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Ethnomusicology 108B: Music of Latin America: Latin South America

Fall 2015 SYLLABUS


Lecture: T and Th, Schoenberg Music Building 1200, 9:00am-10:50am
Instructor: Alexandro D. Hernndez, PhD
Office hours: T and Th 12:00pm1:00pm, 339 Ostin Music Center
Office phone number: TBA
Teaching Assistants/Associates Office Hours: TBA in sections

Course Description
Ethnomusicology 108B surveys the creative renewal of music within his/herstorically
aggrieved Latin American communities and how it is tied to space, place, identity,
ethnicity, gender, sexuality, and social movements. We will cover select styles and genres
originally from indigenous, mestizo, and Afro-South America with an emphasis on their
cultivation in rural and urban ambits. We will survey traditional, ritual, popular, and
protest musics, to rock, punk, metal, funk, hip-hop and many musical hybrids and/or
synchronicity from combinations of these genres. It is important to understand the
conditions of context such as colonialism, decolonial musics, mainstreaming,
marginalization, migration, intercultural conflict, or social crisis in which styles of music
emerge.
Requirements for the course include mid-term and final exams in addition to a research
paper based on a field study and/or incorporation of related literature, recordings,
concerts, or film.
Required Text
.2008. The Garland Handbook of Latin American Music, Edited by Dale A. Olsen and
Daniel E. Sheehy (Second Edition). New York: Routledge
Browning, Barbara.1995. Samba: Resistance in Motion. Bloomington: Indiana
University Press
San Romn, Gabriel. 2014.Venceremos: Victor Jara and the New Chilean Song
Movement. Oakland: PM Press
At the ASUCLA Student Bookstore: Will arrive week of January 12th
Course requirements
1) Class attendance is essential, as lecture material will constitute a good portion of
exams.
a) You are expected to take notes in class and do the reading and listening
assignments.
b) Taping lectures is not permitted, unless you have a disability (in such a case you
should talk first to the professor or the TAs).

2) Sections attendance is also essential for review and new material, as well as exam
preparation. Active academic participation in Friday sections is important (reading,
listening, and discussion), and will be taken into account for part of your final grade.
3) Examinations: there will be a MID-TERM (OCTOBER 29, 2015) WEEK 5 and a
FINAL EXAM WEDNESDAY, DECEMBER 9, 2015, 3:00-6:00 PM. They will be
based on lectures, readings, sections, identification of listening examples, and
important details pertaining to the listening examples.
4) 2-Page Proposal of Essay + Minimum List of References
Please turn in a 2-page proposal of your projected essay/presentation assignment. Do
include a minimum of three sources in bibliographic format at the end of your document.
You may choose a diverse amount of musics pertaining to the course such as (but
absolutely not limited to) : marinera music and dance, joropo, vallenato, cumbia, rock en
espaol, Andean flute music, salsa in South America, Son Palenque, bossa nova, samba,
candombl and popular music such as hip-hop, electronic dance music, DJs, punk rock,
metal, and Latin Alternative based in South America. Remember that we are not
covering Mxico, Central America, or the Caribbean per se as our emphasis is strictly
South America within its geo-political borders. Do state if you plan on doing an
album/songs review or will attend a live musical performance or dance. DUE Week 8,
November 20th in section.

5) Research paper
8-10 pages, Times New Roman, 12-font, double-spaced, based on a field study and/or
incorporation of related literature, recordings, concerts, or film The paper must be based
on a live musical performance, music genre or style, musical community, dance, or
performer(s) and should include reference to class readings in addition to any other
related literature. It is expected that some of the theoretical and their/her/historical
perspectives presented in class will constitute a portion of the analytical structure. The
paper topic should be selected no later than 8th week, in consultation with the TAs or
Professor Hernndez, and is due in section on Friday, December 4th, Week 10. Five
points per day will be deducted for papers received after the deadline.
**Include a minimum of four traditional library sources
Only one Internet source is permitted but must be approved by your T.A.
(Wikipedia is absolutely NOT acceptable). Traditional library sources, including
M108B reserves in the music library, are unlimited and encouraged).
Additional guidelines:

The final draft must be at the least 8 full pages in length. In other words, a paper
that is 7.5 or even 7 and does not meet the minimum requirements and points
will be deducted. You essay should be no longer than 10 pages.
Proofread your essay
1-inch margins all around
Double space between paragraphs. Do not quadruple space.
Paginate your essay as a header on the top right corner of your page. Your last
name is placed right before the page number.
You initial page is not paginated. Opt out of the show number on first page if
you are using Microsoft Word.
Your references page is not paginated.
At the end of your introduction, state the purpose of your essay (thesis statement).
It is imperative to have a purpose or positionality that will ground your essay.
When quoting a scholar, concept, or theory, explain how this applies or expands to
the subject matter of your work. Do not cite and expect your reader to decipher
how a quote applies to your work.
If you conduct interviews for your essay, cite them as a personal communication
in footnotes. Refer to the citation style guide on how to format a personal
communication.
This is a formal essay. Do refrain from using slang or other informalities in your
paper.
Genres and styles of music go in lower case.
After initially referring to notable musicians, scholars, or interviewees by first and
last name, refer to them formally by last name thereafter. Of course, you may
refer to their full name on occasion or in the conclusion, but never by their first
name only.
Avoid repeating words at the end and beginning of sentences For example, Scott
Joplin was a prominent composer of ragtime. Ragtime is a music genre that
emerged at the end of the 19th century. A better example is: Scott Joplin was a
prominent composer of ragtime, a music genre that emerged at the end of the 19th
century.
Your essays will be formatted in Ethnomusicology Citation Style. Consult the
Ethnomusicology Citation Style Guides on the course website.
At the end of your essayyour conclusionreview what was discussed and reword
your thesis within this final segment.
Staple your essays!!! Refrain from turning in an essay that is not stapled. Essays
without a staple will not be accepted. There are staplers available for you in the
Music Library (located immediately across Schoenberg 1100 where we meet for
lecture).
Final drafts will only be accepted as hard copies.
Essays turned in via email will not be accepted.
Remember to pick a topic related the geographic area(s) pertinent to the course. In
other words, your topic should focus on Chican@ or Latin@ music and its
cultural production or impact regionally, within a community, or at the national
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level. Most of the music covered in this course has transnational connections, and
this nexus should be recognized, but the great majority of your essay should
emphasize its presence in the U.S.
Essays from previous courses, friends, or those shared at a profit are absolutely
not acceptable. If you are having trouble conceptualizing original work, then I
advise that we meet during office hours. Im here to help you!!
Again, essays are due 10th week, December 4th, in section. Essays will not be
accepted via email.

6) Academic integrity: cheating on exams, plagiarism of lecture notes, and other forms of
academic dishonesty will not be tolerated. In case of doubt, please check the Student
Guide to Academic Integrity, Office of the Dean of Students, 1206 Murphy Hall,
phone: 825-3871.
7) Class behavior: during lectures, sections, and examinations, you are expected to:
a) Maintain a proper learning environment: this will help everyone involved in the
course.
b) Arrive on time and do not chat: if you have any questions or comments, you can
make them.
c) Please turn off cell phones and any other technological devices, since all this may
distract the professor, the TAs, and other students. Laptops will be allowed for note
taking only. If any one person is found utilizing the Internet during class the laptops
will also be banned from the class.
d) I expect that the classroom, which includes your sections, should be a safe space
that is open to respectful and conscientious educational inquiry and debate.
8) Students with disabilities, please follow these instructions:
a) Inform the professor or TAs at the beginning of the quarter if you have a disability
requiring special accommodation or treatment in class or for exams.
b) If you have not done that yet, register with the Office for Students with Disabilities:
htttp://www.saonet.UCLA.edu/osd/.

Course grading (and special situations)


1) The final evaluation (grade) will be obtained from the following:
a) Mid-term exam: 25%
b) Final exam: 25%.
c) Section quizzes, and reports from reading materials and participation in discussion
sections: 20%
d) Research Paper: 30%

2) The grade will be calculated (in percentage) according to the following grading
scale:
A+ = 100%
A = 95%
A- = 90%
B+ = 89%
B = 85%
B- = 80%
C+ = 79%
C = 75%
C- = 70%
D+ = 69%
D = 65%
D- = 60
3) Special situations: they will be considered only in exceptional cases as follows:
a) The only way to reschedule an exam is due to very special situations as: religious
holidays, sickness, or family emergency. In such cases, please inform the professor or
the TAs by e-mail or by phone immediately (preferably in advance or within 24
hours).
b) In any case, a document will be required to prove every special situation: a doctors
note, a family letter, an official or religious report, etc.
c) It is essential to communicate immediately when there is a problem. When failing to
do so, we cannot guarantee to find a solution for any special problem or situation you
may have.
Week 1: Colombia: Msica llanera (eastern plains music): Cantos de ganado (Cattle
songs), Musicas de Santo (Songs of Saints), and Sones de parranda/joropo (Festive
songs aka Joropo). A Trajectory of Cumbia.
Readings:
S, Soy Llanero: Joropo Music form the Orinico Plains of Colombia
Cimarrn! Joropo Music from the Plains of Colombia
Brill: 262-269; 107-108
Los Gaiteros de San Jacinto
The Garland Handbook of Latin American Music pp. 267-290.
Guest lecture-demonstration: Cimarrn, joropo from the plains of Eastern Colombia
Week 2: Colombia: Vallenato, Afro-Palenque music, and Currulao
Garland pp. 1-34
Garland pp. 38-52
Ayombe! The Heart of Colombias Msica Vallenata
Arriba Suena Marimba! Currulao Marimba Music from Colombia Grupo Naidy
Quiz: Countries and Capitals of South America
Documentary Viewing: The Accordion Kings

Week 3: Per: Andean musics, the Marinera, and Sarawja


Garland pp. 53-89
Garland pp. 267-289
Garland pp. 438-462
Week 4: Per: Afro-Peruvian musics, Huayno traditions and Chicha (Amazonian
Cumbia).
Garland pp. 474-488
Week 5: Argentina: Indigenous musics/heritage, guacho music, and tango.
Indigenous Musics of Bolivia.
Garland pp. 385-407
Garland pp. 408-416
Garland pp. 417-437
MIDTERM EXAM - THRUSDAY, OCTOBER 29, 2015
Week 6: Brasil: Samba, Capoeira, Candombl and Bossa Nova
Browning: Samba (All)
Garland: pp. 326-369
Week 7: Brasil: Tropicalia. The Nueva Cancin (New Song) Movement of South
America .
Hernndez: La Nueva Cancin: The New Song Movement in South America
San Romn: Venceremos: Victor Jara and the New Chilean Song Movement
Tumas-Serna: The Nueva Cancin Movement and Its Mass-Mediated Performance
Context.
Week 8: The Emergence of Punk and Rock en Espaol in South America
TBA
Week 9: Latin Alternative and Hip-Hop in South America
TBA
THANKSGIVING BREAK
Week 10: Metal, Cumbia Movements, and Salsa in Cali.

Harris: Roots?: The Relationship Between the Global and the Local Within the Extreme
Metal Scene.
Waxer: The City of Musical Memory: Salsa, Record Grooves, and Popular Culture in
Cali, Colombia (Select Chapters)
FINAL EXAM WEDNESDAY, DECEMBER 09, 2015, 3:00 PM-6:00 PM
Additional Resources:
UCLA Ethnomusicology Research Guide http://guides.library.ucla.edu/ethno
UCLA Chican@ Studies Research Center http://www.chicano.ucla.edu/library
Msica del Pueblo, an interactive Smithsonian resource of Latin American and Caribbean
music in the U.S., and countries of origin: http://www.musicadelpueblo.org/
Alt.Latino, a weekly pick of Latin Alternative and Rock en Espaol music via NPR:
http://www.npr.org/blogs/altlatino/
Remezcla: http://la.remezcla.com/ (check for local Latin Alternative music events)
**The syllabus is subject to be updated.