MUSIC IN CONTEMPORARY SOCIETIES

PETER McMURRAY (MT)

ALISHA LOLA JONES (LT)

SYLLABUS

OVERVIEW, SESSION TOPICS

MICHAELMAS TERM
1. Introduction: ‘Music’ and Meaning, Listening and Power
2. Sonic Modernities, ca. 1960
3. Sonic Postmodernities, ca. 1975
** special workshop session: Gamelan and Ethnomusicology**
4. Islam in Southeast Asia - Soundscapes
5. Islam in Southeast Asia – Gender and Bodies

LENT TERM (TBC)

6. Music of the Black Pacific
7. Money, Power, Sex I: Analyzing Gender and Sexuality
8. Money, Power, Sex II: Sexual misconduct
9. Policing Music
10. Conclusion: Music beyond Hearing

LECTURE 1: ‘MUSIC’ AND MEANING, LISTENING AND POWER (TUE, 17 OCT)

READ FOR LECTURE

- Christopher Small, ‘Prelude’ in Musicking: The Meanings of Performing and Listening (1998), 1-18

REQUIRED (AFTER LECTURE)

- Kofi Agawu, ‘Tonality as a Colonizing Force in Africa’, in Radano and Olaniyan, Audible Empire: Music,
Global Politics, Critique (2016), 334-355

ADDITIONAL KEY READINGS

- Kay Shelemay, ‘Musical Communities: Rethinking the Collective in Music’ (2011)
- Susan McClary, ‘Introduction: A Material Girl in Bluebeard’s Castle’ in Feminine Endings: Music,
Gender, and Sexuality (1991)

LECTURE 2: SONIC MODERNITIES CA. 1960 (FRI, 27 OCT)

READ FOR LECTURE

- George Lewis, 'Improvised Music after 1950: Afrological and Eurological Perspectives', Black Music
Research Journal, 16/1 (1996): 91-122 (especially pp. 91-103 for lecture)

REQUIRED (AFTER LECTURE)

- Farah Jasmine Griffin, ‘Lady of the Day’, in If You Can’t Be Free, Be a Mystery: In Search of Billie
Holiday (2001), 11-33

ADDITIONAL KEY READINGS/LISTENING

- Charlie Parker with Dizzy Gillespie, Bird and Diz (1950 album)
- Billie Holiday, Lady in Satin (1958 album)
- Ornette Coleman, Free Jazz: A Collective Improvisation (1961 album)
- Marian McPartland, ‘Piano Jazz’ (radio show), with Mary Lou Williams (1979), online
- Guthrie Ramsey, ‘”We Called Ourselves Modern”: Race Music and the Politics and Practice of Afro-
Modernism at Midcentury’ in Race Music: Black Cultures from Bebop to Hip-Hop (2004), 96-132
LECTURE 3: SONIC POSTMODERNITIES CA. 1975 (TUE, 31 Oct)

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READ FOR LECTURE
- Michael Veal, ‘Electronic Music in Jamaica: Dub in the Continuum of Jamaican Music’, in Dub:
Soundscapes and Shattered Songs in Jamaican Reggae (2007), 26-44

REQUIRED (AFTER LECTURE)

- Tricia Rose, ‘Voices from the Margins: Rap Music and Contemporary Black Cultural Production’,
in Black Noise: Rap Music and Black Culture in Contemporary America (1994), 21-40

ADDITIONAL KEY READINGS/LISTENING

- Roxanne Shante, ‘Roxanne’s Revenge’ (1984)
- King Tubby, feat. Augustus Pablo, ‘King Tubby Meets Rockers Uptown’ (1976)
- Beyoncé, ‘Formation’ from Lemonade (2016)
- Imani Perry, ‘The Venus Hip Hop and the Pink Ghetto: Negotiating Spaces for Women’ in Prophets of
the Hood: Politics and Poetics in Hip Hop (2004), 155-190
- Steve Reich, Come Out (1966)
- Alvin Lucier, I Am Sitting in a Room (1969)

JAVANESE GAMELAN SESSION (TUE, 14 NOV) – REQUIRED

READ FOR SESSION

- Mantle Hood, ‘The Challenge of “Bi-musicality”’ (1960) – to be discussed in lecture, 16 Nov

RECOMMENDED BACKGROUND
- ‘Gamelan’, UNESCO (2021 [2019], YouTube video, 11’)

LECTURE 4: ISLAM IN SOUTHEAST ASIA – SOUNDSCAPES (THU, 16 NOV)

READ FOR LECTURE

- Tong Soon Lee, 'Technology and the Production of Islamic Space: The Call to Prayer in Singapore'
(1999), 86-100
- Listen: Qur’an, Surah 1, al-Fatiha (Maria Ulfa, here); Surah 82, al-Infitar (‘Abdul Basit ‘Abd ul-Samad,
here – first few mins)

REQUIRED (AFTER LECTURE)

- Anne Rasmussen, ‘Women Out Loud: Religious Performance in Islamic Indonesia’, in Kapchan,
Theorizing Sound Writing (2017), 191-215

ADDITIONAL KEY READINGS

- Charles Hirschkind, ‘Introduction’, in The Ethical Soundscape: Cassette Sermons and Islamic
Counterpublics (2006), 1-31
- Steven Feld, ‘Acoustemology’, in Novak and Sakakeeny, Keywords in Sound, 12-21
- Kristina Nelson, ‘The Samā‘ Polemic’, in The Art of Reciting the Qur’an (1985), 32-51
- Greg Barker, Koran by Heart (2011, documentary film; YouTube version here)
- Navid Kermani, ‘The Sound’, in God is Beautiful: The Aesthetic Experience of the Quran (2015), 133-
183

LECTURE 5: ISLAM IN SOUTHEAST ASIA – GENDER AND BODIES (28 NOV)

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READ FOR LECTURE
- Margaret Kartomi, ‘ “Art with a Muslim Theme” and “Art with a Muslim Flavor” among Women of
West Aceh’, in Harnish and Rasmussen, Divine Inspirations: Music and Islam in Indonesia (2001), 269-
296

REQUIRED (AFTER LECTURE)

- Rachel Harris, ‘Affective Rituals in a Uyghur Village’, in Soundscapes of Uyghur Islam (2020), 40-69

ADDITIONAL KEY READINGS

- Anne Rasmussen, ‘Hearing Islam in the Atmosphere’, in Women, the Recited Qur’an, and Islamic
Music in Indonesia (2010), 38-73
- Banu Şenay, ‘Introduction’ and ch 1 ‘A Biography of the Ney’, in Musical Ethics and Islam: The Art of
Playing the Ney (2020), 10-27 and 28-44

Lecture 6: Roots and Routes: Music of the Pacific

FOCUS: Indigenous describes people and materials that are native to an area, region, or country. Throughout
popular culture, indigenous people have been reduced to stereotypes and their customs have been portrayed
without nuance, as though all indigenous people are the same. Stereotypes are an oversimplified image of a
particular type of person or a community. This week, we will examine the traveling researcher’s encounter
with cultural insiders paying particular attention to the emic (insider) and etic (outsider) approaches to talking
about cultural production in the Pacific. In addition, we will explore case studies of insider and outsider
knowledge as illustrated in audience participation and representations of culture beyond the Pacific.

GUIDING QUESTIONS:

• What is the manner with which we might encounter, observe, and explore new music cultures?
• EMIC TERMS: How do insiders describe the participants, customs, events, and instrumentation in their
culture?
• What are the customs and protocols for demonstrating respect in a new culture?
• What symbols are sacred or important to a new culture that you encounter?
• What instruments are unique to the musical tradition that you encounter?

READ:

• “Diversity in Pacific Island Musics,” Music in Pacific Island Cultures by Brian Diettrich, Jane Freeman
Moulin, and Michael Webb, pp. 7-16, 26-38
• “The Women Gather: Towards a Womanist Ethnomusicology”, from the Amerasia Journal by Alisha
Lola Jones Further Reading:

• Chapter Four, Music in Pacific Island Cultures by Brian Diettrich, Jane Freeman Moulin, and Michael
Webb.
• “The Ocean in Us” by Epeli Hau’Ofa.
• “Samoan War Whoop Explained”:
http://the.honoluluadvertiser.com/article/2007/Aug/05/ln/hawaii708050351.ht ml
• “Hip Hop and the Samoan Diaspora” by April Henderson

VIEW:

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 • “The Truth About Christopher Columbus Day”:
https://www.youtube.com/watch?v=3MJoKhO9G1g
• Boo Yaa Tribe documentary referenced "Tribal
Scars": https://www.youtube.com/watch?v=3oZwE6StEAk&list=RD3oZwE6StEA k&start_radio=1
• “Original Maori Haka” performance -- https://www.youtube.com/watch?v=BI851yJUQQw
• “Kawika” -- https://www.youtube.com/watch?v=5tP3G6SBGE0
• Black Hawks’ Haka -- https://www.youtube.com/watch?v=PptTeyYShdw
• A “Wedding Haka” -- https://www.youtube.com/watch?v=YT7Iyk8LoEg
• https://www.youtube.com/watch?v=uNz0ZrwKzLk
• “Indigenous Life” by Fiji - https://www.youtube.com/watch?v=7wZkuFItmZE

LISTEN: Selected Music in Pacific Island Cultures recordings.

• 36 "Gel Pentecost" By Tokotakia: Souwia String Band, Vanuatu.aiff
• 37 "Naike" By Hausboi, Papua New Guinea.aiff
• 38 "Kisim Taim" By P2-Uif, Papua New Guinea..aiff
• 39 Excerpt From A Guitar And Ukulele Accompanied Entertainment Song
(Hlmene 'arearea), Puna'auia,Tahiti,.aiff
• CD Track 1 -- Marquesan topical song (rari) from Fatu Hiva. Field recording by Jane Moulin, Taioha'e,
Nuku Hiva, June 1988.
• CD Track 2 -- Action song (kapa) from Hikueru, Tuamotu Islands. "Tamara" (Yves Roches and Manuiti -
Sacem), performed by Groupe Paumotu Mariterangi with Emma Terangi. Spécial Tamure "Ori Tahiti"
(1984). (0:42)
• CD Track 3 -- Section of a pedi performed by the Mangareva delegation to the Heiva. Field recording
by Jane Moulin, Pape'te, Tahiti; July 2000. (2:07)
• 4 Hawaiian Mele Hula "Kawika" Performed By Kumu Hula Victoria Holt Takamine.aiff

Lecture 7: VOCAL COMPETITIONS: THE PERFORMANCE OF IDENTITY

FOCUS: Televised vocal competition shows are another realm of the Global Pop music industry in which artist
represent national pride on international stages. Whether it is shows such as Showtime at The Apollo, The
Voice, Eurovision, Afghan Star or
American Idol, typically a national or cultural identity is performed and assessed by the judges, audience, and
the television viewers. It is on these world stages that musicians audition to be icons, divas, and role models
for their nation.

GUIDING QUESTIONS:

· What is the appropriate repertoire for televised competitions?

· What are the qualifications for representing a national identity?
· Who is ineligible to be selected as an idol?
· Who decides who becomes an icon?
READ:

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 • “Excavating the Love Below: The State as Patron of the Baby Mama,” in Home Girls Make Some Noise:
Hip-Hop Feminism Anthology by Brittney Cooper
• "Greater than a 'Glow Up': Fantasia Reminds Us You've Got to 'Lose to Win'", from TheGrio.com by
Alisha Lola Jones and Calvin Taylor Skinner
• Meizel, Katherine. “Introduction: No Boundaries” Idolized: Music, Media, and Identity in American Idol.
Bloomington, IN: Indiana University Press, 2011.
• “Womanism,” from In Search of Our Mothers’ Gardens by Alice Walker “

Further Reading

· Cohn, Paulette. “Watch: The Voice Premiere with a Three-Chair Turn for 15 Year old Sara Grace”:
https://parade.com/702913/paulettecohn/watch-thevoice-premiere-with-a-three-chair-turn-for-15-
year-old-sarah-grace/
· “The Voice Contestant is Only 15 years Old, But She’s Already a Frontrunner”:
https://www.lifeandstylemag.com/posts/sarah-grace-the-voice-audition-166812

LISTEN:

· “Baby Mama” by Fantasia -- https://www.youtube.com/watch?v=4WDOmHcJQJA

· “I’m here” from The Color Purple musical by Fantasia https://www.youtube.com/watch?
v=Y1NlOygpVYk
· “You Sure is Ugly” from The Color Purple -- https://www.youtube.com/watch?v=8991JP53Nho
· Sara Grace on The Voice, https://www.youtube.com/watch?v=M0EVbbChL_I&frags=pl%2Cwn

Lecture 8: MUSIC AND HARM

Focus: One commonly held belief is that music heals. However, music researchers are increasingly amplifying
the extent to which music is used to hurt, harm, and torture individuals and their communities. In this Unit, we
will reflect on the extent which music and musicians can be used to inflict harm in intentional and
unpredictable ways.

Guiding questions:
• In what ways does music harm?
• To what extent has the use of music influence policies?
• What might be some considerations with regard to disability and performance?

Read

•“Assaults in Dressing Rooms. Groping During Lessons. Classical musicians reveal a profession rife with
harassment," from Washington Post from Washington Post by Anne Midgette and Peggy McGlone 21
• “Music as Torture/Music as Weapon” (2006) by Suzanne Cusick • Society for Ethnomusicology
Position Statement on Music and Torture:
https://www.ethnomusicology.org/page/PS_Torture
Further Reading
• Sakakeeny, Matt. 2010. “‘Under the Bridge’: An Orientation to Soundscapes in New Orleans.”
Ethnomusicology 54 (1): 1–2
• Santi, Christina. 2018. “T.I. Explains Why He is Buying His Neighborhood Back” from Ebony

LISTEN AND VIEW

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 • Sign Language Interpretation in Performance: “Ella’s Song” by Sweet Honey in the Rock:
https://www.youtube.com/watch?v=U6Uus--gFrc&frags=pl%2Cwn
• Auditory Synesthesia: Sara Grace’s Audition, The Voice
• “Kissed You (Good Night)” by Gloriana
• “Blurred Lines” by Robin Thicke
“Permission” by Ro James

Lecture 9: MUSIC AND LAW ENFORCEMENT

Focus: The application of the law among marginalized communities is often an overlooked and quieted
component of music scene analysis. Noise ordinance are one example of the extent to which “the powers that
be” (politicians, religious groups, and the wealthy) control that which they deem noise or loudness. What is the
sound of music influenced by law and law enforcement when in community? Such analysis reveals the subtle,
concealed, and menacing conditions that antagonize communities at play.

Guiding questions:

• What role has the law played in the development of urban music scenes?
• In what ways has law enforcement interaction shaped music as social life?
• In what ways has sound been criminalized?
• What role do noise ordinances play in your local music scene?

READ

• Alison Martin. “Affirmation and Resilience in African American Musical Spaces in Washington, DC”,
BLMM
• Alisha Lola Jones. “The Music Industry Funds Private Prisons” (2023) from American Music Journal.

Further Reading:

• “For Father’s Day, I’m Taking on the Exploitative Bail Industry” by Shawn Carter:
http://time.com/4821547/jay-z-racism-bail-bonds/
• “Black Beginnings from Uncle Tom’s Cabin to The Birth of a Nation" by Donald Bogle.
• The Black Codes of Washington, DC
LISTEN:

• “The Colored Section” by Donnie https://www.youtube.com/watch?v=5Osn43oWZgc

• “Big Black Buck” by Donnie - https://www.youtube.com/watch?v=wy9z5A3Rhs
• “Say it Loud” by James Brown -- https://www.youtube.com/watch?v=2VRSAVDlpDI
• “Guilty Until Proven Innocent” by Jay-Z: https://www.youtube.com/watch?v=aCHB4GCyufE

VIEW:

• “The Black Panthers Vanguard Of The Revolution' Full Film Documentary 2015” --
https://www.youtube.com/watch?v=osdNvk6CCKs&t=122s and can be found on NETFLIX.
• “French Montana – Letting The Music Create Its Own Oath on ‘Jungle Rules’”
http://www.cc.com/video-clips/xa2ysr/the-daily-show-with-trevor-noah-frenchmontana---letting-the-
music-create-its-own-path-on--jungle-rules----extendedinterview
• “The Danger of The Single Story” https://www.youtube.com/watch?v=D9Ihs241zeg