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Detailed Description
Students learn to observe, describe, and analyze different types of
music behaviour as a projection and expression of human thoughts,
emotions, abilities, and creativity, applying the principles of
anthropology and ethnomusicology in this interdisciplinary course.
They learn to place this subfield of cultural anthropology within
the
larger context of anthropology which consists of archaeology,
physical anthropology, cultural anthropology and anthropological
linguistics. Exploring the function of music from cross-cultural,
social and personal perspectives, students enhance their musical
literacy and cultural appreciation and awareness. Through the use of
interactive lectures, audio and video clips, discussions, role
plays,
hands-on activities, simulations, and music listening exercises
students develop their knowledge and understanding of music as
diverse human behaviour.
Program Context
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| Degree Breadth |
Program Coordinator: Sean McNabney |
This is a Baccalaureate
elective for students in the
Applied Degree programs.
Electives make students
aware
of the distinctive
assumptions and modes of
analysis of at least one
discipline outside their
main
field of study and of the
society and culture in which
they live and work.
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Course Critical Performance and Learning Outcomes
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To achieve the critical performance, students will have demonstrated
the ability to:
1. Explain the key concepts and fundamental research techniques of
anthropology of music.
2. Differentiate between cultural, verbal, physical, symbolic,
social, learning, sexual, abnormal, aesthetical and ethical
music behaviour.
3. Discuss the function of music in ancient and contemporary cultures
with reference to the self, and your society.
4. Apply the anthropological and ethnomusicological key concepts
and research techniques in the analysis of music.
5. Identify music-related artifacts.
6. Explain the value of the anthropology of music in the
contemporary world.
7. Develop critical thinking skills and first-hand insight into the
field of anthropology of music.
8. Analyze primary and secondary sources on anthropological and
ethnomusicological topics.
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Evaluation Plan
Students demonstrate their learning in the following ways:
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Students demonstrate their learning in the following ways:
TESTS: 3 @ 20% = 60%
TAKE-HOME ASSIGNMENTS: 3 @ 10% = 30%
IN-CLASS ASSIGNMENTS AND ACTIVITIES 10%
TEST AND ASSIGNMENT PROTOCOL
To encourage behaviours that will help students to be successful in
the workplace and to ensure that students receive credit for their
individual work, the following rules apply to every course offered
within the Faculty of Humanities and Social Sciences.
1. Students are responsible for staying abreast of test dates and
times, as well as due dates and any special instructions for
submitting assignments and projects as supplied to the class by
the Professor.
2. Students must write all tests at the specified times. Missed
tests, in-class activities, assignments and presentations are
awarded a mark of zero. If an extension or make-up opportunity
is approved by the professor as outlined below, the mark of zero
may be revised by subsequent performance. The penalty for late
submission of written assignments is a loss of 10% per day for
up to five business days (excluding weekends and statutory
holidays), after which, a grade of zero is assigned. Business
days include any day that the college is open for business,
whether the student has scheduled classes that day or not.
3. Students, who miss a test or in-class activity or assignment or
fail to submit an assignment on time due to exceptional
circumstances, are required to notify their professor in advance
of the class whenever possible. A make-up test may be supplied
for students who provide an acceptable explanation of their
absence and/or acceptable documentation explaining their absence
(e.g., a medical certificate). All make-up tests are to be
written at a time and place specified by the professor upon the
student's return. Alternately, students may be given an
opportunity to earn the associated marks by having a subsequent
test count for the additional marks. Similarly, exceptional
circumstances may result in a modification of the due dates for
assignments.
4. Unless otherwise specified, assignments and projects must be
submitted at the beginning of class.
5. Students must complete every assignment as an individual effort
unless, the professor specifies otherwise.
6. Since there may be instances of grade appeal or questions
regarding the timely completion of assignments and/or extent of
individual effort, etc., students are strongly advised to keep,
and make available to their professor, if requested, a copy of
all assignments and working notes until the course grade has been
finalized.
7. There will be no resubmission of work unless this has been
previously agreed to or suggested by the professor.
8. Students must submit all assignments in courses with practical
lab and field components in order to pass the course.
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Some details of this outline may change as a result of circumstances such as weather cancellations, College and student activities, and class timetabling.
Effective term: Winter 2013
Professor: Anna Boshnakova
Textbook(s): Merriam, A.P. 1980. The Anthropology of Music. Northwestern
University Press.
Recommended Reading:
Ashmore, M. and R.J. Sharer. 2010. Discovering Our Past. A Brief
Introduction to Archaeology. McGraw-Hill NY
Schultz, E., R.H. Lavenda, R.R. Dods. 2009. Cultural Anthropology.
A Perspective on the Human Condition. Oxford University Press.
Wright, C. and B. Symms. 2009. Music in Western Civilization.
Schrimer Cengage Learning, Boston, MA
Boshnakova, A. 2008. Reading Ancient Greek Music in Documents,
Images and Artifacts: on the Practical Application of Musical
Archaeology. In: E. Hickmann/R. Eichmann/L. Koch/A. Both (Hrsg.),
Studien zur Musikarchaeologie VII, 337-345.
Lawn, R. 2007. Experiencing Jazz. McGraw-Hill NY
Van Ess, Donald H. 2007. The heritage of musical style, rev. ed.
Univ. Press of America.
Nils L. Wallin, Bjorn Merker, Steven Brown (editors). 2000. The
Origins of Music. The MIT Press.
Boshnakova, A. 2007. Hermeneutics of teh Archaeological Artifact:
Destruction and Reconstruction of the Lost Meaning. In: K.
Boshnakov (Ed.), Jubilaeus VI: Античното наследство на Западния Понт.
Sofia, 51-102.
Hicks, M. 2000. Sixties Rock: Garage, Psychedelic, and Other
Satisfactions Music in American Life. Chicago, IL: University of
Illinois Press.
Applicable student group(s): Degree Breadth
Course Details:Course Details:
Week 1
INTRODUCTION TO THE COURSE AND INTRODUCTION TO THE ANTHROPOLOGY OF
MUSIC
- overview of course content and outcomes
- what is ethnomusicology?
- what is anthropology?
- what is anthropology of music?
- theory, research methods and techniques in anthropology of music
READING: CHAPTER 1
Week 2
MUSIC AND CULTURE: MUSIC AS CULTURAL BEHAVIOUR
- uncovering the centuries: how to understand what under the earth is?
- material and non-material culture: from "the visible" to "the
invisible"
- excavating sites (tools, digging, recording), stratigraphy or
dating (archaeological context of the musical artifact): how old it
is, who used it, and how it was used, conservation, publication)
- sounds from the past
- in-class assignment and activity 1
READING: CHAPTER 14
Week 3
MUSIC AND CULTURE: MUSIC AS VERBAL BEHAVIOUR
- the nature of music
- the elements of music (rhythm, melody, harmony, dynamics and
colour, musical texture and form, musical style)
- musical notation
- in-class assignment and activity 2
READING: CHAPTER 6
Week 4
MUSIC AND CULTURE: MUSIC AS PHYSICAL BEHAVIOUR
- musical instruments (stringed instruments, wind instruments,
percussion instruments)
- reconstruction of the sound
- musical performance
- the language of the dance
- in-class assignment and activity 3
- test review 1
Assignment # 1 DUE (10%)
READING: CHAPTER 6
Week 5
TEST # 1 (20%): Weeks 1-4 inclusive
Week 6
MUSIC AND SOCIETY: MUSIC AS SOCIAL BEHAVIOUR
- faces from the past and present
- the Public
- the Musician (a performer, a music teacher, a composer)
- the musical studio - the process of composing
- musical records
- in-class assignment and activity 4
READING: CHAPTERS 7 and 9
Week 7
MUSIC AND SOCIETY: MUSIC AS SYMBOLIC BEHAVIOUR
- is music the universal language?
- music, language, and communication
- music and emotions (hearing "major" and "minor")
- music and colours
- in-class assignment 5
READING: CHAPTERS 12 and 5
Week 8
MUSIC AND SOCIETY: MUSIC AS LEARNING BEHAVIOUR
- why do we need to study music?
- music and everyday life
- music and beliefs (worship, ritual and music)
- "looking" at music (museum exhibitions and collections)
- in-class assignment and activity 6
READING: CHAPTER 8
Week 9
MUSIC AND SOCIETY: MUSIC AS SEXUAL BEHAVIOUR
- the musician as a sex symbol (faces from the past and present)
- the study of song text
- text and melody
- in-class assignment and activity 7
- test review 2
Assignment # 2 DUE
READING: CHAPTER 10
Week 10
TEST # 2 (20%): Weeks 6-9 inclusive
Week 11
MUSIC AND PERSONALITY: MUSIC AS AESTHETIC BEHAVIOUR
- musical aesthetics and the interrelationship of the arts
- now and then (classicism, impressionism, exoticism,
modernism, jazz, rock: the music of rebellion)
- in-class assignment and activity 8
READING: CHAPTER 13
Week 12
MUSIC AND PERSONALITY: MUSIC AS ABNORMAL BEHAVIOUR
- the psychedelic effects of music
- psychedelic music (characteristics)
- "Sex, Drugs, Rock and Roll"
- music and psychopaths
- in-class assignment and activity 9
READING: TBA
Week 13
MUSIC AND PERSONALITY: MUSIC AS ETHIC BEHAVIOUR
- the ethical power of music
- the healing power of music (music therapy)
- the philosophy of music
- music and cultural dynamic
- in-class assignment and activity 10
- test review 3
Assignment # 3 DUE (10%)
READING: CHAPTER 15
Week 14
TEST #3 (20%): Weeks 11-13 inclusive
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Sheridan Policies
All Sheridan policies can be viewed on the Sheridan policy website.
Academic Integrity: The principle of academic integrity requires that all work submitted for evaluation and course credit be the original, unassisted work of the student. Cheating or plagiarism including borrowing, copying, purchasing or collaborating on work, except for group projects arranged and approved by the professor, or otherwise submitting work that is not the student's own, violates this principle and will not be tolerated. Students who have any questions regarding whether or not specific circumstances involve a breach of academic integrity are advised to review the Academic Integrity Policy and procedure and/or discuss them with the professor.
Copyright: A majority of the course lectures and materials provided in class and posted in SLATE are protected by copyright. Use of these materials must comply with the Acceptable Use Policy, Use of Copyright Protected Work Policy and Student Code of Conduct. Students may use, copy and share these materials for learning and/or research purposes provided that the use complies with fair dealing or an exception in the Copyright Act. Permission from the rights holder would be necessary otherwise. Please note that it is prohibited to reproduce and/or post a work that is not your own on third-party commercial websites including but not limited to Course Hero or OneNote. It is also prohibited to reproduce and/or post a work that is not your own or your own work with the intent to assist others in cheating on third-party commercial websites including but not limited to Course Hero or OneNote.
Intellectual Property: Sheridan's Intellectual Property Policy generally applies such that students own their own work. Please be advised that students working with external research and/or industry collaborators may be asked to sign agreements that waive or modify their IP rights. Please refer to Sheridan's IP Policy and Procedure.
Respectful Behaviour: Sheridan is committed to provide a learning environment that supports academic achievement by respecting the dignity, self-esteem and fair treatment of every person engaged in the learning process. Behaviour which is inconsistent with this principle will not be tolerated. Details of Sheridan's policy on Harassment and Discrimination, Academic Integrity and other academic policies are available on the Sheridan policy website.
Accessible Learning: Accessible Learning coordinates academic accommodations for students with disabilities. For more information or to register, please see the Accessible Learning website (Statement added September 2016)
Course Outline Changes: The information contained in this Course Outline including but not limited to faculty and program information and course description is subject to change without notice. Any changes to course curriculum and/or assessment shall adhere to approved Sheridan protocol. Nothing in this Course Outline should be viewed as a representation, offer and/or warranty. Students are responsible for reading the Important Notice and Disclaimer which applies to Programs and Courses.
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