Principles of Ethnomusicology

07:700:303
Mason Gross School of the Arts
Rutgers, The State University of New Jersey
Spring 2019, Tuesdays & Fridays 12:35–1:55 MRH201

Professor: Eduardo Herrera, Ph.D.

Office Hours: Friday 10:30–12:30
Art History 206, 2 Chapel Drive
Douglass Campus, New Brunswick, NJ 08901
eduardo.herrera@rutgers.edu

Assistants:

Brian V. Sengdala
brian.sengdala@rutgers.edu

Ko On Chan
ko.on.chan@rutgers.edu

Course Goals
This course is an introduction to the discipline of ethnomusicology understood in its broadest
way. We explore multiple theoretical orientations of contemporary ethnomusicology, the
history of ethnomusicology, and the nature of doing fieldwork and ethnography in relation to
music and music making. Emphasis is placed on what it is that ethnomusicologists do by
addressing fieldwork techniques, contemporary social theory, and the nature of ethnographic
representation. Throughout the course we use diverse case studies from musical practices
around the world that expand on the topics discussed. This course emphasizes reading,
writing, and class discussion. Preparation for each of our meetings will take between 2.5 to 3.5
hours, so plan accordingly.

Upon successful completion of this class students will be able to:

• Demonstrate a general knowledge of the history of ethnomusicological thought and its
place in modern intellectual history.
• Apply critical thinking skills to readings regarding different intellectual perspectives
on contemporary issues in musicological research.
• Demonstrate the ability to present and communicate knowledge and the results of
musicological research.
• Understand the place of ethnography and fieldwork as process and product within
music scholarship.
• Develop the ability to think critically about musical practices different from their own.
• Demonstrate an informed understanding of socio-cultural conditions in diverse
musical practices of the world.

Required Texts

1
 • Turino, Thomas. Music as Social Life: The Politics of Participation. Chicago: University of
Chicago Press, 2008. (You must have this book by February 5)
• Additional readings and listening examples are available on the class website or our
library http://www.libraries.rutgers.edu

Class Website
Our class has a Sakai website available at: http://sakai.rutgers.edu/. In the Resources folder of
this website you will find the different readings and listening examples for our class different
than the required texts and materials available on our library. We will also use Sakai to post
the requirements for our assignments and make general announcements for the class.

Student Rights and Responsibilities

• You have a right to a learning environment that supports mental and physical
wellness.

• You have a right to respect. 

• You have a right to be assessed and graded fairly. 

• You have a right to freedom of opinion and expression. 

• You have a right to privacy and confidentiality. 

• You have a right to meaningful and equal participation.
• You have a right to learn in an environment that is welcoming to all people. No
student shall be isolated, excluded or diminished in any way.

With these rights come responsibilities: 


• You are responsible for taking care of yourself, managing your time, and
communicating with the teacher if things start to feel out of control or overwhelming.
• You are responsible for acting in a way that is worthy of respect and always respectful
of others.
• You are responsible for creating an inclusive environment and for speaking up when
someone is excluded. 

• You are responsible for holding yourself accountable to these standards, holding each
other to these standards, and holding the teacher accountable as well.

Course Requirements
The following is the list of activities you must complete to earn a full grade in this class:

1) Midterm Exam (20 points): It will evaluate your comprehension of readings, listening
examples, and lecture material. See calendar for dates.
2) Final Exam (20 points): This will take place or be due during final exams week (to be
decided by students and teacher). Check https://finalexams.rutgers.edu/ during the
semester for the actual date.
3) Writing Assignments #1-3 (15 points each, total 45 points): Throughout the semester
you will receive guidelines for three different writing assignments.
4) Attendance and Class Participation (15 points): Everybody starts with a perfect score
for this last category. However, you must attend class and do your readings. I expect
full attendance and I expect all students to be prepared to comment on and discuss the
assigned readings.

2
 a. Sometimes life gets in the way—unexcused professional opportunities, personal
matters, and health issues happen—therefore you have the freedom to miss
three classes total, no questions asked. These are yours to use, and you should
save them for moments when you really need them. Any additional ones will
result in an automatic deduction of 3 points from this grade. It is your
responsibility, and if you have to miss more than three unexcused times, your
grade will be affected. Being in class is part of the class.
b. Not being well prepared for in-class discussion for a second time in the
semester will result in an automatic deduction of 3 points from this grade (that
is right, you have one freebie! I will keep track in my notes of students that
were not properly prepared).

Late Work Policy:

Late works will be received with 25% grade deduction for every 24 hours after the deadline.

Letter From To
Grade Percentages
A 90 100 Midterm Exam 20%
B+ 85 89.99 Final Exam 20%
B 80 84.99 Three Written 45%
C+ 75 79.99 Assignments
C 70 74.99
60 69.99 Attendance and 15%
D
Class Preparation
F 0 59.99

Preferred Name & Preferred Gender Pronouns

I consider this classroom to be a place where you will be treated with respect, and I welcome
individuals of all ages, backgrounds, beliefs, ethnicities, genders, gender identities, gender
expressions, national origins, religious affiliations, sexual orientations, ability—and other
visible and nonvisible differences. All members of this class are expected to contribute to a
respectful, welcoming and inclusive environment for every other member of the class. Class
rosters are provided to the instructor with the student's legal name. I will gladly honor your
request to address you by an alternate name or gender pronoun. Please advise me of this
preference early in the semester so that I may make appropriate changes to my records.

Accommodations for Students with Disabilities

Rutgers University welcomes students with disabilities into all of the University's educational
programs. In order to receive consideration for reasonable accommodations, a student with a
disability must contact the appropriate disability services office at the campus where you are
officially enrolled, participate in an intake interview, and provide documentation:
https://ods.rutgers.edu/students/documentation-guidelines. If the documentation supports
your request for reasonable accommodations, your campus’s disability services office will

3
provide you with a Letter of Accommodations. Please share this letter with your instructors
and discuss the accommodations with them as early in your courses as possible. To begin this
process, please complete the Registration form on the ODS web site at:
https://ods.rutgers.edu/students/registration-form.

Class Etiquette
No phones, tablets, or laptops. If you are texting during class, you will be asked to leave and
you will be counted as absent for that day.

Important Dates:
Assignment #1: February 1st
Must have textbook: February 5th
Assignment #2: February 15th
RUMS Musicology Conference: February 24th
Music and the Mind: A Conversation with Renée Fleming: February 26th (7:00 p.m. at NMC)
Midterm: March 15th
Spring Break: March 16th–24th
Assignment #3: April 5th
Final Exam: Check https://finalexams.rutgers.edu/ during the semester for the actual date

Tentative Calendar of Topics and Readings:

Week 1
Tu. Jan. 22 Introduction. What is Ethnomusicology? What do Ethnomusicologists Do?

Fr. Jan. 25 (Dr. Herrera@Indiana, guest lecturer Brian Sengdala) What are
Ethnography and Fieldwork? (48 pages)
• Nettl, Bruno. 2005 [1983]. “The Harmless Drudge: Defining
Ethnomusicology.” In The Study of Ethnomusicology: Thirty-One Issues and
Concepts, 3–15. Urbana, IL: University of Illinois Press. (SAKAI)
• Bohlman, Philip. Entry for “Ethnomusicology.” Oxford Music Online. Off
campus link: https://www.libraries.rutgers.edu/indexes/grove_music On
campus link: https://doi.org/10.1093/gmo/9781561592630.article.A2240825

Week 2
Tu. Jan. 29 An Ethnomusicological Look at Home
• Nettl, Bruno. 1995. “In Service of the Masters.” In Heartland Excursions:
Ethnomusicological Reflections on Schools of Music, 11–42. Urbana: University of
Illinois.

Fr. Feb. 1 (Dr. Herrera@Colombia, Mozart in the Jungle, Discussion lead by Brian
Sengdala)

4
 • Nettl, Bruno. 1995. “Society of Musicians.” In Heartland Excursions:
Ethnomusicological Reflections on Schools of Music, 43–81. Urbana: University of
Illinois. (SAKAI)

• Written Assignment #1 due SAKAI

Week 3
Tu. Feb. 5 (Dr. Herrera@Colombia, guest lecturer Rachel Horner) Why Does Music
Matter? (22 pages)
• Turino, Thomas. 2008. “Introduction: Why Music Matters.” In Music as
Social Life, 1–22. Chicago: University of Chicago Press.

Fr. Feb. 8 (Dr. Herrera@UCSD, guest lecturer Rachel Horner) How Does Music Become
Meaningful? Semiotics 101 (36 pages, but these are tough! May be the most
important reading of the semester)
• Turino, Thomas. 2014. “Peircean Thought as Core Theory for a
Phenomenological Ethnomusicology.” Ethnomusicology 58 (1): 185–221.
Search for the article using:
http://www.libraries.rutgers.edu

Week 4
Tu. Feb. 12 Music and Meaning
• Revisit the reading on semiotics from last week and work on your writing
assignment

Fr. Feb. 15 Fields of Music Making: Participatory and Presentational Performance (42
pages)
• Turino, Thomas. 2008. “Participatory and Presentational Performance.” In
Music as Social Life, 23–65. Chicago: University of Chicago Press.
• Listening: Tracks indicated in textbook also available on SAKAI
o Elzic's Farewell, Euphor Stringband, old-time fiddle tune, United
States. Textbook CD Tr.1
o Home is Where the Heart Is, Cletus and The Barnburners, bluegrass
style, United States. Texbook CD Tr.2
o Carnival Pinkillu, indigenous highland music, participatory tradition,
Aymara musicians of Moho, Perú. Textbook CD Tr.3
o Taimbureva, Mbira Music From Murehwa, Zimbabwe. Textbook CD
Tr.5
o Shuramurove, Dandanda Dance-Drumming From Mhembere,
Zimbabwe. Textbook CD Tr.6
o Jeusarema Dance, Murehwa Jerusarema And Burial Society,
Zimbabwe. Textbook CD Tr.10

• Written Assignment # 2 due (SAKAI)

Week 5

5
Tu. Feb. 19 Participatory Music Making in in the Andes: Indigenous Wind Ensembles (37
pages)
• Turino, Thomas. 2007. “Indigenous Wind Ensembles and Community.” In
Music in the Andes: Experiencing Music, Expressing Culture, 1–37. New York:
Oxford University Press. (SAKAI)
• Listening examples on SAKAI
o Tarkas of Huata Community (performed by members of the
Ayllu Putina). Tarka flutes, bass drum, bombo drum. Carnival in
Conima. Peru. (Reading Track 1)
o Edith (performed by Qhantati Ururi Of Ayllu Sulcata). 22 sikuri
players. Siku Lento (slow siku) genre. Peru. (Reading Track 2)
o Egenio (performed by Qhantati Ururi Of Ayllu Sulcata). Siku
ligero (fast siku) genre. 22 sikuri players, bombo drums. (Reading
Track 3)
o Siku Choclo (performed by Qhantati Ururi Of Ayllu Sulcata).
Choclo genre (fast siku in major mode). Circa 50 sikuri players,
snare and bass drums. Easter. (Reading Track 4)
o Imillani (performed by members of the Ayllu Sulcata). Siku
Imillani genre (slow siku in major mode) Sikuri players and
bombo drum. (Reading Track 5)
o Achachk'umu Dance (performed by the pitu ensemble of the
Ayllu Cambria). Peru. (Reading Track 6)
o Candelaria Festival (performance by Ayllu Japisi. Five-Hole
Pinkillu flutes and cajas (snare drums). Peru. (Reading Track 7)
o San Isidro Fiesta. (performed by members of the Ayllu Sulcata).
Siku Satiri genre (march-like siku). Peru. (Reading Track 8)
o Color Color Punchituchay. Performed by Julio Benevente,
charango, and Rafael Parejo (?), guitar.
o Quisiera Olvidarte (performed by Pastorita Huraracina a.k.a.
María Dictenia Alvarado Trujillo). Ancash string ensemble.
Female singer, violin, mandolin, harp. (Reading Track 25)

Fr. Feb. 22 (Dr. Herrera@Brown, screening led by Brian Sengdala) Screening: Mountain
Music of Peru

Week 6
Tu. Feb. 26 Class will end at 1:10. Medical Ethnomusicology
• Koen, Benjamin D., Gregory Barz, and Kenneth Brummel-Smith. 2008.
“Introduction: Confluence of Consciousness in Music, Medicine, and
Culture.” In The Oxford Handbook of Medical Ethnomusicology, edited by
Benjamin D. Koen, 3-17. New York: Oxford University Press. Sakai
• Koen, Benjamin. 2014. “Reflections and Future Directions in Medical
Ethnomusicology.” In Ethnomusicology Scholarship and Teaching: Then, Now,
and Into the Future, ed. Victor Fung. College Music Symposium: Reports.
Web. https://tinyurl.com/yctahp5v

6
The class will reconvene at 7:00 p.m. at Nicholas Music Center for Music and the Mind: A
Conversation with Renée Fleming
http://www.masongross.rutgers.edu/content/music-and-mind-conversation-ren%C3%A9e-
fleming

Fr. Mar. 1 Presentational Music Making in in the Andes: Charango String Traditions
(32 pages)
• Turino, Thomas. 2008. “Charango String Traditions.” In: Music in the Andes:
Experiencing Music, Expressing Culture, 38–70. New York: Oxford University
Press. (SAKAI)
• Listening examples on SAKAI
o Raul Quispe, charango/voice, “Tuta Kashua” In The Plaza
Descanso, Canas, 1982.
o Severino Piñeda, charango/voice, “Papa Tarpuy.” Canas, 1982.
o Julio Benavente, charango, Raul Bohorquez, Guitar, “Sonquito
Corazoncito,” wayno genre.
o J. Benavente and R. Bohorquez, “La Mala Yerba,” wayno by J.
Benavente.
o J. Benavente “Descansa Corazon Fatigado,” yaravi
o Ernesto Valsez, Charango, David Fuentes, Guitar, “Marinera
Cusqueña.”

Week 7
Tu. Mar. 5 Participatory Chanting in Argentine Soccer Stadiums (35 pages)
• Herrera, Eduardo. “Masculinity, Violence, and Deindividuation in
Argentine Soccer Chants: The Sonic Potentials of Participatory Sounding-
in-Synchrony.” Ethnomusicology 62, no. 3 (2018): 470–499.
• Listening examples on YouTube (follow links from readings)
o San Lorenzo te vinimos a ver, La Gloriosa Butteler,
https://www.youtube.com/watch?v=YWBrVsQurLQ#t=1m05s
o Estamos esperando a los de la Gloriosa, La Banda de la Quema,
https://www.youtube.com/watch?v=14RUdTk2he8
o Various (La vecina, Entrega de amor, Siete lunas, La Koli Arce,
Despacito, La revancha) See 4:32 for Despacito

Fri. Mar. 8 The Recording Fields: High Fidelity and Studio Audio Art (26 pages)
• Turino, Thomas. 2008. “The Recording Fields: High Fidelity and Studio
Audio Art.” In Music as Social Life, 66–92. Chicago: University of Chicago
Press.
• Listening: Tracks indicated in textbook also available on SAKAI
o Carnival Pinkillu, indigenous highland music, participatory tradition,
Aymara musicians of Moho, Perú. Textbook CD Tr.3
o Saqsahumanpi/ Valicha/ Capulinawi Cusquenita, folkloric Andean
highlands music, presentational, Takiy Orqo. Textbook CD Tr. 4

7
 o 0000 (composed by David Psenicka), electroacoustic composition,
studio audio art, United States. Texbook CD Tr. 7

Week 8
Tu. Mar. 12 Catch up/Review session

Fri. Mar. 15 MIDTERM EXAM

SPRING BREAK MARCH 16–24

Week 9
Tu. Mar. 26 Habits of the Self, Identity and Culture (27 pages)
• Turino, Thomas. 2008. “Habits of the Self, Identity, and Culture.” In Music
as Social Life, 93–120. Chicago: University of Chicago Press.

Fr. Mar. 29 Las Fallas de València: Regional Identity in València, Spain. Guest lecturer,
Rachel Horner
• Horner, Rachel. “Hay que vivir las Fallas: An Ethnographic Study of the
Fallas Festival in València, Spain.”
• Listen:
o “Valencia”–Francisco (Francisco González Sarriá) (Spain) Pasodoble
from La bien amada (zarzuela) by José Padilla Sánchez. SAKAI
o “El fallero”–Francisco (Spain) Pasodoble composed José Calixto
Serrano Simeón (commissioned by Central Fallas Committee)
o “Lo cant del Valencià”–Banda Municipal de València(Spain)
Pasodoble composed by Pedro Sosa López
o “Himno de la Comunidad Valenciana”–Francisco (Spain). Pasodoble
composed by José Calixto Serrano Simeón with words by
Maximiliano Thous Orts

Week 10
Tu. Apr. 2 Introduction to Sub-Saharan African Music Aesthetics
• Turino, Thomas. “The Music of Sub-Saharan Africa” in Excursions in World
Music 4th Ed. (Upper Saddle River, N.J.: Pearson Prentice Hall): 171–200.
• Listening:
o Ala l'a ke Mande (performed by Kunye Saho, kora and voice). Kora
music. Mali.
o Gadzo, Ewe dance-drumming. Theatrical dance. Two small drums, a
middle-sized drum, bell and several rattles. Recorded by S.K.
Ladzekpo. Ghana.
o Shakara (performed by Fela Kuti). Afrobeat. Voice, backing voices,
electric guitars, electric bass, drum set, percussion. Nigeria.

8
Fr. Apr. 5 Participatory, Presentational, and High Fidelity Music Making in Zimbabwe
(32 pages)
• Turino, Thomas. 2008. “Participatory and Presentational and High Fidelity
Music in Zimbabwe.” In Music as Social Life, 122–154. Chicago: University of
Chicago Press.
• Listening: Tracks indicated in textbook also available on SAKAI
o Taimbureva, Mbira Music From Murehwa, Zimbabwe. Textbook CD
Tr.5
o Shuramurove, Dandanda Dance-Drumming From Mhembere,
Zimbabwe. Textbook CD Tr.6
o Ewe Dudu, De Black Evening Follies, Zimbabwe. Textbook CD Tr. 9
o Jeusarema Dance, Murehwa Jerusarema And Burial Society,
Zimbabwe. Textbook CD Tr.10

• Written Assignment # 3 due (SAKAI)

Week 11
Tu. Apr. 9 Zimbabwe, Nationalism, Identity
• Listening: Tracks indicated in textbook plus the following are available on
SAKAI
o Nhemamusasa (performed by Chris Mhlanga and Bernard Matafi,
mbiras). Mbira music. Two mbiras and a hosho (shaker).
Zimbabwe
o Pidigori (performed by Chibora family). Mbira music. Zimbabwe.
o Pidigori (performed by Thomas Mapfumo and the Blacks
Unlimited) Chimurenga music based on mbira music. Electric
guitars, electric bass, drum set, voice. Zimbabwe.

Fr. Apr. 12 Indonesia: Java

• Read: R. Anderson Sutton, “Asia/Music of Indonesia” in Worlds of Music:
299–334.
• Listening:
o Bubaran Kembang Pacar (Red Flower) (performed by Yogyakarta
Royal Palace Musicians). Javanese Gamelan, loud playing style. Java,
Indonesia.
o Part by part demonstration of Bubaran Kembang Pacar (performed by
the University of Wisconsin-Madison’s Javanese Gamelan
Ensemble). Javanese Gamelan, loud playing style, one instrument at
a time).
o Ladrang Wilujeng (Secure) (performed by Ngudya Wirama Gamelan
Group). Gamelan, soft playing style. Java, Indonesia.

Week 12
Tu. Apr. 16 Indonesia: Bali
Read: R. Anderson Sutton, “Asia/Music of Indonesia” in Worlds of Music: 338–
352.

9
 • Listening:
o Kosalia Arini (performed by Sekolah Tinggi Seni Indonesia). Balinese
gamelan. Bali, Indonesia.
o Gendang Keteng-Keteng (performed by Tukang Ginting and his
Group). Traditional Batak music. North Sumatra, Indonesia.
o Begadang II (performed by Rhoma Irama). Dangdut popular music.
Indonesia.
o Shufflendang-Shufflending (performed by Krakatu). Ethno/Jazz fusion.
Sundanese people, Java, Indonesia.
o Distorsi (Distortion) (performed by Ahmad Band). Indonesian rock
music. Indonesia.

Fr. Apr. 19 TBA

Week 13
Tu. Apr. 23 Old-Time Music and Dance: Cohorts and Cultural Formations (33 pages)
• Turino, Thomas. 2008. “Old-Time Music and Dance.” In Music as Social Life,
155–188. Chicago: University of Chicago Press.
• Listening: Tracks indicated in textbook plus the following are available on
SAKAI
o May Day Waltz (performed by Tom and Matt Turino). Old-time style
waltz. Guitar, fiddle, upright bass, triangle. United States of
America.
o Have A Feast Here Tonight (performed by Bill Monroe and Doc
Watson). Bluegrass music. Two guitars. United States of America.

Fr. Apr. 26 Music and Political Movements (35 pages)

• Turino, Thomas. 2008. “Music and Political Movements.” In Music as Social
Life, 189–224. Chicago: University of Chicago Press.
• Listening: Tracks indicated in textbook plus:
o You’re Driving Me Crazy (performed by Charlie and his Orchestra).
Nazi propaganda swing. Swing orchestra. Germany.
o We Shall Overcome (performed by The SNCC Freedom Singers,
Dorothy Cotton and Pete Seeger). Protest song based on gospel
hymns. United States.
o Say It Loud, I’m Black and I’m Proud (performed by James Brown with
the James Brown Orchestra and children/community members of
the Watts and Compton suburbs in Los Angeles). Funk. United
States of America.

Week 14
Tu. Apr. 30 Donald Trump. Teaching Citizenship.
Read the following material and listen to the corresponding music:
• Dana Gorzelany-Mostak, “Donald Trump, Jackie Evancho, and the
Performance of Embattled Whiteness,” MusicologyNow January 18, 2017.

10
 http://musicologynow.ams-net.org/2017/01/donald-trump-jackie-evancho-
and.html
• Anastasia Tsiolcas, “Come Together (Or Not): Music at the Democratic
National Convention,” The Record: Music News from NPR, July 30, 2016. Note:
watch all the videos embedded in this article.
https://www.npr.org/sections/therecord/2016/07/30/487803371/come-
together-or-not-music-at-the-democratic-national-convention
• Eric Kaspar, “How Music Fits Trump’s Campaign Message,” CNN, July 28,
2016.
• Spotify playlist of songs played at the Republican National Convention
https://open.spotify.com/playlist/1ox9PSh922LtjO9OVlDl17
• Grady, Constance “Who is Performing at Donald Trump’s Inauguration?”
Vox, January 19, 2017. https://www.vox.com/culture/2017/1/17/14295904/who-
is-performing-at-trump-inauguration-three-doors-down
• Rogers, Katie. “Reports of Rockettes Inauguration Turmoil Cause Company
to Lash Out.” New York Times, January 3, 2017.
https://www.nytimes.com/2017/01/03/arts/rockettes-dancing-trump-
inauguration.html

Fr. May 3 For Love or Money: Conclusion

• Turino, Thomas. 2008. “For Love or Money.” In Music as Social Life, 225–
234. Chicago: University of Chicago Press.

FINAL EXAM: Check https://finalexams.rutgers.edu/ during the semester for the actual
date.

11