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1-27 - Introduction- Objectives, Description, Schedule; Care and Maintenance of Guitar; Review of Musical Notation; Examination of Cultural Meaning of Music and Core Values Inherent in Music in contrast with the use of Music for Entertainment [Written test: Thurs., 2-19]1-29 - Tuning [Tuning test: at your first 1:1 performance test on 3-3& 3-5]; Alexander technique; healthy positioning; HL: p. 5 at bottom of page; One chord songs – D2L;D & A7: HL: p. 38; p. 43; p. 60 – Marianne; Two-chord songs – D2L; locker sign-up 2-3 - G,Em: HL: p. 36 and 37; Simple Gifts – p. 40 – 41; p. 57 – Oh, Mary Don’t You Weep; p. 58 – De Colores – political controversy; p. 73 – Swing Low …; p. 61 – The Wabash Cannonball; Review; African music – Palm Wine picking; Zulu fingerstyle; parallel sixths – Congolese, Rumba, and Soukous; Seben; Griot; Manding Swing; Malian Pentatonic; Wassoulou; Zimbabwe Rumba – sungara; Madagascar2-5– A & E, E7; HL: p. 56 and 62; p. 49; p. 67 – Midnight Special; p. 62 – La Bamba[Test 1: 3-3 & 3-5]; Review; Middle Eastern music – sihad, hajaz; Maqamat – fasia, jins, taqsim; Wasn – Maqsum, Kashlama, andalusi nubah2-10 - C & G7: HL: p. 19 – 20; p.37; p. 49 - D7; HL: p. 54 – Rock-A-My Soul; p. 55 – Jamaica Farwell; p. 38 – This Train; p. 31 – Red River Valley; p. 29 – Shenandoah; p. 28 – Danny Boy; p. 22 - Amazing Grace; p. 23; p. 18; This Land – see D2L; Guantanamera – see D2L2-12 - First String (E): HL: p. 8 - 9; Second String (B): p. 10 – 12; Review; Middle Eastern improvisation on first string; Middle Eastern improvisation on 2nd string;Middle Eastern improvisation on 1st and 2nd stringsForeign Culture focus:Take Home portion on Orientalization due 2-19 when you take written test: Describe the Orientalization of Middle Eastern music through the use of movie themes and music with harem girls, male dictators, and snake charmers. Please address each element listed below when writing your paper and provide musical examples of Orientalism. Aladdin: to D2L postings on Orientalism; Orientalism examplesThis assignment and all other written assignments for this course target the Liberal Education Responsibility Outcome 1: Use critical and analytical skills to evaluate assumptions and challenge existing structures in ways that respect diversity and foster equity and inclusivity. Element A: Demonstrate understanding that there are diverse social-group (such as race, class, gender, sexualities, ethnicity, and religious beliefs) perspectives. Describe how a given ethnic style of music impacts identity. Element B: Demonstrate understanding of impact of dominant assumptions (such as race, class, gender, sexualities, ethnicity, and religious beliefs) on the social construction of individual identities. Describe awareness of any social group perspectives that exist for the ethical diversity issues studied within each style of ethnic music related to events, ideas, movements, and/or societal structures in the past and in our present society. Describe the evolutionary development of individual identities for this music. Element C: Demonstrate understanding of systems of privilege (such as racism, sexism, classism, heterosexism, linguicism, able-ism and colonialism) and oppression and describe the place of these systems within societal structures.Identify systems of privilege and oppression and describe the place of these systems within societal structures related to the ethnic styles of music and culture which were studied. Describe the impact that these systems had in our present society. Identify and describe how and why social-groups may have different perspectives. Identify assumptions previously held related to this music. If those assumptions changed, describe how they have changed and what influenced those changes. 2-17 – History and Significance of Guitar in Folk Music; Playing Position; H L: Book 1, p.4 – 7; Types of Notation for Guitar [Written test: 2-19]; – Review for Written Test – Diversity content - Spanish Flamenco, Mexican Mariachi; Reminder that Take home portion is due 2-19: Description of Orientalization of Middle Eastern Music2-19 – Written Test 1 with first Take Home assignment due –Description of Orientalization of Middle Eastern Music2-24 – Third String (G): HL: p. 13 – 16; Au Claire de la Lune – p. 15 [Performance Test 1: 3-3 & 3-5]; Strumming Variations – p. 35; Middle Eastern improvisation on 3rd string; Middle Eastern improvisation on 1st, 2nd and 3rd StringsSpanish music – Flamenco, fandango/Malaguenas, Mariachi – Mexican folk songs – types of guitars; Roles of guitar in different cultures and different types of ethnic music2-26 - Transposition; Relative minors; E, Am, Dm; Spanish music rhythm patterns – part 1; Role of guitar in Middle Eastern music– traditional, modern, fusion – parallels with Sansei in America; Lily Afshar and extra frets on classical guitarSpanish – American focus:Cultural Identity Issues for a Mexican – American - Due 3-17 for Hispanic IssuesTake Home portion: Write a reflection paper to consider both sides of the issue for a critique (both supportive and confrontive) of Linda Ronstadt’s Songs of My Father album which is an all-Spanish album. Include commentary on her performance in South Africa during the time of a boycott which was intended to support a different cultural group from her own. Please address each element from Liberal Education Responsibility Outcome 1 when writing this paper. Include three criticisms that were made about her Songs of My Father album and provide either a support for or a challenge to those criticisms. Linda Ronstadt – Tata Dios – with El Mariachi Los Camperos de Nati Cano: about Songs of My Father: to D2L posting Spanish- American diversity issuesReview for Performance Test 1 and Tuning Test3-3- Performance Test 1 and Tuning TestAu Claire de la Lune – p. 15; La Bamba – HL: p. 62 3-5 - Performance Test 1 and Tuning TestAu Claire de la Lune – p. 15; La Bamba – HL: p. 623-10 - Em & Am: HL: p. 36 – 37 and p. 50; p. 25 – Joshua; p. 74 – Scarborough Fair; p. 75 – The Water Is Wide; All My Trials (easy f#m) – see D2L; p. 71- Hava Nagila [Test 3: 4-21 & 4-23](Dm7) – substitute chord and preparation for F chord; Review; Siyahamba – D2L [Test 2: 3-31& 4-2]; Spanish rhythm patterns – part 2; HL: p. 86 – 95, 113, 126 – 131 – different styles 3-12 –Fourth String (D): HL: p. 17 – 23; B minor – easy alternate fingering will be shown in class; All My Trials – see D2L [Test 2: 3-31 & 4-2]; Am7 – easy alternate fingering will be shown in class: HL: p. 71 - Hava Nagila revisited [Test 3: 4-21 & 4-23]; Middle Eastern improvisation on 4th String; Middle Eastern improvisation on 1st, 2nd, 3rd, and 4th stringsReview; Native American music and guitar; Waila, Matachines; meditative with flute; Diversity Issues - Native American focus: Issues of AppropriationTake Home Portion for Native American Issues due on 4-28 - Ideas of appropriation: Describe the styles of music you would program on a concert to show the 5 styles of guitar music that are used on reservations in the U. S. today that were presented in class. Prepare questions to consider when deciding whether or not to perform a prayer song or ghost dance on guitar. Include a statement to be shared in a concert performance of Native American music in which you describe why you would not perform or why you have chosen to perform specific pieces and describe what types of pieces you did choose to perform. Examine the historical significance of scholars in the early 20th century who appropriated the music to create an American identity. Please address each element from Liberal Education Responsibility Outcome 1 when writing this paper. Describe why the guitar may be considered a reverse appropriation.Refer to D2L postings Native American Ethics, Native American ethical issues; Native American diversity issues and to this weblink:Nobuko Miyamoto and Charlie Chin: lyrics identify issues to consider3-17 – Take home portion on Hispanic Issues due: Cultural Identity Issues of a Mexican – American Fifth String (A): HL: p. 24 - 25; Review of easy Dm7 shown in class; Fingerpicking Accompaniments; Review; La Cucaracha, El Jarabe Tapatio, Chiapanecas, El Manisero – D2L; Dm: HL: p. 52 – 53; F: p. 76 – 77 – House of the Rising Sun; p. 25 – Greensleeves; p. 34 – The Star-Spangled Banner; p. 70 - (Wayfaring . . . ); B7: HL: p. 82 – 83; Middle Eastern improvisation on 5th string; Middle Eastern improvisation on 1st, 2nd, 3rd, 4th, and 5th stringsContinuation of diverse guitar styles and uses of guitar in diverse cultures 3-19 - Sixth String (E): HL: p. 26 – 27; Johnny Has Gone for a Soldier – see D2L [Test 3: 4-21 & 4-23]; Middle Eastern improvisation on 6th string; Middle Eastern improvisation on 1st, 2nd, 3rd, 4th, 5th, and 6th stringsReview for Performance Test 2African focus:When Paul Simon developed his Graceland album he faced accusations that he had broken the cultural boycott imposed by the rest of the world against the apartheid regime in South Africa which was in its final years at the time. Although supported by the United Nations Anti-Apartheid Committee, as the album showcased the talents of the black South African musicians while offering no support to the South African government, even the African National Congress protested the collaboration as a break in the cultural boycott. The worldwide success of the album introduced some of the musicians, especially the vocal group Ladysmith Black Mambazo, to global audiences of their own. Simon included American 'roots' influences with tracks featuring Zydeco and Tex-Mex musicians. Linda Rondstadt appears on the track “Under African Skies”, the second verse of which Simon wrote based on her childhood experiences. The Everly Brothers sing harmony on the title track. Refer to D2L posting Paul Simon and Graceland; African – American diversity issues; John Newton’s testimony in ParliamentAfrican – American focus homework due 4-28 for Take Home portion of African – American Issues: Write a descriptive historical paper on The Use of Music as a Voice of Resistance: Describe the role of the blues and its use in culture, the use of signal songs, the political significance of the song Amazing Grace and its author’s testimony in Parliament. Reference examples from songs and stories shared in class. Describe ethical/political issues related to making the Graceland album and share either your support for the performances and recording in South Africa or your criticism of them. You may support some aspects and challenge other aspects of the project. Please address each element from Liberal Education Responsibility Outcome 1 when writing this paper. Other references:Throw Down Your Heart – Bela Fleck and banjo - AfricaGraceland – Paul SimonHerbie Hancock in Watermelon Man Happy Spring Break 3 -24 and 3-26!3-31 – Performance Test 2Siyahamba – D2L; All My Trials in 2 keys – D2L 4-2 – Performance Test 2Siyahamba – D2L; All My Trials in 2 keys – D2L4-7 - Mr. Bojangles – see D2L; Oriental music – modes, scales, semitones;Middle Eastern music – improvisations; FM7,AM7, A13, GM7; Gm – easy fingerings shown in class; Corcovado – see D2L [Test 4: 5-5 & 5-7]; Review; Diversity Issues with Guitar Music;4-9 – In lieu of class today you are required to play your guitar for a person or group with special needs or for your family, especially for your grandparents. Make plans with Lee Anna if you need assistance in scheduling your performance for a special needs group. Failure to perform for an audience with special needs or your grandparents will result in the drop of one letter grade from your final grade in this course. To receive credit submit a report about your performance by the beginning of class on Tues., May 12 ORIn lieu of class today you are required to attend one guitar concert related to the style of guitar playing taught in this course. You need to clear with your teacher that the concert you are planning to attend is related to the style of guitar playing taught in this course. Rock/pop concerts do not represent the folk or classical style of guitar playing that is taught in this course and do not model healthy and safe hand position on guitar. Failure to attend an approved concert will result in the drop of one letter grade from your final grade in this course. To receive credit for this requirement submit a report about the concert/recital you attended by the beginning of class on Tuesday, May 12th. There will be a guitar performance by Dieter Hennings on May 14th at 5 p.m. in Gantner in HFA which would be a great option for this assignment. If you attend it, you may submit the report at your final.4-14 -- Bm7, Em7, Am7, DM7, f#m7; Ue O Muito Aruko [Test 4: 5-5 & 5-7]; compositions in style of maqam or Middle Eastern prayer mode [Test 4: 5-5 & 5-7]; Review; Hmong music – Historical background and use of guitar in today’s Hmong musicHmong – American focus due as Take Home Hmong portion of Final Exam for Guitar Performance:Attend a cultural event with some form of Hmong music. Make an outline to compare the role of guitar in contemporary Hmong music and the evolution of that music from traditional music within the culture to the role of Flamenco guitar in Spain and its development into Mariachi guitar in Mexico, palm wine picking in Africa, and any of these American art forms (jazz, rhythm and blues, bluegrass, country, rock, rap, hip hop). Include a description of how traditional Hmong uses of music led to the development of the art forms of kwv txhiaj and contemporary Hmong music. What was the historical context for this music and how did it change as it developed over time and specifically in America? What assumptions influenced this development of individual identities for the evolution of this music? Identify any systems of privilege and oppression and describe the place of these systems within societal structures. Compare the presence and roles of these systems in the past and the present. Please address each element from Liberal Education Responsibility Outcome 1 when writing this paper. Reference individual weblinks of Hmong music to support your position. Refer to D2L weblink with history of Hmong music as well as the listings of weblinks for contemporary Hmong music. Refer to D2L posting for Hmong Music History; Hmong Music Weblinks 4-16 - Something – see D2L [Final]; C7; Bb – easy fingerings shown in class; Scales; The Night They Drove Old Dixie Down – see D2L [Final]; GM7, CM7, DM7; People – see D2L [Final]; Review for Performance Test 34-21 – Performance Test 3Johnny Has Gone for a Soldier – D2L; HL: p. 71 – Hava NagilaYour performance of Hava Nagila in a stylistically authentic Middle Eastern performance style targetsLE – S. 3. Create original work, perform original work, or interpret the work of others.Rubric A. Student will demonstrate originality and/or creativity in performance of Hava Nagila. Rubric B. Student will demonstrate performance of Middle Eastern improvisation by integration of Middle Eastern maqam and taqsim. You will use the introduction and ending demonstrated in class by your professor but will create 3 other accompaniment styles, one for each of the 3 middle sections of the piece. You may choose from the Middle Eastern music idioms that were demonstrated in class and put them together in context in this piece or you may create your own in an authentic Middle Eastern style of guitar playing. 4-23 – Performance Test 3Johnny Has Gone for a Soldier – D2L; HL: p. 71 - Hava NagilaYour performance of Hava Nagila in a stylistically authentic Middle Eastern performance style targetsLE – S. 3. Create original work, perform original work, or interpret the work of others.Rubric A. Student will demonstrate originality and/or creativity in performance of Hava Nagila. Rubric B. Student will demonstrate performance of Middle Eastern improvisation by integration of Middle Eastern maqam and taqsim. You will use the introduction and ending demonstrated in class by your professor but will create 3 other accompaniment styles, one for each of the 3 middle sections of the piece. You may choose from the Middle Eastern music idioms that were demonstrated in class and put them together in context in this piece or you may create your own in an authentic Middle Eastern style of guitar playing. 4-28 – Take Home portions on African- American and Native American Issues are due – include The Use of Music as a Voice of Resistance from African – American focus, questions for Ideas of Appropriation from Native American setCapos; Barre chords; Alternate Tunings; Adaptations for People with injuries/without fingers/hands; Description of and sign up for times for Final ExamTransposition PracticeReview for Performance Test 4; Middle Eastern improvisation practice4-30 – Review5-5 – Performance Test 4 – any 2 of these 3 songs:Corcovado – see D2L; Ue O Muite Aruko- see D2L; performance of Middle Eastern maqam or prayer mode and of original composition you made based on itSelect a maqam or prayer mode. Perform the notes from bottom in pitch to top and back down in the style of playing a Western music scale. Using these notes, compose a piece based on 3 central tones to reflect the taqsim and perform this piece.Your performance of a maqam or Middle Eastern prayer mode and of your own composition in a stylistically authentic Middle Eastern performance style using the notes from this maqam or Middle Eastern prayer mode targetsLE – S. 3. Create original work, perform original work, or interpret the work of others.Rubric A. Student demonstrates originality and/or creativity in performance of Hava Nagila.Rubric B. Student demonstrates performance of Middle Eastern improvisation by integrating Middle Eastern maqam and taqsim. 5-7 – Performance Test 4 – any 2 of these 3 songs:Corcovado – see D2L; Ue O Muite Aruko- see D2L;performance of Middle Eastern maqam or prayer mode and of original composition you made based on it Select a maqam or prayer mode. Perform the notes from bottom in pitch to top and back down in the style of playing a Western music scale. Using these notes, compose a piece based on 3 central tones to reflect the taqsim and perform this piece.Your performance of a maqam or Middle Eastern prayer mode and of your own composition in a stylistically authentic Middle Eastern performance style using the notes from this maqam or Middle Eastern prayer mode targetsLE – S. 3. Create original work, perform original work, or interpret the work of others.Rubric A. Student demonstrates originality and/or creativity in performance of Hava Nagila.Rubric B. Student demonstrates performance of Middle Eastern improvisation by integrating Middle Eastern maqam and taqsim. 5-12 – R1 Group Presentations: Orientalism; Appropriations; Impact of Blues and Negro Spirituals on Freedom for Enslaved Africans; Guitar cousins – ukulele, banjo, mandolin – Ethical Issues and Responsibility – Liberal Education applications for R1; Seasonal Songs; Performance Test Review For R1 Group Presentations – Liberal Education Learning Goal 5 use critical and analytical skills to evaluate assumptions and challenge existing structures in ways that respect diversity and foster equity and inclusivity. ORIENTALISM– consider issues and applications for Arab-American Music, Sansei music, any Asian music, music from IndiaOn D2L reference sources from Orientalism (Orientalism in Music is the name of the resource once you have opened the file – please check out all sections of this resource), Orientalism Examples, Middle Eastern Scale MisconceptionClass notes and opening clip from Aladdin and other weblinks from Orientalism setAPPROPRIATIONS – consider issues and applications for Native American music On D2L reference sources from the Ethical Issues section from Native American Ethics, Native American Ethical Issues, Native American Diversity IssuesClass notes, including THE IMPACT of the BLUES and NEGRO SPIRITUALS on FREEDOM for ENSLAVED AFRICANSOn D2L reference sources from the Ethical Issues sectionJohn Newton’s Testimony in ParliamentAfrican-American Diversity IssuesClass notes – especially on blues and signal songs and their uses in culture5-14– Review for Final Exam; R1 Group Presentations – Liberal Education Learning Goal 5:For R1 Group Presentations use critical and analytical skills to evaluate assumptions and challenge existing structures in ways that respect diversity and foster equity and inclusivity. PAUL SIMON AND GRACELAND – consider issues for Hispanic and African musicians, applications for all, political implications and applications specific to the U. S.On D2L reference sources from the Ethical Issues sectionPaul Simon and GracelandSpanish – American Diversity IssuesThrow Down Your Heart - Bela Fleck and banjo Watermelon Man- Herbie HancockClass notes HMONG MUSICAL DEVELOPMENT AND EVOLUTIONARY CONSIDERATIONSOn D2L reference sources from the Ethical Issues sectionHmong Music History, Hmong Music WeblinksConsiderations:Identification and description of how and why social-groups associated with this style of music may have different perspectives. What assumptions did you previously hold? If they have changed, describe how they have changed and what influenced those changes.How has/does this music impact your social identity?Describe your awareness of any social group perspectives that exist within this music related to events, ideas, movements, and/or societal structures in the past and in our present society. Describe the evolutionary development of the dominant assumptions that influenced the development of individual identities for this music. Identify systems of privilege and oppression that are reflected in the particular style of music and at times serve to challenge or are promoted through the music. Describe the place of these systems within societal structures including music. Identify these systems in the past and describe any impact that you note these systems are having in the present within or related to this style of music. Use resources listed above and any additional resources.Final Exam times to be scheduled one-to-one during week of May 18 - 22 with main time being Mon., May 18– 1:00 - 2:50 p.m. – Take Home portion of Final Exam with Hmong – American focus is due at final performance exam – Performance Exams are scheduled 1:1 across the week of finals. ................
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