MUS 523

Fall 2018 All Classes

All Classes

Seminar in Musicology

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Credit: 4 hours.

Problems in historical and systematic musicology or ethnomusicology; discussions of special problems and reports on individual research.

May be repeated to a maximum of 8 hours. Prerequisite: Graduate standing in musicology or consent of instructor. Graduate students in music will be considered if they passed MUS 528A (consult Class Schedule for specific section information).

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MUS 523 class schedule data for fall 2018
	CRN	Type	Section	Time	Day	Location	Instructor	Section Details
	32824	Lecture-Discussion	B	1:00PM -3:50PM	R	2334 Music Building	Buchanan, D Tsekouras, I	Part of Term: 1 Date Range: 08/27/18-12/12/18 Special Approval: Instructor Approval Required Section Title: Music and Nationalism Section Info: Music and Nationalism Performance, Politics, and Power This course explores the interplay of musical performance, affect, and conceptualizations of the nation from the late nineteenth century to the present day. What can music tell us about the poetics and politics of state power performed? How and why have musical genres and styles been crafted or implemented to raise national consciousness, to communicate or inspire national sentiment or pride, but also to express subtle and changing notions of citizenship, subjectivity, and belonging? Why is it that politicians the world over seek out musical emblems in support of their campaigns? To quote anthropologist Katherine Verdery, how does music help us to “feel ourselves national”—or not? Are we moving to a post-national age, and is there musical evidence of this? Course materials will include critical scholarship from musicology and other disciplines theorizing varieties of nationalism, as discourse and social movement, in comparative political contexts, and the application of these ideas in a range of musical case studies from around the world. Topics may include, for example, nineteenth-century European romantic nationalism and the European nation-state; late twentieth-century ethnonationalism and recent conflicts in the Balkans, Caucasus, and specific African states; religious nationalism in Indonesia; populist nationalism in the US; the supranationalism cultivated by contemporary trans-state entities such as the EU; the role of musical nationalism in authoritarian regimes such as those that have characterized Myanmar, China, Nazi Germany, the USSR and pre-1990 eastern Europe, and elsewhere; musical emblems of nation and state (such as national anthems); and the cultivation or maintenance of nationalist sentiment (or other senses of belonging) among stateless populations—refugees, diasporas, migrants, peripatetic peoples, and often, indigenous peoples— which, according to the UNHCR, now total more than 10 million people worldwide. At every turn we will consider how nationalism, as a cultural and political force, is always inflected by other important aspects of social identity (gender, race, ethnicity, community, religion, class, occupation, and more), and the extent to which globalization (e.g., as perpetuated through social media platforms, YouTube, the internet, and popular culture) is fostering, defying, or otherwise impacting the nation as construct and affiliated, contemporary sentiments of citizenship and belonging. In addition to regular reading, listening, and analytical assignments, seminar participants will engage in a semester-long research project whose findings they will share with the class and submit as a term paper. This may take the form of an in-depth musical analysis, a biographical study of a composer or musician, an original musicological or ethnographic investigation, or a critical review of a relevant book or set of publications, in all cases informed by scholarship encountered during the course and beyond. Restriction(s): Restricted to Music or Musicology major(s). Restricted to Graduate - Urbana-Champaign.