Music of Asia and Oceania, Spring 2014

Syllabus, schedule


Music of Asia and Oceania


Spring 2014, UCSD

TTh 9:30-10:50

WLH 2005



Carolyn Chen 

Office hours:  Th 11-12pm (and by appointment), Stone Bear coffee cart



Yvette Jackson

    A01, A02      M 9, 10 CPMC 367

Office hours:    M 11-1pm, outside the Loft

Fernanda Navarro

      A03, A04      W 9, 10        CPMC 367

    Office hours:     W 11-12pm, Art of Espresso      

Shayla James 

                      A05, A06      F 9, 10   WLH 2136

                                   Office hours:     F 11-1, Farmer's market tables



World Music (MUS13) is a series designed to survey musical traditions from Africa, the Americas, Asia and Oceania. This course introduces selected musical performance traditions of China, Korea, Japan, India, Indonesia, Taiwan, Hawaii, New Zealand, Tibet, and Tuva with links to local musicians from these cultures. It aims to familiarize students with musical sound and structure, to guide them in listening on an analytic level, and to appreciate music as both artistic expression and human activity with social and political functions. We will introduce basic musical concepts and discuss issues including appropriation, authenticity, tradition, and political uses of music. Much of the course uses video and audio recordings to complement lectures. No musical background is necessary as a prerequisite.


Course goals

-       gain familiarity with selected performance traditions of Asia and Oceania

-       cultivate skills of listening to music analytically and viewing films critically

-       reflect on our own position as listeners what it means to hear or study these traditions here and now

-       consider our own listening habits and conceptions of what music is, how it works, how it means


Course Materials

Listening and reading materials, lecture slides, and assignments will be posted on TED.



30%  Section participation

10%      Listening Quizzes (2)

   5%  Self-evaluations (3)

   15%       Attendance and active participation

20%  Short writing assignments

10%      Film Response

10%      Concert Response

25%  Midterm

25%  Final


The midterm will be in Week 6 on 5/6. It will be multiple choice and consist of listening identification and analysis questions along with factual questions based on lectures and readings. The final exam on 6/10 will take a similar form.


Grading Scale

97-100           A+                       

90-96              A

87-89              B+  

80-86              B

77-79              C+         

70-76              C     (lowest grade for P)

60-69              D    NP

59-below        F     NP


Class Policies
Academic Integrity: Instances of plagiarism and other cheating will be taken very seriously and can provide immediate grounds for failing the class. Official UCSD policy is here. Please take the time to read it if you haven't before. If you are uncertain about the correct way to attribute sources in your writing assignments consult your TA or instructor.

Attendance: Lectures will cover test material not covered in the assigned reading, so attendance is important. Section attendance contributes substantially to your grade.


Electronic devices: Turn off all electronic devices, including laptops and cell phones, during lecture.


Late Assignments: Papers need to be handed in on time, no exceptions. Points will be deducted for each day late.


Examination Policy: There are no make-up exams or quizzes except under extreme circumstances. To request a make-up, a legitimate excuse must be submitted in writing before the exam, or no later than one class period after the exam, and must be accompanied by written evidence. If you were sick, provide a note from a doctor with address and phone number.


Course evaluations: Evaluations are important to improve my teaching. If 2/3 of the class completes evaluations, the lowest listening quiz grade will be dropped.



Formatting for all writing assignments:  double-spaced, 12-pt Times New Roman, 1” margin, no cover page necessary. Address the prompt. Write concisely, vividly, creatively. Include concrete details, especially musical details using class terms. Show signs of life. Keep to the page limit. Cite sources in any consistent format (Chicago, MLA, etc).


Film Response (2-3 pages)

Choose one of the films from Weeks 2-3. Describe moments or concepts you found memorable and why. Relate concrete details to ideas from readings, section discussions, and your own life. Consider the relationship of the filmmaker to the material presented and the audience. What are the values or message of the film and how are they conveyed? How might you investigate or present this material differently if you were the filmmaker?


Concert Response (2-3 pages)

Reflect on your experience of the concert using concrete details to support your observations. You can address performance style, space, memorable musical moments, audience reactions. How did the experience relate to or differ from other listening experiences you have had? How does it compare to listening to the same music on recording? Relate your experience to concepts addressed in Prof. Seshadri’s talk (or other class concepts or readings if responding to another concert).


N.B. The recommended concert on campus is Kartik Seshadri, Sitar Master, at the CPMC Concert Hall on Saturday, 5/3 at 8 p.m. Another on-campus concert is Asayake Taiko, PC West, on Sunday, 5/4 at 5 p.m. Both these concerts are free for students with ID.


If you cannot make these, alternate concerts are at the World Music Concert Series at SDSU, all concerts at 6 p.m., admission $15/12 at San Diego State University, J. Dayton Smith Recital Hall / Music Building, 5500 Campanile Dr.

4/7      Traditional Chinese Music

4/28    Music and Dance of South India

5/5      Java: SDSU Javanese Gamelan


Extra Credit: Turn in your ticket stub from an extra concert for 2 points of extra credit.



I.               What do you expect to learn? Specify 3 goals in relation to this course and how you aim to approach them. (<1 page)

II.             Evaluate yourself in relation to your goals. How did you do, what were your strengths and weaknesses, what do you want to work on going forward? How can the class or instructors facilitate your learning? (1 page)

III.           Evaluate yourself in relation to your initial expectations and last self-assessment. (1-2 pages)

·         Rate your attendance and participation – how consistently did you come to class prepared? What was your role in class discussion, and what did you do/not do to facilitate good discussion?

·         What was your approach to assignments? Did you do more than was assigned? What did you accomplish with this extra work?

·         If you had problems or difficulties with the way the class was working for you, did you bring those to the attention of the instructor so circumstances could improve? Did you do other things to face difficulty squarely? What did you do/not to make your work your best?

·         What did you learn (subject matter, skills, ways of knowing and working)?

·         What’s next? Where do you (could you) go from here?



Class Schedule


Readings at the right should be done before the lecture they are listed under.


Week 1

4/1      Course introduction – overview, listening cross-culturally, musical terms

Shelemay 2001:3-20

Allinson 2012

            Self-assessment I due in section


4/3      Class cancelled - UC Students-Workers strike

Background information: San Diego Free Press

Reducing class size and other union demands


Week 2           China

4/8      China - guqin

“About Guqin,” North American Guqin Association

“Brief Introduction,” “Ten Maxims of the Qin,” Pei You Chang


4/10    China - Peking opera. Confucian, Taoist perspectives on music

Yung 1989:1-10

            Kaufmann 1976:31-41


Week 3           Musical theater of East Asia

4/15    Training of  Peking Opera Actors - The Education of a Singer at the Beijing Opera (FVLV 3307)

Wong 1997:78-103

Role Types in Peking Opera

Beijing Opera Resources

4/17    Korea - P’ansori - Chunhyang (FVLDV 0230-1).  Intangible Asset no.82 (on Netflix or FVLDV 10446)

Gorlinski, “P’ansori,” Encyclopedia Britannica

( Gorlinski as pdf )

Week 4           Japan

4/22    Japan - This is Noh (FVLV 5974-1).  Butoh - Dance of Darkness(FVLDV 6013)

Minagawa 1957:181-200

Introducing the World of Noh

History of Butoh

4/24    Special Guest: Jinjoo Lee, Asayake Taiko

Japan - taiko, gagaku, butoh, bunraku

            Fujie 2005:175-95


Week 5          

            Section Listening Quiz

4/29    Japan - instruments, minyo, kouta

Introduction to Indian classical music

Indian classical music

5/1      Special Guest: Prof. Kartik Seshadri - Indian classical music

Hindustani classical music

            Film Response due in lecture


Sat. 5/3           CONCERT:  Kartik Seshadri, Sitar Master - CPMC Concert Hall, 8 p.m.

(free for students with ID)


Sun. 5/4          Extra Credit Concert: Asayake Taiko, PC West, 5-7 p.m.

(free for students with ID)


Week 6          

5/6      Midterm

            Self-assessment II due in section


5/8      Korea - folk and court music

Killick 2002:801-809


Week 7           Indonesia

5/13    Special guest: Iputu Hiranmayena - Gamelan

Pratt 2007:31-41

5/15    Kecak, shadow puppetry


Week 8           Oceania

5/20    Special guest: Grace Leslie - Tuning, music and the brain

            Concert Response due in lecture


5/22    Hawaii - hula, ancient and modern

            Stillman 1998:394-397

Week 9           Oceania

5/27    Hawaii. Words, earth and aloha (FVLDV 2877). Then There Were None (FVLV 2525)

Kay-Trask 2008: Lovely Hula Hands - Corporate Tourism and the Prostitution of Hawaiian Culture

5/29    Maori music

Buchanan and Kaa, Traditional Maori Music


Week 10        

            Section Listening Quiz

            Self-assessment III due in section

6/3      Taiwan - indigenous music appropriation

            Guy 2002:195-209 

6/5      Contemporary popular and art music - Taiwan, Korea, Japan


6/10    Final Exam, WLH 2005, 8-10 a.m.



Reading materials

Fujie, Linda. “East Asia/Japan,” in Worlds of Music: an Introduction to the Music of the World’s Peoples, 2nd edition, ed. Jeff Titon. Thomson Schirmer, Belmont, CA, 2002, 159-195.


Guy, Nancy. “Trafficking in Taiwan Aboriginal Voices,” in Handle with Care: Owndership and Control of Ethnographic Materials, ed. Sjoerd R. Jaarsma. University of Pittsburgh Press, 2002, 195-209.


Killick, Andrew. “Musical Profile of Korea,” Garland Encyclopedia of World Music: East Asia, vol.7, 2002, 801-809.


Minagawa, Tatsuo. “Japanese Noh Music,” Journal of the American Musicological Society, vol.10.3, 1957, 181-200.


Shelemay, Kay Kaufmann. Soundscapes: Exploring Music in a Changing World. W.W. Norton & Col: New York, 2001, 3-20.


Stillman, Amy Ku’uleialoha. “Hula,” International Encyclopedia of Dance. Oxford University Press, New York, vol. 3, 1998, 394-397.


Wong, Isabel K.F. “The Music of China,” Excursions in World Music, 2nd ed. Prentice Hall, Upper Saddle River, NJ, 1997, 78-101.



Allinson, Miles. “Where is the mystery? Where are the distances? Victor Segalen and The Exotic Imaginary,” A Confrontation with Falling. Mr Curly 2012.


Buchanan, Dorothy and Keri Kaa. “Traditional Maori Music,” 2002


Gorlinski, Virginia. “P’ansori,” Encyclopedia Brittanica, 2014


McLeod, Don. “History of Butoh,” Melt Magazine, 2002


Nagatome, Noriko, et al. “Introducing the World of Noh,” 2014


“Qin Jieshao (About Guqin),” North American Guqin Association 2012



Subpages (2): Final study guide Reading