University Javanese Gamelan Ensemble
for this year's offerings.
Music Cultures of the World. Sarah
An introductory survey of selected musical
traditions from around the world. Structure, content, materials,
and performance contexts of local musics, as well as the broader
role music plays in society.
Javanese Gamelan Performance. Sarah
A study of Javanese musical genres from
the eighteenth century to the twenty-first. Introduction to the
playing techniques of multiple instruments. Survey of theoretical
and aesthetic discourses on gamelan and other Indonesian performance.
Members of the class form the nucleus of the Yale Javanese Gamelan
Ensemble. (No previous experience in gamelan performance required.
May be repeated for course credit, but not for distributional credit.)
World Music Theories: Practice and Aesthetics. Sarah
of the musical processes of various mode-based musical systems,
selected from the Indian raga, Arabic maqam, Irish tune-family,
Javanese pathet, Persian dastgah, and Vietnamese Dieu. Survey of
the musical cultures; notation and analysis of the music; related
Topics in World Music. Sarah
d A critical introduction to selected
cultures of world music. Specific cultures vary from year to yera
but generally include those of Native America, South Asia, Southeast
Asia, sub-Saharan Africa the Middle East adn the Caribbean.
MUSI 376 World
Music Theories: Practice and Aesthetics.
Survey of the musical processes of various
mode-based musical systems, selected from the Indian raga, Arabic
maqam, Irish tune-family, Javanese pathet, Persian dastgah,
and Vietnamese Dieu. Readings about eh musical cultures are combined
with notation and analysis of the music as well as discussion about
the related aesthetics systems. (prerequisite: MUSI 211a or b
MUSI 420 Gendering
A critical examination of the discourse
on gender, sexuality and music. Grounded in the cross-cultural detail
of specific musical genres and performers, we will examine the ways
in which issues of race, class, ethnicity, spirituality, and embodiment
intersect with gender in the shaping of musical cultures and aesthetics.
Musical Hybridity and Cultural Interaction.
What is musical hybridity?
Do hybrid musical styles ever come to be considered pure or original?
Or, thinking from the other direction, were musical styles now considered
pure ever hybrid? What are the musical implications of cultural
interaction? What are the cultural implications of musical interaction?
How does hybridity discourse intersect with postcolonial discourse?
How do audience expectations determine the reception of hybrid musical
performances in different places around the world? What does hybridity
mean to people who experience and/or create it? With
the 'edges' of the world as our boundary, we will explore the musical
results of cultural interactions in several locations and periods.
Some of these may include: musical manifestations of European fascination
with/fear of the Other during the colonial period and orientalism;
touristic performance cultures in Asia; the nexus between local
popular musics, postcoloniality, and global world beat; the exploration/incorporation/exclusion
of the world through the work of new music composers (from around
the world) over the last century.
Current academic year course
data, shedules and classroom information can be found at
Yale Online Course Information Web site