the concept of culture has emerged as a focal point for interdisciplinary scholarship in ethnomusicology in both the humanities and the social sciences. We will explore the ways in which contemporary scholars study culture as social practice, the social relations of knowledge, and the roles of symbolic, subjective, and expressive practices in constituting as well as reflecting social relations. At the same time, we will examine the ways in which contemporary scholars connect cultural texts to social and historical contexts, trace the origins and evolution of cultural practices as social forces, and relate the aesthetic properties and the uses and effects of culture to social structures. Finally, we will address global displacements of social relations in the present era to examine how they affect the past, present, and future of ethnomusicological scholarship. Students are required to do all the readings and assignments, and to submit a final project. Books indicated by an asterisk are available for purchase at The Book Center; all other readings are on reserve in the Music Library. Topics, Readings, and Assignments [subject to minor changes] Week 1 (9/1): Introduction Week 2 (9/8): Culture, Identities, Music Hall, Stuart. 1996. "The Question of Cultural Identity" In Modernity: An Introduction to Modern Societies, edited by Stuart Hall, David Held, Don Hubert, and Kenneth Thompson, 595-634. Cambridge, MA: Blackwell Publishers Inc. Keil, Charles. 1998. "Applied Sociomusicology and Performance Studies." Ethnomusicology 303-321 (and responses from Kisliuk and Wong). Manuel, Peter. 1994. "Puerto Rican Music and Cultural Identity: Creative Appropriation of Cuban Sources from Danza to Salsa." Ethnomusicology 38(2):249-280. Nketia, J.H. Kwabena. 1981. "The Juncture of the Social and the Musical: The Methodology of Cultural Analysis." The World of Music 23(2):22-35. John Shepherd. 1977. "Media, Social Process and Music" and "The 'Meaning' of Music" In Whose Music: A Sociology of Musical Languages, edited by John Shepherd, Phil Virden, Graham Vulliamy, Trevor Wishart, 7-68. London: Latimer New Dimensions Ltd. Williams, Raymond.1990 (1977). "Culture" and "The Sociology of Culture" In Marxism and Literature, 11-20; 136-144. Oxford: Oxford University Press. Week 3 (9/15): Culture, Power, Knowledge Buchanan, Donna. 1995. "Metaphors of Power, Metaphors of Truth: The Politics of Music Professionalism in Bulgarian Folk Orchestras." Ethnomusicology 39 (3):381-416. Chow, Rey. "The Politics and Pedagogy of Asian Literatures in American Universities." differences 2(3):29-51. Foucault, Michel. 1980. Power/Knowledge. Briughton, England: Harvester. Nader, Laura. 1997. "The Phantom Factor: Impact of the Cold War on Anthropology" In The Cold War and the University: Toward and Intellectual History of the Postwar Years , 107-146. *Said, Edward. 1979. Orientalism. New York: Vintage Books. [pp. 1-110] Waterman, Christopher. 1991. "The Uneven Development of Africanist Ethnomusicology: Three Issues and a Critique" In Comparative Musicology and Anthropology of Music: Essays on the History of Ethnomusicology, edited by Bruno Nettl and Philip V. Bohlman, 169-186. Chicago: The University of Chicago Press. Gourlay, K.A. 1978. "Towards a Reassessment of the EthnomusicologistÕs Role in Research." Ethnomusicology January 1978:1-35. Week 4 (9/22): The Dialogic Imagination *Lipsitz, George. 1990. "Against the Wind" In Time Passages: Collective Memory and American Popular Culture, 99-132. Minnesota: University of Minnesota Press. Newcomb, Horace. 1984. "On the Dialogic Aspects of Mass Communication." Critical Studies in Mass Communication 1:34-50. Ortner, Sherry. 1995. "Resistance and the Problem of Ethnographic Refusal." *Scott, James. 1990. Domination and the Arts of Resistance. New Haven: Yale University Press. *Scott book review due Week 5 (9/29): Race Averill, Gage.1989. "Haitian Dance Bands, 1915-1970: Class, Race, and Authenticity" Latin American Music Review 10(2):203-35. Dent, Gina, ed. 1992. Black Popular Culture. Seattle: Bay Press. Hall, Stuart. 1996. "Race, Articulation, and Societies Structured in Dominance" In Black British Cultural Studies, edited by Houston A. Baker, Jr., Manthia Diawara, and Ruth Lindborg, 16-60. Chicago: University of Chicago Press. Lipsitz, George. 1998. "The Possessive Investment in Whiteness" In The Possessive Investment in Whiteness. Monson, Ingrid.1990. "Forced Migration, Asymmetrical Power Relations and African- American Music..." World of Music 32(3):22-45. Omi, Michael, and Howard Winant. 1986. "Introduction" and "Introduction: Paradigms of race: ethnicity, class and nation" In Racial Formation in the United States: From the 1960s to the 1980s, 1-24. New York and London: Routledge. Class Presentation 1 (Averill) Week 6 (10/6): Ethnicity Hall, Stuart. 1996(1986)."GramsciÕs Relevance for the Study of Race and Ethnicity" In Stuart Hall: Critical Dialogues in Cultural Studies, edited by David Morley and Kuan- Hsing Chen, 411-440. Flores, Juan. 1985. "Que Assimilated, Brother, Yo Soy AsimilaoÕ: The Structuring of Puerto Rican Identity in the U.S." The Journal of Ethnic Studies 13(3):1-16. Lipsitz, George. 1990. "Cruising around the Historical Bloc" In Time Passages: Collective Memory and American Popular Culture, 133-162. Minnesota: University of Minnesota Press. Omi, Michael, and Howard Winant. 1986. "Ethnicity In Racial Formation in the United States: From the 1960s to the 1980s. New York and London: Routledge. Class Presentation 2 (Flores) Week 7 (10/13): Gender Butler, Judith. 1990. "Subjects of Sex/Gender/Desire" In Gender Trouble, 1-34;134-149. New York and London: Routledge. Frith, Simon and Angela McRobbie. 1990. "Rock and Sexuality" In On Record edited by Simon Frith and Andrew Goodwin, 371-389. New York: Pantheon Books. Morris, Meaghan. 1993. "Feminism, Reading, Postmodernism." In Postmodernism: A Reader edited and introduced by Thomas Docherty, 368-389. New York: Columbia University Press. Ortner, Sherry. 1974. "Is Female to Male as Nature is to Culture?" In Woman, Culture, and Society, edited by Michelle Zimbalist Rosaldo and Louise Lamphere, 67-87. Ortner, Sherry and Harriet Whitehead. 1981. "Introduction: Accounting for Sexual Meanings" In Sexual Meanings: The Cultural Construction of Gender and Sexuality, edited by Sherry Ortner and Harriet Whitehead, 1-27. Cambridge: Cambridge University Press. Robertson, Carol. 1987. "Power and Gender in the Musical Experiences of Women" In Women and Music in Cross-Cultural Perspective, edited by Ellen Koskoff, 225-244. New York: Greenwood Press. Shapiro, Anne Dhu. 1991. "A Critique of Current Research on Music and Gender." The World of Music 33(2):5-13. Class Presentation 3 (Babiracki) Week 8 (10/20): Class *Keil, Charles.1994. "PeopleÕs Music Comparatively: Style and Stereotype, Class and Hegemony" In Music Grooves, edited by Charles Keil and Steven Feld, 197-217; 290- 328. Chicago: The University of Chicago Press. Lipsitz, George. 1990. "The Meaning of Memory:Family, Class, and Ethnicity in Early Network Television" In Time Passages: Collective Memory and American Popular Culture, 39-76. Minnesota: University of Minnesota Press. *Pena, Manuel.1985. The Texas Mexican Conjunto:History of A Working-Class Music. Austin:University of Texas Press, Austin. Class Presentation 4 (Pena) Week 9 (10/27): Writing Culture *Barz, Gregory andTimothy J. Cooley. 1997. Shadows in the Field: New Perspectives for Fieldwork in Ethnomusicology. New York: Oxford University Press. [introduction; and choose two articles each] *Marcus, George E. and Michael M.J. Fischer. 1986. Anthropology as Cultural Critique. Chicago: University of Chicago Press. Class Presentation 5 (Kisliuk or Bohlman) Week 10 (11/3) Style, Performance, Representation *Browning, Barbara. 1995. Samba: Resistance in Motion. Bloomington: Indiana University Press. Keil, Charles and Steven Feld. 1994. "One: Participation in Grooves" In Music Grooves, edited by Charles Keil and Steven Feld, 53-150. Chicago: The University of Chicago Press. Lipsitz, George. 1990. "Mardi Gras Indians: Carnival and Counter-Narrative in Black New Orleans" In Time Passages: Collective Memory and American Popular Culture, 233- 256. Minnesota: University of Minnesota Press. Turino, Thomas. 1990. "Structure, Context, and Strategy in Musical Ethnography." Ethnomusicology 34(3):399-412. *Browning book review due Class Presentation 6 (Browning) Week 11 (11/0) : Postmodernism Baudrillard, Jean. 1983. "The Ecstacy of Communication" In The Anti-Aesthetic, edited by Hal Foster, 126-133. Port Townsend, WA: Bay Press. Clifford, James. 1992. "Traveling Cultures" In Cultural Studies, edited by Lawrence Grossberg et al, 96-112. New York: Routledge. Habermas, Jurgen. 1993. "Modernity--An Incomplete Project" In Postmodernism: A Reader, edited by Thomas Docherty, 98-109. New York: Columbia University Press. Jameson, Frederic. "Postmodernism and Consumer Society." Lyotard, "Answering the Question: What is Postmodernism?" In Postmodernism: A Reader, edited by Thomas Docherty, 38-46. New York: Columbia University Press. Manuel, Peter. 1995. "Music as Symbol, Music as Simulacrum: Postmodern, Pre-Modern, and Modern Aesthetics in Subcultural Popular Musics." Popular Music 14(2):227-240. Week 12 (11/17): Postcoloniality, Trans/Nationalism Bhaba, Homi. 1983. "Difference, Discrimination, and the Discourse of Colonialism" In The Politics of Theory, edited by F. Barker et al. Colchester: University of Essex. Calhoun, Craig. 1995. "Nationalism and Difference: The Politics of Identity Writ Large" In Critical Social Theory, 231-282. Oxford: Blackwell. Fanon, Frantz. 1995(1968). "National Culture" In The Post-Colonial Studies Reader, edited by Bill Ashcroft, Gareth Griffiths, and Helen Tiffin, 153-157. London and New York. *Kondo, Dorinne. 1997. About Face:Performing Race in Fashion and Theater. New York and London: Routledge. *Kondo book review due Week 13 (11/24): Media Feld, Steven. 1994. "From Schizophonia to Schismogenesis..." In Music Grooves, edited by Charles Keil and Steven Feld, 257-289. Chicago: The University of Chicago Press. Keil, Charles.1994. "Music Mediated and Live in Japan" In Music Grooves, edited by Charles Keil and Steven Feld, 247-256. Chicago: The University of Chicago Press. Weintraub, Andrew. 1997. "Mediations" In "Constructing the Popular: Superstars, Performance, and Cultural Authority in Sundanese Wayang Golek Purwa of West Java, Indonesia." PhD dissertation, University of California, Berkeley. Wong, Deborah. "I Want the Microphone: Mass Mediation and Agency in Asian-American Popular Music." The Drama Review 38(3):152-167. Week 14 (12/1) No class Week 15 (12/8) In-class Presentations Week 16 (12/15) TBA and final projects due Course Requirements Book reviews: James Scott, Dorinne Kondo, Barbara Browning. Books assigned to review are from disciplines other than music. Evaluate the relevance of the approaches developed in these books to the study of music (see Barzun on writing book reviews). Class Presentations: Prepare and present a lecture in class (c. 30 minutes--leave 10 minutes for discussion) for an undergraduate non-music-major course based on your choice of one of the following books or articles as your theoretical framework and source of data: Pena, Averill, Flores, Browning, Feld (chapter 4), Kisliuk (Shadows in the Field, chapter 2), Bohlman (Shadows in the Field, chapter 8), Babiracki (Shadows in the Field, chapter 7). Use audio-visual material whenever possible to illustrate your points (if necessary, schedule VCR in advance). You are also encouraged to use other sources to complement the material in the readings. Journal of Keywords: Compile a list of theoretical concepts from the readings and class discussion. Define the terms, make reference to sources, and note their relevance to your work. Make a point to use these concepts and terminology in discussion. I will collect journals periodically. Final Project (Choose one). Hand in a one-page proposal of your topic by October 27. A) Compile an annotated bibliography of studies on a theoretical framework that relates to your dissertation from a cross-cultural perspective. Your bibliography should reflect an exhaustive search of the main journals in ethnomusicology, musicology, and popular music, as well as cultural studies, sociology, anthropology, and other relevant disciplines. B) Write a paper on a topic of your choice (in consultation with the instructor) which addresses the intersection of music and theoretical issues raised in this course. The paper should demonstrate your ability make use of theory, as discussed in class and in the readings. Grading Guidelines: Book reviews (30%); Class Presentation (5%); Journal of Keywords (10%); Final Project (40%); Participation (15%).