Course Descriptions, Fall Semester 2007-08

Section 16812   11:15A-12:05P     MW 
N. Kousaleos

Introduction to Folklore: Folklore throughout the life cycle
What is folklore? Every culture has folklore-- all people create ways to understand the world around them and communicate these understandings to others through their stories, their food, their art, their music, their life rituals, and various other traditions.   Introduction to Folklore is designed to introduce students to the ways in which folklore functions in the everyday lives of people around the world throughout the life cycle. The course begins with birth traditions and continues through childhood, adolescence, adulthood, aging, death, and after death (communication with spirits and beliefs involving the afterlife). How do different groups and individuals communicate and represent their cultural identity through their artistic expressions?
Fulfills COLL Arts & Humanities

F112 Black Music of Two Worlds (3 crs)

Section 28636    9:05A-9:55A     MWF    
M. Burnim

This course will explore the relationships among musics of West African and Central African people and their descendants in the United States, Latin America and the Caribbean.  Emphasis will be placed on the conceptual parallels that exist in expressive behavior between regions of Africa which served as a primary source for slaves in the New World and the African diaspora.  Course content will emphasize the necessity of understanding the musical and cultural values shared by people of African descent as a precursor to accurate interpretation of the musical systems and products which define them.

Required Texts:
Azevedo, Mario. ed.  Africana Studies:  A Survey of Africa and the African Diaspora.   Durham, North Carolina:  Carolina Academic Press, 2005.
Holloway, Joseph, ed. Africanisms in American Culture. Bloomington, IN: IU Press, 2005.
Monson, Ingrid.  The African Diaspora:  A Musical Perspective.   London:  Routledge, 2003.
Reading packet available through Wells Library E-Reserves.

Fulfills COLL Arts & Humanities

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; Martin Luther King Assassination; Alien Abductions; Conspiracy Theories; Ark of the Covenant; Marilyn Monroe Assassination; Atlantis; Conspiracy Theories; Bermuda Triangle; Moon Landing Hoax Conspiracy Theories; Bigfoot; Near Death Experience; Chupacabra; 9/11 Conspiracy Theories; Crop Circles; Nostradamus Prophesies; Doomsday Prophesies; Philadelphia Experiment; Exorcism; Princess Diana Assassination; Garden of Eden; Ghosts; Psychics; Holy Grail (cup); Roswell UFO Crash; Hole Grail (Da Vinci Code); Search for Holy relics; Human Cloning; Search for Noah's Ark; JFK Assassination Conspiracy Theories; Shroud of Turin; Jack the Ripper; Spontaneous Human Combustion; Lincoln Assassination Conspiracy Theories; Stigmata; Loch Ness (and other Lake Monsters); UFOs; Lost Tribes of Israel; Yeti (Abominable Snowman)
If the Truth is out there, perhaps you will find it in this course.

Fulfills COLL Arts & Humanities, TFR

F252 Survey of Hip-Hop: Socio-Cultural Perspectives of African American Music (3 crs)

Section 23034 ONLINE
F. Orejuela

Only meets 2 times on campus. Above class taught as a web-based course only.
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.

We will meet twice a week at the times designated by the registrar. For our first class on the web, we will meet at the following URL (please sign in as "guest"):
Our classroom URL is: http://breeze.iu.edu/hiphop/
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 COLL Arts & Humanities, CSA

F290 Myth, Ritual, Symbol (3 crs)

Section 25810   9:30A-10:45A     TR       
D. Shorter

Regardless of culture or religion, the triad of myth, ritual and symbol encompasses the ways all humans come to understand their societies and themselves.  This class offers a cross-cultural, humanistic, and inter-disciplinary approach to learning how we believe and know through stories, ceremonies, art, languages, and the use of time and space.  Students will be asked to question how they construct narratives of self and community during the course of the semester. Grading will depend upon the completion of small exams as well as writing assignments.

Fulfills COLL Social & Historical

F301 Mbira Performance and Culture (3 crs)

Section 24736   6:00P-8:30P    R      
S. Matiure

Students must purchase $214 instrument. 

This course introduces students to Zimbabwean music and culture through a combination of hands-on training in playing the mbira and lectures discussing music traditions of Zimbabwe.  Students will engage in hands-on experience playing the Nyunganyunga mbira (also known as karimba or dimba), a 15 key, plucked instrument found along the border of Zimbabwe and Mozambique, and one among more than six types of mbira found in Zimbabwe.  Students will be introduced to modal playing, and will be expected to apply their training to at least four songs throughout the semester.  In the process of teaching how to play, aural skills will be emphasized, in particular those required to appreciate the polyrhythmic and the polyphonic structures in mbira music.
Lectures will explore issues such as the geographical distribution of instruments similar to the mbira in Sub-Saharan Africa, as well as issues specific to mbira performance and culture in Zimbabwe.  Mbira music and spirituality, and in particular Shona cosmology, will constitute some of the major discussions during the course of the semester.
Class readings will include works by Hugh and Andrew Tracy, Thomas Turino and others.  Paul Berliner's Ethnography, "The Soul of Mbira" will constitute the main text for the class and students may purchase this from the IU Book Store. The syllabus will be posted on Oncourse.

Fulfills COLL Arts & Humanities, CSA

F307 Middle East and Arab Mythology (3 crs)

Section 23622   2:30P-3:45P     TR       
H. El-Shamy

Meets with F617. This course introduces the Middle East and the various facets of lore associated with it. It is composed of four (4) segments:
I.      Introduction: The field of folklore as it applies to "The Middle East" --What is meant by "folklore" and its relation to other levels/categories of Middle Eastern cultures. --Peoples and cultures of the Middle East --A brief overview of Middle Eastern Religions
II.     Areas, Fields, and Genres of Middle Eastern Folklore: -- Introducing such concepts as: Oral Literature, Verbal Art, Folk Beliefs, Rituals, and Religion, Mythology, Festivals, Folklife Studies, Material culture, Folk Art, Folk Architecture, etc.
III.    Folklore theories and Mythology -- A brief survey of the literature -- The Generic characteristics of "myth" as compared to other categories of narrative lore.
IV.     In-depth Treatment of Select Forms, Fields, and Genres. Emphasis is placed on Verbal, Social, and Mental/affective aspects of lore: The folk narrative and its genres, the major anthologies (e.g., 1001 Nights, Kaleelah and Dimnah/Panchatantra, etc.); the proverb and the riddle; folk poetry and narrative poetry; folk healing rituals, etc. (You may treat any Middle Eastern group, or emphasize other facets of lore that may not receive sufficient coverage in class presentations).
V.      Your Own Work/Research in a Middle Eastern Field, Country, or Social Group of Your Choosing. (E.g., Pharaonic Egypt, Jewish tales from Yemen, Zoroastrians, rug-weaving, dancing, etc.)
Requirements: Interest in the Middle East, traditional culture and folklore, and willingness to think.
Textbook: Hasan El-Shamy. A Handbook of Arab Mythology. (ABC-CLIO, 2002)
Other Reference Works:
Hasan El-Shamy. Tales Arab Women Tell, and the Behavioral Patterns they Portray. (Indiana University Press, 1999).
H. El-Shamy. Folktales of Egypt ... with Middle Eastern and African Parallels (U. of Chicago Press, 1980).
T. T`. Sebeok. Myth: a Symposium. (1958).
Handouts: "The outline of culture," "Culture Areas of The Middle East," "TEXTS" etc.
Examinations: 2 exams--(Take home)
Paper: One term paper.
*Work with Arabic texts (classic or dialectical) can be arranged on individual bases for students interested in the language aspect of the data treated.
Fulfills COLL Arts & Humanities, Cultural Studies List A

F315  Latin American Folk Music: Central America, Mexico and Borderlands  (3 crs)

Section 25812   2:30P-3:45P     TR       
Leon

No description available.

Fulfills COLL Arts & Humanities, CSA

Section 25811   11:15A-12:30P     TR       
J. McDowell

We will explore the folklore of the Andes with emphasis on the Quechua-speaking peoples in the highlands, taking note of how these highland cultures have been adapted by urban populations to become representative of national identities in the Andean republics of Colombia, Ecuador, Peru, and Bolivia.
Among the forms of folklore to be included in our purview are music, song, and dance; mythic narratives and other narrative forms; festivals and carnivals; healing and traditional medicine; and materials arts and culture.
Students will "adopt" a particular Andean region or community and over the course of the semester prepare a comprehensive report on this local folklore and its relationship to comparable traditions in other Andean regions.

Fulfills COLL Arts & Humanities, CSA

Section 22203   6:00P-8:30P     M       
Staff
Above section will meet at Bloomington High School North
For site information phone (812) 855-4991
Above section is evening division

Survey of folklore, folklife, or folk music of Indiana.   Students are encouraged to do fieldwork in the state.   May be repeated once when topics vary.

Fulfills COLL Arts & Humanities, CSA

F430   Cognitive Psychology & Folklore (3 crs)

Section 25815    2:30P - 5:00P    W           
H. El-Shamy

Meets with F738.   This course 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:
INTRO. 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-connive 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. Factors involved in the processes of "recalling" / "remembering." Performance as a constituent of "learning process."  Extinction, learning dilemma.

Text book:
El-Shamy, Hasan. "Folkloric Behavior: a theory for the study of the dynamics of traditional culture" (1967).
Hill, W.F. Learning: A Study of Psychological Interpretations. (Chandler Publishing Co., 1997)
Schultz, Duane. A History of Modern Psychology. (New York, 1987).
Source Work (recommended):
Archetypes and Motifs in Folklore and Literature, Edited by Jane Garry and Hasan El-Shamy (M.E. Sharpe, 2005)
Other selected works in folklore and related disciplines, and any relevant work you may wish to treat as part of this class.

Exams:    Two, take home
Papers: One term paper emphasizing research

Fulfills COLL Social & Historical

F440   Museums & Material Culture (3 crs)

Section 25816    12:45P - 3:15P    T          
P. Shukla

Meets with F730.   This class analyzes the complex relationship between human beings and the material world they inhabit and create, in order to better comprehend the institution of the museum.  An understanding of material culture helps us view how makers, users and viewers relate to objects in homes, commercial establishments and eventually, in museums.  One of the principle aims of this course is to look at the museology of everyday life, in other words, how the general museum principles of collection, preservation and exhibition are found in all the environments we occupy.
We will of course focus the class on the museum itself, looking at museums as institutions in a process of continual negotiation of different objectives: object collection and research, object preservation, exhibition, education, and entertainment.  Through readings and lectures, we will be introduced to different kinds of museums, including art, ethnographic, historic, as well as the museums of particular interest to folklorists, namely outdoor museums, folk art museums, and folk festivals. The aim of this course is three-fold: to read and discuss critically the literature on material culture and museology, to analyze local museum exhibitions, and to produce a creative proposal of an exhibition.  The assignments for the class include museum visits and exhibition reviews, as well as a final project consisting of an exhibition proposal, complete with sample labels, exhibit walk-through, list of all the objects, photos and other multi-media supporting materials, as well as related public programs and educational materials.
Fulfills COLL Arts & Humanities

F494   Transcription & Analysis of Traditional Music (3 crs)

Section 25817    8:00A - 9:15A    MW/ 1:00P - 2:15P    R   (Lab)
C. Sykes
Meets at 501 N. Park

Meets with F794.  Students must register in lecture and lab sections.
Above sections open to undergraduates only.  Explores past and current theories, methods, techniques, and tools used in notation and analysis of traditional music.  Emphasis is placed on problem solving and project development. The musical traditions studied will sample a broad range of traditions from around the globe and encompass historical and recent time periods.
Prerequisites:  Major/minor in ethnomusicology or permission of the instructor.  Knowledge of musical notation and demonstrated experience in music dictation (T113-114 or equivalent).
Contents of Course:  Transcription and analysis are fundamental processes in ethnomusicological research and scholarship.  Through exploration and application of theories, methods, techniques, tools, and skill development in transcription and analysis, this course provides a foundation upon which students may become successful researchers and scholars in the field of ethnomusicology.  Works of historical significance will be examined in relationship to current theories and questions about music; theoretical principles will be studied as bases for practical application; works of established scholars will serve as groundwork for the research interests of each student in the course.  The musical traditions represented in the literature and recordings studied in this course will sample a broad range of traditions from around the globe, and encompass past and recent time periods.  While work with music in this course is done outside of its cultural context, knowledge of context will consistently inform assumptions made and approaches used to transcribe and analyze music.
The evolution of transcription and analysis in the field of ethnomusicology has been closely aligned with, and in large part driven by the evolution of audio and visual technology. Consequently, the study and use of audio and video technology is a major component of the course.  The course covers the various formats on which sound and visual images are stored, and how technology can be used to extract, notate, analyze, and illustrate aural and visual elements of music performance.  Technology training is done primarily in the lab sections of the course.
Readings:  The course draws from an extensive list of articles and books; some are required reading, while others are optional of reference works.  Required readings range from one to two articles per week.  No reading assignments are given during the last two weeks of class.

Outline of Requirements:
Daily preparation of reading assignments for discussion in class
Short writing assignments
Transcription and analysis assignments
Two major assignments: Class symposium paper and presentation
Individual research paper
Work in assignments and individual projects in SAVAIL and other technology labs

Fulfills COLL Arts & Humanities

F101 INTRODUCTION TO FOLKLORE (3 crs)
Course# 7648    10:10A-11:00A       MW       
N. Kousaleos

Introduction to Folklore: Folklore throughout the life cycle

What is folklore? Every culture has folklore-- all people create ways to understand the world around them and communicate these understandings to others through their stories, their food, their art, their music, their life rituals, and various other traditions.  Introduction to Folklore is designed to introduce students to the ways in which folklore functions in the everyday lives of people around the world throughout the life cycle. The course begins with birth traditions and continues through childhood, adolescence, adulthood, aging, death, and after death (communication with spirits and beliefs involving the afterlife). How do different groups and individuals communicate and represent their cultural identity through their artistic expressions?

Fulfills COLL Arts and Humanities

F111 INTRODUCTION TO WORLD MUSIC AND CULTURE (3 crs)
Course #   7654   11:15A-12:05P     TR     
J. Cohen

This course examines the meaning of "making music" in a variety of settings across the globe.  Taking an ethnomusicological perspective, we will explore music as a complex cultural expression, intensely invested with social, artistic, economic and political meanings. Music, this course will show, is more than mere entertainment, or simply notes on a printed page; rather, understanding music helps us gain insight into the people who create and express it. How is it that the same musical sounds performed in one context can convey varied meanings to different people? Nuanced interpretations of music often require us to investigate it in terms of race, gender, class, and other criteria.  Is music then a universal language?  F111 explores this pervasive concept.

Through the rich and textured analysis of audio and video recordings, as well as carefully selected reading materials and field experiences, students will develop a greater understanding of how they use sound to make meaning in their own lives.   They will also learn how others both near and far use music to craft their own senses of value, aesthetics and ideology

F121 WORLD ARTS AND CULTURES(3 crs)
Course # 15738   09:30A-10:45A     MW     
J. Jackson

Surveying the customary arts of the world's peoples offers a critical and historical means for evaluating and comprehending the human condition in the modern world. This course explores how culture is made manifest, especially in such media as landscapes, architecture, material culture, and expressive and collective performances. A sampling of world arts, it also provides an introduction to folklife studies.

Fulfills COLL Social & Historical

F131 INTRODUCTION TO FOLKLORE IN THE UNITED STATES (3 crs)
Course #   7661   01:25P-02:15P     MW     
P. Shukla

This class looks at folklore and traditional expressive behavior in the United States by focusing on creativity in everyday life. We will study examples of traditional arts, ideas, and practices of folk groups in the United States, including ethnic, occupational, regional, and religious groups. Classes will focus on specific genres of folklore, utilizing video, slides, and audio recordings. Some of the topics of the class include urban legends, fairytales, personal narratives, body art, car art, and yard art among other examples of urban expressive culture.

F205 FOLKLORE IN VIDEO & FILM (3 crs)
Course #   7668   09:30A-10:45A     TR     
J. Johnson

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; Martin Luther King Assassination; Alien Abductions; Conspiracy Theories; Ark of the Covenant; Marilyn Monroe Assassination; Atlantis; Conspiracy Theories; Bermuda Triangle; Moon Landing Hoax Conspiracy Theories; Bigfoot; Near Death Experience; Chupacabra; 9/11 Conspiracy Theories; Crop Circles; Nostradamus Prophesies; Doomsday Prophesies; Philadelphia Experiment; Exorcism; Princess Diana Assassination; Garden of Eden; Ghosts; Psychics; Holy Grail (cup); Roswell UFO Crash; Hole Grail (Da Vinci Code); Search for Holy relics; Human Cloning; Search for Noah's Ark; JFK Assassination Conspiracy Theories; Shroud of Turin; Jack the Ripper; Spontaneous Human Combustion; Lincoln Assassination Conspiracy Theories; Stigmata; Loch Ness (and other Lake Monsters); UFOs; Lost Tribes of Israel; Yeti (Abominable Snowman)
If the Truth is out there, perhaps you will find it in this course.

Fulfills COLL Arts & Humanities, TFR

F252 SURVEY OF HIP HOP  (3 crs.)
Course # 13023   ONLINE                    
F. Orejuela

Above class taught as a web-based course only, using BREEZE.
Only meets 2 times on campus for the Midterm and Final Exams.
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.
Above class meets with AAAD-A290.

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 h ip 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

F252 Global Pop Music (3 crs)
Course # 25511   11:15A-12:30P     MW     
D. Reed

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 "world 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.

F301 Mbira Performance & Culture (3 crs)
Course # 12134   07:00P-09:30P     R      
S. Matiure
Above class meets at 501 N. Park.

This course requires the purchase of a $230 instrument, which is automatically charged to the student's Bursar account. Students may pick up their mbira starting the first week of classes at the Department of Folklore and Ethnomusicology, 504 N. Fess Ave., from 8 am - 12 pm and 1 pm - 5 pm Monday through Friday.
This course introduces students to Zimbabwean music and culture through a combination of hands-on training in playing the mbira and lectures discussing music traditions of Zimbabwe. Students will engage in hands-on experience playing the Nyunganyunga mbira (also known as karimba or dimba), a 15 key, plucked instrument found along the border of Zimbabwe and Mozambique, and one among more than six types of mbira found in Zimbabwe. Students will be introduced to modal playing, and will be expected to apply their training to at least three songs throughout the semester. In the process of teaching how to play, aural skills will be emphasized, in particular those required to appreciate the polyrhythmic and the polyphonic structures in mbira music.
Lectures will explore issues such as the geographical distribution of instruments similar to the mbira in Sub-Saharan Africa, as well as issues specific to mbira performance and culture in Zimbabwe. Mbira music and spirituality, and in particular Shona cosmology, will constitute some of the major discussions during the course of the semester.
Class readings will include works by Hugh and Andrew Tracy, Thomas Turino and others. Paul Berliner's Ethnography, "The Soul of Mbira" will constitute the main text for the class and students may purchase this from the IU Book Store. The syllabus will be posted on OnCourse.

Fulfills COLL Arts & Humanities, CSA

F305 Chinese Film Music (3 crs)
Course # 25512   01:00P-02:15P     MW
                               07:00P-09:00P      M
S. Tuohy
Students must attend the Monday night session.
Above class meets at 501 N. Park.
Above class meets with Folk-F600 and is cross-listed in the Department of East Asian Languages and Cultures (EALC).

The course introduces students to Chinese film, music, and the film industry.   We will view and analyze a range of "Chinese" films produced in and about China, from the early 1900s to today. In particular, we will look at features films that focus on Chinese music, musicians, and actors (including films about famous female performers and heroines, opera stars, and martial arts masters). We also will consider other genres such as documentaries, MTV, and videos circulated through the internet.
Among the primary course objectives are: 1) to learn methods for "reading" film music; and 2) to learn to read Chinese films and listen to their soundtracks in relation to their representations of Chinese culture.   We will explore theories, particularly those from the field of ethnomusicology, and will experiment with methods for the analysis of film music.   The films will be contextualized within the social-historical conditions of their production as well the conditions which they portray.   Every other week (approximately), we will meet on Monday evening to view together selected films. Films will have English-language subtitles; a background in Chinese or music is not required.

Fulfills COLL Arts & Humanities, CSA

F307 Middle Eastern Ballads and Narrative Poetry (3 crs)
Course #    7672   02:30P-03:45P      TR       
H. El-Shamy

Above class meets with Folk-F617.
This course deals with narrative folk poetry in Middle Eastern Arab communities. The genres of this category of expressive folk culture are compared to corresponding Euro-American counterparts (e.g., the English and Scottish ballad).
I. Introduction: The Folk Narrative and its Forms: Key Concepts Associated with Genres and Tale Typology; Factors Involved in Typological and Genre Studies (e.g., form, contents, narrator's intent, media of dissemination, etc. - elaborated in point V, below). The poet, balladeer, bard, etc. as culture broker and agent of change.
II. Narrative Folk Poetry: Epic, "Epic Romance" (s îrah), Ballad. The form, structure, and contents.
III. Thematic Characteristics of the Ballad: Non-Religious and Religious. The Family: the Traditional Structure of Sentiments; Romantic Lovers; Nationalistic Themes in the Modern State; Societal Events - Representation of Community Ideals (the Conduct of the Native-Urbanite: "Real-Man," and Other Aspects of the Good Man); Humorous Ballads.
IV. Religious Ballads (and Epics?): Prophets, Other Prophets and the Virgin, the Prophet's Companions, Arch-saints and Saints, Christian "Martyrs" and Saints.
V. Structural and Stylistic Characteristics: Leaping and Lingering, Beginning " in media res , Repetition (e.g. Climax of Relatives, Speech and Action), etc.
VI. Theories of Ballad Origins: Minstrel Theory, Broken-down Epic, Broken-down Romance, Communal Origin, Communal Re-creation, Formulaic Improvisation.
VII. Conclusions: Two take-home exams and one term paper.

F312 European Folk Musics (3 crs)
Course # 25513   02:30P-03:45P      MW       
L. Hooker
Above class meets with CEUS-U320.

This course will examine a wide variety of European musical communities, nations, and styles, from Hungary, Estonia, Finland, Bulgaria, and Russia in the east to Norway, England, and Ireland in the west, as well as some musics of two important transnational communities, Jews and Roma (Gypsies). The course has three goals: to become familiar with some of the diverse national and regional musics of Europe and the ways they can be studied; to examine the roles these musics play in the lives of the people who make them; and to understand the interplay between innovation and preservation that has changed them over time. No musical background is necessary.

F315 South American Performance & Culture (3 crs)
Course # 25514   07:00P-09:30P      T           
J. León
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.

F320 Australian Folklore (3 crs)
Course # 25515   09:30A-10:45A      MW       
S. Dolby
Above class College Intensive Writing credit section.

This course will introduce students to some of the folklore of Australia, both that of the native Aboriginal peoples and that of the settler population. The format of the course will be a combination of lecture and discussion, and grades will be based on class participation and a substantial number of written assignments. More specifically, short weekly writing exercises will involve some or all of the following: 1) writing a reading report based on a combination of printed and online sources; 2) responding in a brief essay to materials included in selected folklore collections; 3) writing a short comparative essay examining Australia's legendary character Ned Kelly with any legendary figure in American culture; 4) formulating a concise research question on Aboriginal culture and writing a short paper in response; 5) writing a short essay on the formal and esthetic properties of a given example of either folksong or children's folklore - both of which have been collected in abundance in Australia; 6) writing an essay identifying features of the cultural frame of reference in a folklore-rich film such as Walkabout or The Last Wave; 7) doing a short ethnographic interview here in the USA, asking the interviewee to say what he or she knows about people and folklore from Australia; and finally, 8) a short description and full analysis of a selected example of folklore - such as, a pattern of folk speech, a folk craft, an aboriginal myth, or a folksong.   One weekly writing assignment will be revised and expanded into a full essay as a final paper.
Books ordered for the course include: A Guide to Australian Folklore; Aboriginal Myths and Legends; and The Outlaw Legend. We will also view a number of Australian films.

F353 Native American Film & Video (3 crs)
Course # 25640   04:00P-06:30P      M
                               04:00P-06:00P       W
D. Shorter
Above class meets with CMCL-C430 and AMST-A399.

This course introduces students to the study of Native American images and representations. The course focuses on selected ethnographic, documentary, animated, and feature films, ranging from 1920 to the present. Questioning the themes of assimilation, historiography, contemporary politics and religiosity, the students will be expected to watch and critically respond to films on a weekly basis. Additionally, the students will refer to a course reader which presents articles pertaining to film theory, the photographic image, Native American history, and reviews/contentions of the films examined in class. Final evaluations will reflect 1) pop quizzes, 2) film reviews, 3) attendance, 4) midterm and 5) a final exam containing questions and short essay assignments.

Fulfills COLL Social & Historical Studies, CSA

F359 Exploring Jewish Identity Today (3 crs)
Course # 14381   09:30A-10:45A      MW        
J. Cohen

In this course, we will explore the variety of ways people have used music to describe, inscribe, symbolize and editorialize the Jewish experience: from biblical times, to cantorial music, to Israeli popular music, American Jewish hip-hop music and beyond. Although we will cover much of our material in chronological order, this course offers more than just a survey of "Jewish music history." Rather, music will serve as our window into questions of religious, ethnic, national and historical identity from biblical times to the present. A basic familiarity with Judaism, music history, and/or musical terminology is helpful for the course, but by no means required. All translations will be provided, and all musical analysis will be taught and explained thoroughly.
Fulfills COLL Arts & Humanities, CSA

F364 Children's Folklore (3 crs)
Course # 14386   02:30P-03:45P      TR        
F. Orejuela

This course will focus on the informal processes through which children negotiate childhood and as a means of understanding how children use folklore in their everyday lives to construct the status quo as well as resist it. This course requires that you do some fieldwork with children, emphasizing experience and service learning. Service-learning combines the service ethic of volunteerism with critical thinking skills and academic knowledge.
Fulfills COLL Arts & Humanities, CSA

F389 Hip-Hop Music and Culture (3 crs)
Course # 25641   05:45P-07:00P      TR        
F. Orejuela
Above class meets with AAAD-A489.

Required Texts:
Forman, Murray and Mark Anthony Neal (eds.). That's the Joint: The Hip-Hop Studies Reader. New York: Routledge. 2004
stic.man. The Art of Emceeing . Atlanta, GA:Boss Up, Inc.
Selected articles on E-reserve at the library.
ONE book of your choice related to Hip Hop Scholarship.
OPTIONAL TEXT FOR IW STUDENT: Harvey, Michael. The Nuts and Bolts of College Writing. Indianapolis, IN: Hackett Publishing Co. 2003. The author's website is a possible alternative: http://nutsandbolts.washcoll.edu/nb-home.html

Fulfills COAS Arts and Humanities, CSA

F400 Individual Study in Folklore  (1-3 crs)
Course #   7673    AUTH      ARR      ARR                   
P. Maultsby

Authorization is required to register for this course.
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.

F401 Methods & Theories (3 crs)
Course # 25642    02:30P-03:45P      TR      
J. McDowell
Above class meets at 501 N. Park.

The purpose of this course is to introduce students to the main methods and theories in the two fields composing our department, Folklore and Ethnomusicology. These fields share a common focus on traditional forms of artistic performance, but they diverge from one another in important ways as well. This course explores both the common ground and some key areas of difference, by delving into the history of inquiry and current research paradigms; basic concepts such as community, tradition, genre, and performance; the methods, techniques, and procedures used to gather and process information; and the issues associated with presenting and representing people in public settings and programs.
Fulfills COLL Social & Historical

F403 Practicum in Folklore/Ethnomusicology (1-3 crs)  
Course #   7674    AUTH      ARR      ARR  
P. Maultsby
Authorization is required to register for this course.

P: Consent of instructor. 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.

F440 Turkish Art & Architecture (3 crs)
Course # 25643    04:00P-06:30P      T        
H. Glassie
Above class meets with Folk-F540.

Turkish Art and Architecture at once introduces Turkish culture through art and exemplifies the methods of material culture analysis. In lectures accompanied by slides, the landscape and buildings, the weaving and pottery of Turkey will provide an understanding of Islamic art, of the convergence of creativity and spirituality, while describing historical and contemporary varieties of creative action. The emphasis will be on the artists themselves, the women and men of Turkey; the topic of material culture method will be regularly addressed. For folklorists, the course will fill both area and theory requirements. For art historians, the course can amount to an entry to Islam. For anthropologists, the course can be taken as an introduction to Turkey. For students of Near Eastern Languages and Cultures, the course will relate Middle Eastern culture, religion, and art. All graduate students and advanced undergraduates are welcome. There will be a single paper, not necessarily related to Turkey, but focusing upon the deep topic of the course, the relation of art to religion and human needs.
Fulfills COLL Arts & Humanities

E103 Women's Bodies, Women's Selves (3 crs)
Course # 12219   10:10A-11:00A      TR        
N. Kousaleos

What does it mean to be living inside a female body in contemporary American culture? Are there many cultures within our society and how do these different cultures define the experience differently? Do contemporary cultural scripts for women include this diversity of experience? This course seeks to introduce students to diverse topics affecting gender construction for contemporary American women. The course takes a dual approach, contrasting ethnographic narratives of women's experience with media representations of the same key topics in gender and cultural studies. Topics to be covered include: sexual violence, fashion and representations of women in popular culture, alternative spirituality, body decoration and alteration, rites of passage such as menarche, marriage, and birth, and sexuality and relationships.
The course teaches students to critically analyze the cultural construction of such concepts as femininity, beauty, and sexuality while at the same time asking them to reflect on and interrogate lived experience and the interaction between personal experience and cultural discourses. The course will train the students to use methods of applied ethnography and will develop skills of critical inquiry in mini fieldwork explorations and journaling throughout the semester. Instruction will include lecture, discussion, small group work, and in-class deconstruction of popular media texts such as music video and contemporary film. There will be two essay and short answer exams.

E103 What is Myth? (3 crs)
Course # 12223   01:25P-02:15P      MW        
G. Schrempp

"Myth" (or "mythology") refers to colorful stories that tell about the origin and nature of humans and the cosmos. Attitudes towards myth vary greatly. Some regard it as a source of spiritual growth, while others see only falsehood. Some see in myth the distinct character of particular cultures, while others see universal patterns. Some regard myth as "contemporary" and "alive," while others think of it as "ancient" and/or "dead." Some regard myth as easily dismissed, while others are astonished at how tenaciously myth seems to grip our minds and emotions. We will explore the nature of myth in four cultural contexts: Maori (Polynesia), Native American, ancient Greek, and contemporary mass-media/entertainment. Lectures and discussions will be supplemented by visual materials. Course requirements include three short essays and a mid-term and final exam.