| source Indiana University Bloomington (X) |
level |
department Folklore (X) |
Topic: Sacred vs. Secular in African American Music From slavery to the present, debates have raged among scholars and practitioners concerning the lines of demarcation between sacred and secular forms of African American music. Whether it was slaves who danced their Christianity in the invisible church or the multi- platinum-selling gospel artist Kirk Franklin whose recordings are just as likely to surface on BillboardÂs r&b chart as on its list of top gospel, or Richard Penniman, (better known as ÂLittle RichardÂ) who three-times renounced a career in popular music to perform gospel instead, the history of African American music is replete with artists and repertoire which challenge conventional Judeo- Christian musical and aesthetic values. Utilizing an ethnomusicological perspective, which foregrounds the significance of culture in the formation and expression of musical values, this course will explore those inter- and intra-cultural dynamics which define the sacred/secular continuum in African American musics Fulfills COLL Arts & Humanities, Topics
Score: 12.082673 Details | Listing | Web page
Above class MEETS IN A VIRTUAL CLASSROOM ON THE INTERNET FOR LECTURE 2 TIMES PER WEEK. ABOVE CLASS IS taught as a web-based course only, using BREEZE. Above class meets with AAAD-A295. Only meets on campus for the Midterm and Final Exams (Exam Room TBA). Above class students must be enrolled at IUB in order to add this course. Course materials will be available on OnCourse the day before our first meeting. If you have not been in a BREEZE class room before and are working from home, you may wish to go to the following website at: http://www.indiana.edu/~breeze/participant.html At minimum, do the first item (Test your computer) before the first class session. If you use a campus cluster computer, those computers are Breeze compatible. This course examines rap music and hip hop culture as artistic and sociological phenomena with emphasis on historical, cultural, economic and political contexts. Discussions will include the co- existence of various hip hop styles, their appropriation by the music industry, and controversies resulting from the exploitation of hip hop music and culture as a commodity for national and global consumption. Class will meet 2 times on campus for the midterm and the final exams. Fulfills COAS Arts & Humanities, CSA
Score: 12.082673 Details | Listing | Web page
Intended for graduate students specializing in the field, this course is designed as an introduction to ethnomusicology as an academic discipline. Its primary goal is to give students a good sense of the various aspects of the field as a whole: its histories and definitions; key issues and points of debate; theories and methods; ethnomusicologists and their work; activities in which ethnomusicologists engage (including musical ethnography, analysis, and public education); and ethnomusicologyÂs relations with other disciplines focused on the study of music, people, culture, and society. It also will offer resources for future research and teaching. As an overall introduction to the various aspects of the field, the course provides a background for more specialized courses in fieldwork, theory, intellectual history, transcription and analysis, and world areas. F522 is required for ethnomusicology graduate students in the Department of Folklore and Ethnomusicology (those entering the department during or after Fall 2008) and is open to other students in FOLK and other departments. It counts as a Âcore course for students pursuing the Ph.D. minor in Ethnomusicology and as a Âtheory course in FOLK.
Score: 12.082673 Details | Listing | Web page
Folklore is alive. It inspires the choices we make every day: how we communicate, what foods we eat, what games we play, what stories we tell, how we interpret the world around us. Folklore reflects our values, our prejudices, our fears, and our desires. The practices, beliefs, and objects that constitute folklore are so intrinsic to our daily lives that they are often overlooked in other disciplines that study human culture, but every culture has folklore and we are all part of the folk. In this course we will consider the role folklore plays in the lives of people around the world. We will examine a variety of traditional genres, including myth, legend, folktale, joke, gesture, ritual and craft, and we will also explore the way folklore informs our own contemporary lives, from Internet sites and tattooing to urban legends and fraternity/sorority initiation rites. Throughout the class we will consider different theories of folklore and think critically about the historical development of folkloristics and its relationship to issues of identity, class, ethnicity, and nationalism. Students will also have a chance to venture into the field to collect and analyze folklore themselves. Fulfills COLL A&H distribution credit
Score: 12.082673 Details | Listing | Web page
This course is designed to introduce the student to the various ways in which music is performed, consumed, and conceptualized in various cultures around the world. In this class we will study indigenous, popular, and classical art musics from an ethnomusicological perspective, highlighting the relationships between music and other domains of social life such as race, religion/cosmology, language, gender, politics, and culture. Ultimately, the goal of this class is to present a cross section of the worldÂs music cultures so as to better familiarize the student with music and musical performance from a cross-cultural perspective. Fulfills COLL Arts & Humanities
Score: 12.082673 Details | Listing | Web page
People from all over the world call the United States home. Some arrived centuries ago, others arrived a few years ago. Along with ambition and family, all of them bring with them their expressive culture. This class looks at contemporary cultural expressions in the United States by focusing on folklore  defined as creativity in everyday life. Through lectures, videos, slides, audio recordings and a few guest lectures, we explore folklore in the U.S. now, for example, by studying urban legends, personal narratives, tattoos, and car art. We understand the present by looking at the past, seeing European, African, Native American, and Asian influences on the architecture, folktales, food, and body art of the United States. Students in the class will engage in two field projects, collecting folklore around them, analyzing the stories, jokes, body art, and home decoration within their own social circles. Fulfills COLL Arts & Humanities
Score: 12.082673 Details | Listing | Web page
William Thoms conceived the term Folk Lore in 1846 to name the new discipline centered around the study of tradition. Since the advent of modern media and the World Wide Web, a more standardizing influence has evolved upon folk belief and other kinds of folklore. The new and related discipline of Popular Culture was developed to analyze the standardizing effects on these forms. The difference between folklore and popular culture is sometimes very difficult to determine, if such a distinction can really be made at all. Topics that interest scholars both in folklore and popular culture now appear regularly on film and video. This course will deal with a number of issues of folk belief and worldview reinforced, debated, propagated, and spread by film, video, the web, cinema, television, VCR, and DVD players in modern America. Moreover, the course will explore ways of critically viewing and examining folklore and popular culture in video and film. In spite of the powerful influence of science on contemporary worldview, many people still cling to beliefs others consider illogical and unreasonable. Tools for critical thinking will be explored in readings and discussions. A major goal of this class will be to assist students to develop skills for thinking critically about a wide variety of folk belief common in our times. As this course has progressed from one semester to the next, students themselves have chosen over half the topics potentially covered in the course. From this list, students choose 10 topics to be thoroughly investigated during the semester in both videos and class debates. Those topics include: AIDS Conspiracy Theories Alien Abductions Ark of the Covenant Atlantis Bermuda Triangle Bigfoot Chupacabra Crop Circles Doomsday Prophecies Exorcism Garden of Eden Ghosts Holy Grail (cup) Holy Grail (Da Vinci Code) Human Cloning JFK Assassination Conspiracy Theories Jack the Ripper Lincoln Assassination Conspiracy Theories Loch Ness (and other Lake Monsters) Lost Tribes of Israel Martin Luther King Assassination Conspiracy Theories Marilyn Monroe Assassination Conspiracy Theories Moon Landing Hoax Conspiracy Theories Near Death Experience 9/11 Conspiracy Theories Nostradamus Prophesies Philadelphia Experiment Princess Diana Assassination Conspiracy Theories Psychics Roswell UFO Crash Search for Holy Relics Search for NoahÂs Ark Shroud of Turin Spontaneous Human Combustion Stigmata UFOs Yeti (Abominable Snowmen) If the Truth is out there, perhaps you will find it in this course. Fulfills COLL Arts & Humanities, TFR
Score: 12.082673 Details | Listing | Web page
Congolese rumba. Irish punk. Jewish hip hop. Indian disco. People around the world have created a rich and fascinating array of popular music styles. What do these musics sound like, and why? How might we analyze popular musics in order to better understand musicians motives, intentions, and creative processes? What roles do these musical styles play in movements for social change? In revolutions? As markers of generational, ethnic, racial, religious, gender, and other identities? How do meanings associated with popular musics change over time? What roles do economics, globalization, transnational trends, and the music industry (including the Âworld music industry) play in shaping sound and culture? Structured thematically, this course will compare and contrast particular popular musics and explore what the study of these musics can reveal to us about the people who create and use them.
Score: 12.082673 Details | Listing | Web page
This course will focus on the informal processes through which young people negotiate Âchildhood Âtweens Âteenager and Âyouth and as a means of understanding how they use music in their everyday lives to construct a status quo as well as resist the dominant adult culture. The course explores the musical cultures of youth as a continuum of social processes, created within the context of real, imagined, and historical communities. The course is not about music appreciation; rather we will investigate the ways youth create music and subcultures of musicking. Fulfills COLL A&H
Score: 12.082673 Details | Listing | Web page
Above class meets 2nd 8-weeks only. Another title for this course could have been "Memory and the Foundations of Traditions." It deals psychological issues in folklore, with emphasis on cognitive approaches of learning, memory, and other issues pertaining to the performance by individuals and groups of various folkloric phenomena. Among the topics to be explored are: INTRODUCTION. Lore as a Category of Culture: the Varieties of the Folkloric Phenomenon: the cultural, the Social, and the Individualistic. Psychological significance of "Traditionality." Fields and Genres of Lore. I. An overview of the non-cognitive approaches: S. Freud, and C.G. Jung II. Aspects of learning; learning `unstructured' materials: affective components, emotions and sentiments. The folkloric item as cognitive system III. The Process of communication; transmission; form and learning: the capacity to formulate, coding and decoding, to teach and to learn. IV. Variables in the leaning of lore: issues of structure, `impressiveness,' subjects' age, gender, mental set, etc. V. Context and Learning: independent and dependent variables in learning. Social factors; the social role, the norm. VI. Effect and social learning. VII. The cybernetics model, feedback theory: mere knowledge of results; processing of information. Perceptual motor skills; Learning and performance; kinesics and craftsmanship in traditional culture. VIII. Why do we remember certain things from our past but not others. Factors involved in the processes of "recalling" / "remembering." Performance as a constituent of "learning process." Extinction, learning dilemma. IX. A note on mental health and mental illness in traditional culture Exams: Two (Midterm, Final): Take-home and objective Papers: One term paper emphasizing research Fulfills COLL Social & Historical
Score: 12.082673 Details | Listing | Web page
This undergraduate/graduate course will examine the dynamics of popular culture and mass media in the Middle East, including the Arabic speaking nations, Israel, Turkey, and North Africa. Although performative arts, mass media, and popular culture have often been deemed as epiphenomenal in Middle Eastern studies, this course proceeds from the idea that popular culture and performance are in fact foundational means for negotiating power and resistance, social interaction, and identity. Through our readings, lectures, discussions, and various written assignments students will confront the many ways in which popular culture has had a formative and foundational impact upon conceptions of identity in the Middle East. Our readings will build upon fundamental anthropological understandings of social groups, of symbols and categories, the linkages of culture agency, and the various forms of power in human social groupings. Various ethnographic case studies will explore Arab Pop Culture, Israeli and Palestinian cinema, Egyptian television, Turkish Arabesk, transnational Hip-Hop, and the impact these media have had on contemporary understandings of race, gender, ethnicity, religion, and nation in the Middle East. Fulfills COLL A&H, CSA
Score: 12.082673 Details | Listing | Web page
This course examines women's culture(s) as portrayed in their tales and related traditional form of expression. Traditions treated will include selections from several communities in the ethnically, linguistically, and religiously diverse "Arab World" (e.g., Berber, Aramaic, Nubian, etc.). The contents are grouped into 6 segments: I. Introduction: A general survey of "the Arab World," its societies, And cultures. Links with Europe, Africa, and Asia. II. A Brief history of women's status in Arab communities: the role of Islam and other religious systems. Modern movements of Âemancipation of women. III. Kinship systems and the female's role(s). The female in a patriarchal society. IV. Economic systems and the working female as "bread winner". V. Tales as cognitive descriptions of life and living under specific conditions: self concept, self-esteem, social roles (chiftainess / matriarch, servant; mother, wife, sister, daughter, cousin, etc.). The stereotyped female: male and female views. A. PARENTS AND PATERNAL FIGURES (Mother and Children; Mother and Son; Mother and Daughter; Father and Daughter; Paternal Figures). B. COURTSHIP AND MARITAL RELATIONS (Gaining a Wife; Husband and Wife; The Wife in a Polygynous Community). C. SIBLINGS (Sister and Sister; Brother and Sister; Brother and Brother). D. MOTHER'S BROTHER (Boy and Mother's Brother; Girl and Mother's Brother). VI. European/Western theories and Arab stories: the literary and the oral traditional. Exams: Two (Midterm, Final): Take-home and objective Papers: One term paper emphasizing research Main textbook: H. El-Shamy. Tales Arab Women Tell: And the Behavioral Patterns they Portray. Collected, translated, edited, and interpreted by Hasan M. El-Shamy. Indiana University Press, 1999.
Score: 12.082673 Details | Listing | Web page
The US Latino population has swelled in recent years to become a significant presence here, but Latino culture is surprisingly unfamiliar to most Americans. This may be due in part to the fact that Latinos in the United States do not fit into a homogeneous group. Normally defined by their country of origin, Latinos transcend boundaries of race, religion, and social class. We find in the Latino group Caribbeans of African descent as well as Native Americans from Mexico, Central America, and the Andes; evangelicals as well as Catholics; doctors and lawyers as well as workers in factories and fields; people of Asian and European background as well as descendents from the Spaniards who first came to the New World. This class will attempt to make this important population more familiar by examining the expressive, creative, and artistic activities that are flourishing in Latino communities, with emphasis on music and dance, speech play and verbal art, food and festival, and healing and spirituality. The focus is on how practices and beliefs from the countries of origin are adapted to the reality of life in the United States, and on how these communities adopt the cultural resources of this country and make them their own. We will examine Latino folklore both as a survival strategy and as pathway towards an appreciation of lifeÂs deeper meanings. Fulfills COLL A&H, CSA
Score: 12.082673 Details | Listing | Web page
Above class meets with Folk-F638. Where is the role of body movement in musical experience? What is the relationship between sound and social function? Is carnival a spectacle, a ritual, a form of protest, or cultural forum and how do these perspectives change the style of performance? This course introduces students to a selection of Brazilian musical genres and percussion instruments from folkloric, religious and carnival contexts, as well as the ways in which cultural values have contributed to the aesthetic and communicative aspects of these performance based expressions. With an emphasis towards hands-on experience playing and singing Brazilian music, students will also learn about the social, historical and cultural terms in which to interpret the various musical sounds. These topics will be addressed through readings as well as audio and video examples, and followed by group discussion and/or short response papers. Students will be evaluated on how actively they are involved in their own understanding of musical and cultural processes, and how they apply that knowledge to new situations. Both students and instructor will attend to the ongoing evaluation of their individual and group performance by discussing musical criteria and social function as prescribed by bearers of the culture. Students will have a chance to demonstrate their understanding of the material through a culminating public presentation. Special emphasis will be given to the northeast region of Brazil and Afro-Brazilian genres. Musical styles include: samba, samba da roda, candomblé and capoeira repertoire, as well as frevo, forró, maracatu, afoxé, samba afro and samba-reggae. Highly recommended for those who need to fulfill a practicum requirement and/or who are interested in teaching Âworld music ensembles. Previous musical experience is welcome, but is not required. All musical material will be taught orally and through demonstration. Fulfills COLL A&H, CSA
Score: 12.082673 Details | Listing | Web page
Above class requires the permission of the instructor, contact jfleon@indiana.edu. Above class meets with Folk-F638. This performance based course introduces students to a variety of musical traditions associated with indigenous, mestizo, criollo and African diasporic communities of Peru, Bolivia, Ecuador, Colombia, Chile and Argentina. Students will be introduced to a number of songs from the region and in the process learn the important role that performance has in building community and transmitting specific forms of cultural knowledge. Emphasis will be given to the development of aural skills, learning the repertoire by ear, and the use local performance practice techniques. Through a series of in- class discussions, assigned readings, and an individual research project, students will also learn about the connections that exist between the music that they are learning to perform and Andean cosmology, regional migration, rural and urban social protest movements, criollo and mestizo working class identity, and the historical role that descendants of Africans have had in the development of local forms of expressive culture. While students do not need to have taken any formal musical training (music theory, musicianship, ability to read Western notation, etc.) to take this class, a basic level of musical proficiency is required. All students in the class will be expected to sing, play pan pipes and/or some basic percussion. Individuals with experience on flute, guitar, banjo, mandolin, violin, bass, piano, brass/reed instruments, and/or hand percussion will learn local performance practice techniques for their instruments as well as some basic techniques for playing instruments from the region such as the quena, charango, tiple, harp and cajón. Fulfills COLL Arts & Humanities, CSA
Score: 12.082673 Details | Listing | Web page
This class approaches the study of women ethnographically and cross culturally. The emphasis will rest on womenÂs experience, the major influences on those experiences, and womenÂs expression of their experience in writing, speaking, organizing, or through film and art. Utiizing the concept of gender as the means of constructing female roles, as well as male, in every society, the course will identify specific influences affecting women in specific cultures and eras. Examples of influences include the 16th c. and 17th c. witch hunts, the U. S. Suffrage movement, colonialism, legal systems, the U.N. Decade of Women, folklore and popular culture. Prominently featured will be women in the U.S. and in specific African societies, but others will be included as well. We will read works by the African-American scholar/writer, Zora Neale Hurston, the British writer, Angela Carter, the Ghanaian writer, Ama Ata Aidoo. Films will focus on specific women who have played a significant role in a historical period or who have a position of prominence in todayÂs world. There will be 2 exams (mid-term and final), and two major papers: one on gender roles in a specific society and one an interview with a specific woman. Other short papers will include a fairy tale and a short paper on an interview. Texts to be announced Fulfills COLL A&H, CSA
Score: 12.082673 Details | Listing | Web page
Obtain course contract form and on-line authorization for above class from department Graduate Recorder, croush@indiana.edu. P: Must have consent of the faculty member supervising research. Students enrolled in this course will work under the close supervision of a faculty member. Projects may entail fieldwork, archival or library research, or a combination of these methods, subject to mutual agreement between the student and the supervising faculty member.
Score: 12.082673 Details | Listing | Web page
F402 is a practicum and is graded on a deferred R grade basis. Section requires permission of instructor to register. Contact jkay@indiana.edu. Traditional Arts Indiana (TAI), a partnership of the Department of Folklore and Ethnomusicology and the Indiana Arts Commission, identifies, documents, and presents traditional arts throughout Indiana. Under TAI supervision, students will learn to work with field materials, develop resource materials, and assist in the public sector programs within the context of a statewide arts program. In this class, students have an opportunity to choose hands-on participation in aspects of these initiatives (e.g., fieldwork, planning exhibits and programs, media applications, publications) as well as reflect on their work through assigned readings and journal writing.
Score: 12.082673 Details | Listing | Web page
Obtain course contract form and on-line authorization for above class from department Graduate Recorder, croush@indiana.edu. P: Must have consent of the faculty member supervising research. Individualized, supervised work in publicly oriented programs in folklore or ethnomusicology, such as public arts agencies, museums, historical commissions, and archives. Relevant readings and written reports required.
Score: 12.082673 Details | Listing | Web page
Above class meets with Folk-F510. This course explores the use of multimedia technology in five basic areas of ethnographic activity: field research, laboratory research (transcription and analysis), preservation, presentation, and publication. The class is structured to include both lecture and lab components. Fulfills COLL A&H
Score: 12.082673 Details | Listing | Web page
This course has been canceled and replaced by F253 Folklore & Psychology, a 2nd 8-weeks only course. Course # 31156.
Score: 12.082673 Details | Listing | Web page
Authorization is required for this course - contact croush@indiana.edu. This is the capstone seminar for majors and minors in the Department of Folklore and Ethnomusicology (students in other departments should contact the instructor for approval to enroll in the course). The course provides an opportunity for students 1) to consolidate and build upon knowledge learned through individual courses and experiences; 2) to apply that knowledge in a sustained project of significant intellectual and/or practical value to be completed this semester; and 3) to prepare for their futures. Students will complete a common core of readings on topics such basic concepts in folklore/ethnomusicology and techniques for research, writing, and other modes of presentation. The bulk of the semester's work, however, will be specific to each student's individual project and needs. Students also will complete a portfolio of their work to date, with an eye toward future educational and career plans. Class members will meet together in a seminar setting to discuss projects, portfolios, and relevant theories and methods. And they will work in collaboration to support and improve upon their work. As in all classes, the course will help students to continue to refine skills in communication, research, critical thinking, and scholarship--including research methods, conceptualization, evaluation and use of relevant sources, and writing. With an emphasis on the work of synthesis and reflection, the primary aim for F497 is for students to emerge from this course--and from their experience in the department and at IU--feeling competent in their chosen field and confident that the knowledge they have acquired can be transformed into worthwhile endeavors in the near and distant future.
Score: 12.082673 Details | Listing | Web page
This course, team-taught by an ethnomusicologist (Stone) and folklorist (Dolby), introduces students to major points of correspondence and convergence between folklore and ethnomusicology. Designed to engage students in theoretical perspectives, modes of professional engagement, and materials, this class is required of beginning graduate students in ethnomusicology. The course is also open to--and encourages the participation of--students in adjacent fields with an interest in the role of symbolic processes and forms in society and culture, the sociology of culture, and the aesthetics of everyday life. Counts as a core course for Ph.D. minors in folklore and ethnomusicology. Required course for first-year ethnomusicology students.
Score: 12.082673 Details | Listing | Web page
This course, team-taught by an ethnomusicologist (Stone) and folklorist (Dolby), introduces students to major points of correspondence and convergence between folklore and ethnomusicology. Designed to engage students in theoretical perspectives, modes of professional engagement, and materials, this class is required of beginning graduate students in ethnomusicology. The course is also open to--and encourages the participation of--students in adjacent fields with an interest in the role of symbolic processes and forms in society and culture, the sociology of culture, and the aesthetics of everyday life. Counts as a core course for Ph.D. minors in folklore and ethnomusicology. Required course for first-year folklore students.
Score: 12.082673 Details | Listing | Web page
Fulfills: Form Above class meets with Folk-F510. This course explores the use of multimedia technology in five basic areas of ethnographic activity: field research, laboratory research (transcription and analysis), preservation, presentation, and publication. The class is structured to include both lecture and lab components.
Score: 12.082673 Details | Listing | Web page