Courses in Other Departments
MUSI W4442/RUSSIAN 84442 (New Course for Spring 2013)
Musical Exoticisms of the Former Soviet Union
Instructor: Maria Sonevytsky (Postdoctoral Fellow, Harriman Institute)
Call #: 23331, 3 pts,
Thursdays, 10:10am-12:00pm, 701A Dodge
In this course, we explore musical discourses of “civilization” and “barbarism” with a focus on examples from Ukraine, Russia, and Central Asia. The historical scope of the class includes key moments since the 18th century through the present day. Topics will include music of the “Gypsies,” Klezmer and Yiddish songs, music of the Carpathian Mountains, Crimean Tatars, Uzbeks, Siberian shamans, renowned Soviet composers, Eurovisions contestants, and Post-Soviet African-Ukrainiam hip-hop artists.
Call Number: 14597 Points: 3
Day/Time: TR 2:40pm-3:55pm Location: To be announced
Instructor: Prof. Kevin Fellezs (bio)
What is "black music"? What do we mean when we say we like black music? We'll take a look at four important themes that have shaped what we mean when we say "black music" and may help us understand more deeply why we enjoy it and find it such a powerful reservoir of bodily pleasure, intellectual sophistication, and spiritual sustenance. What draws us to this music? In attempting to answer this question, we will be thinking through a number of keywords such as authenticity, representation, recognition, cultural ownership, appropriation, and origin(s). These concepts have structured the ways in which critics, musicians and audiences have addressed the various social, political and aesthetic contexts in which African American music has been composed (produced), performed (re-produced) and heard (consumed). In exploring the diversity of African American musical expression, we will question our assumptions about race, about music, and the links between the two. By taking a thematic approach, we will see how African American music has both shaped and been shaped by the social contexts in which it is created and performed. Our readings and discussions will encompass African American music from spirituals and work songs to bebop and hip hop, from Duke Ellington to N.W.A., from Bessie Smith to Stevie Wonder, from James Reese Europe to Bob Marley, all of which will help us explore the rich set of meanings black music has held in the Americas for over four hundred years.
The course explores the politics of desire through three main contrastive and complementary arenas: the politics of desire as mediated by the state; the politics of desire as mediated by music and, the politics of desire as mediated by literature and film. The course will be simultaneously announced at NYU, CUNY and Columbia, programmed at the same time in all campuses. Four classes will be taught in each of the campuses. All professors are present at all lectures and contribute to all lectures. Students register through their home institution. READING SPANISH IS REQUIRED. Enrollment is by permission of the instructor.