Ethnomusicology Program

This course examines the relationship between music, sound, and religion in a broad, comparative perspective. We will devote particular attention to the intersections of religious sounds and racialized and minoritized communities. In the context of major world religions, new religious movements, and traditional spiritual practices, we will address fundamental issues concerning sacred sound: How does music enable and enhance the ritual process? How is sound sacred and what are its effects and affects? What happens as sacred sound circulates globally among diverse communities and in secular spaces? Listening, reading, and discussion will include Sufi music from Pakistan, Haitian Vodou, the songs of Ugandan Jews, Orthodox Christian hymns from Estonia, Islamic popular music from Malaysia, Chinese Buddhist chant, spirit possession music from Bali, and the music of Korean shamans. We will also engage with practitioners, scholars, performers, and the sacred sounds of religious communities in Amherst and beyond. Two class meetings per week.

Limited to 25 students. Professor Engelhardt. Spring semester. Regular class meetings will be fully remote; when possible, frequent face-to-face individual and small group meetings will be held.

This course examines the relationship between music, sound, and religion in a broad, comparative perspective. We will devote particular attention to the intersections of religious sounds and racialized and minoritized communities. In the context of major world religions, new religious movements, and traditional spiritual practices, we will address fundamental issues concerning sacred sound: How does music enable and enhance the ritual process? How is sound sacred and what are its effects and affects? What happens as sacred sound circulates globally among diverse communities and in secular spaces? Listening, reading, and discussion will include Sufi music from Pakistan, Haitian Vodou, the songs of Ugandan Jews, Orthodox Christian hymns from Estonia, Islamic popular music from Malaysia, Chinese Buddhist chant, spirit possession music from Bali, and the music of Korean shamans. We will also engage with practitioners, scholars, performers, and the sacred sounds of religious communities in Amherst and beyond. Two class meetings per week.

Limited to 25 students. Professor Engelhardt. Spring semester. Regular class meetings will be fully remote; when possible, frequent face-to-face individual and small group meetings will be held.

(Offered as MUSI 449 and ANTH 449) This seminar explores the sound and significance of the human voice in broad perspective. What do we communicate with our voice? Why are certain voices powerful or unforgettable? How are voices culturally shaped and constrained? How do people use their voice along the continuum between speech and song? What happens when the voice turns text into sound? What does it mean in terms of politics and personhood to have a voice? How does vocal sound relate to knowledge of the body and ideas about race, gender, and identity? To engage these questions, we will begin by examining the classic premise that the voice is a sonic medium for music, language, and other forms of communicative expression whose production (singing, speaking, vocalizing) and uptake (listening, recognizing, empathizing) are basic to social life and inhabiting one's environment. Throughout the term, we will push this premise in critical new directions by remembering that song and language affect us because the voice is not merely a medium. What Roland Barthes famously describes as "the grain of the voice" is its profound, compelling sonic presence beyond its role as a medium. Thinking about the significance of vocal sound and timbre in this light, we will explore a host of voices and vocal styles from throughout the world, including how we use our own creativel, in performance, and relative to the constraints of a voice-impacting global pandemic. We will listen and read widely, benefiting from each others' experience and insights as well as those of singers and scholars who will join us. Fulfills either the departmental seminar requirement or the comprehensive exam requirement for the major.

Fall semester. Professor Engelhardt. 

(Offered as BLST 204 [A] and MUSI 105)  This course focuses on twentieth-century African popular music; it examines musical genres from different parts of the continent, investigating their relationships to the historical, political and social dynamics of their respective national and regional origins. Regional examples like highlife, soukous, chimurenga, and afro-beate will be studied to assess the significance of  popular music as a creative response to social and political developments in colonial and postcolonial Africa. The course also discusses the growth of hip-hop music in selected countries by exploring how indigenous cultural tropes have provided the basis for its local appropriation. Themes explored in this course include the use of music in the construction of identity; popular music, politics and resistance; the interaction of local and global elements; and the political significance of musical nostalgia. 

Fall semester.  Limited to 30 students. Five College Professor Omojola.

(Offered as BLST 204 [A] and MUSI 105)  This course focuses on twentieth-century African popular music; it examines musical genres from different parts of the continent, investigating their relationships to the historical, political and social dynamics of their respective national and regional origins. Regional examples like highlife, soukous, chimurenga, and afro-beate will be studied to assess the significance of  popular music as a creative response to social and political developments in colonial and postcolonial Africa. The course also discusses the growth of hip-hop music in selected countries by exploring how indigenous cultural tropes have provided the basis for its local appropriation. Themes explored in this course include the use of music in the construction of identity; popular music, politics and resistance; the interaction of local and global elements; and the political significance of musical nostalgia. 

Fall semester.  Limited to 30 students. Five College Professor Omojola.

Functioning as a combined seminar and performance workshop, this course explores the theory and practice of musical improvisation. Rather than focus on one specific musical style, we will define “improvised music” in an inclusive way that draws equally from American and European experimental musics, various approaches to post-1965 jazz improvisation, and several musical traditions from around the world that prominently use improvisation. Students will be encouraged to develop new performance practices drawn from and in dialogue with these diverse musical traditions. Reading, listening, and video assignments will help familiarize students with the burgeoning field of improvised music studies and will serve to guide class discussions. Students with any musical/stylistic background are encouraged to enroll. Two class meetings per week. Fulfills the departmental seminar requirement for the major.

Requisite: Basic instrumental or vocal proficiency. Limited to 10 students. Fall semester. Professor Robinson.

(Offered as MUSI 449 and ANTH 449) This seminar explores the sound and significance of the human voice in broad perspective. What do we communicate with our voice? Why are certain voices powerful or unforgettable? How are voices culturally shaped and constrained? How do people use their voice along the continuum between speech and song? What happens when the voice turns text into sound? What does it mean in terms of politics and personhood to have a voice? How does vocal sound relate to knowledge of the body and ideas about race, gender, and identity? To engage these questions, we will begin by examining the classic premise that the voice is a sonic medium for music, language, and other forms of communicative expression whose production (singing, speaking, vocalizing) and uptake (listening, recognizing, empathizing) are basic to social life and inhabiting one's environment. Throughout the term, we will push this premise in critical new directions by remembering that song and language affect us because the voice is not merely a medium. What Roland Barthes famously describes as "the grain of the voice" is its profound, compelling sonic presence beyond its role as a medium. Thinking about the significance of vocal sound and timbre in this light, we will explore a host of voices and vocal styles from throughout the world, including how we use our own creativel, in performance, and relative to the constraints of a voice-impacting global pandemic. We will listen and read widely, benefiting from each others' experience and insights as well as those of singers and scholars who will join us. Fulfills either the departmental seminar requirement or the comprehensive exam requirement for the major.

Fall semester. Professor Engelhardt. 

Functioning as a combined seminar and performance workshop, this course explores the theory and practice of musical improvisation. Rather than focus on one specific musical style, we will define “improvised music” in an inclusive way that draws equally from American and European experimental musics, various approaches to post-1965 jazz improvisation, and several musical traditions from around the world that prominently use improvisation. Students will be encouraged to develop new performance practices drawn from and in dialogue with these diverse musical traditions. Reading, listening, and video assignments will help familiarize students with the burgeoning field of improvised music studies and will serve to guide class discussions. Students with any musical/stylistic background are encouraged to enroll. Two class meetings per week. Fulfills the departmental seminar requirement for the major.

Requisite: Basic instrumental or vocal proficiency. Limited to 10 students. Fall semester. Professor Robinson.