UCLA Department of Ethnomusicology

This course looks in detail at elements of the melodic and rhythmic theory and practice of North Indian (Hindustani) music, and explores the structure of several prominent vocal and instrumental genres. Each class focuses on a primary music recording that we shall subject to detailed analysis. Our aims are threefold: (a) to understand how composition and improvisation work, thus providing a firm basis for their critical appreciation; (b) to uncover the sociomusical history and evolution of contemporary practices; (c) to address broader theoretical issues through an investigation of some of the key topics in that history, such as the promotion of ancient knowledge through scholarly medieval treatises; Hindu devotionalism versus Muslim secularism; the rise and fall of professional guilds; patronage in Mughal and regional courts; music and colonialism; historicity and historiography; the role of professional female entertainers, and the de-sensualization of performance; modernization; the advent of musical notation; music as public education; the role of music in Indian nationalism; music, media and technology in the 20th century; the state of classical music in Pakistan; globalization; and Hindustani music in the diaspora.

Course website: Instructions on how to access my course website will be given in the first class.

Course readings: Specific course readings will be listed shortly before the beginning of the spring quarter. There will be no textbook. Course readings will be accessible through (a) my course website, and (b) the library’s online resources or course reserves. I will gladly recommend other texts where useful for individual research projects. Please note that assigned readings should be done before class to enhance comprehension and enable active discussion.

Audio-visual examples: Classes will be illustrated with audio-visual examples, both recorded and (where possible) live. The most important examples pertaining to class analysis and discussion, and any other recordings connected to assignments, will be available through my course website.

Caveat: Please note that I reserve the right to make minor changes to this syllabus as the course progresses, especially if there are performance events that I feel would be advantageous to incorporate in some way into our work, or readings and recordings that I may wish to add or substitute. Any changes will be discussed in advance with class participants, and will be listed on the website.

Assignments: Assessment for this course will be based on the following:

For all participants:

1. An incremental reading log (20%) comprising short reports on required readings, to be submitted electronically on a regular basis. (NB – there will be more required readings for graduate students than for undergraduates.)
2. Two of the following three (20% each):

1. Transcription and analysis
2. Transnotation and analysis
3. Aural analysis of a recorded example

Specific guidelines for these analytical assignments will be distributed and explained in detail in the first class, and several examples of how to do this kind of work will be given as part of our classes.

For those taking Ethnomus 147...

3. An 8–10 page research paper. This will be on a topic of your choice to be agreed in advance with me no later than Wednesday, April 23 (40%).

For those taking Ethnomus 248...

4. Instead of #3 above, a 20–25 page research paper. This will be on a topic of your choice to be agreed in advance with me no later than Wednesday, April 23 (40%). Professional standards of organization, citation, and style apply (use the journal Ethnomusicology as your model).

Extra credit work (optional): Extra credit work cannot be used to replace required course assignments. It is only a means to improve one’s grade or give credit to students who take the initiative to do additional work. You may either complete a third analytical assignment (see #2 above) or attend and write (4–5 pages) a critical account of a live performance of Hindustani music (NB – this event must take place during the spring quarter).

Policy on conduct, attendance and lateness: All participants are expected to conduct themselves professionally, and to contribute to a positive and respectful learning environment. Students are bound by the rules on academic integrity as outlined in the UCLA Student Guide, which may be downloaded from the following link:

• http://www.deanofstudents.ucla.edu/StudentGuide.pdf

I would consider it a courtesy to be informed in advance of your intended absence from class. More than three absences from class after your official enrolment will result in an automatic failing grade, unless you provide documentation attesting to mitigating circumstances.

You must contact me in advance if you are going to miss a test. I will provide one opportunity for a make-up test.

One of the two analytical assignments must be submitted in hard copy at the beginning of class on May 7; the second analytical assignment, plus any optional work, must be submitted in hard copy at the beginning of class on May 21; the completed reading log must be submitted to me electronically before the class on May 28; research papers must be submitted in hard copy at the beginning of class on May 28. If you submit an assignment more than 10 minutes after class has begun, 5% will be deducted immediately from the grade, and thereafter a further 5% will be deducted for every day the assignment is overdue.