Archived: Graduate Course Listings 2022-2023

Fall 2022-Winter 2023

PROFESSOR: Anna Hoefnagels
DESCRIPTION: Critical analyses of diversity and multiculturalism narratives in Canada and the ways that settler-colonialism influenced and continues to inform music creation and expression. Various case studies examine the diversity of musics found in Canada and the ways that music facilitates belonging and/or exclusion.
Issues of anthropological, sociological, and analytical significance are examined in the context of selected developments in folklore and ethnomusicological research on Canadian traditions.
METHOD OF EVALUATION MUSI 4103: Attendance and Participation (20%); Weekly Reading Responses (15%); Music Identity Presentation (10%); Article Presentation (10%); Project Proposal (5%); Final Project (25%); Take-Home Exam (15%)
METHOD OF EVALUATION MUSI 5015: Attendance and Participation (20%); Weekly Reading Responses (15%); Music Identity Presentation (10%); Article Presentation (10%); Project Proposal (5%); Final Project (20%); Project Presenation (10%); Take-Home Exam (10%)
READINGS: The majority of readings will be from Contemporary Musical Expressions in Canada (2019) available at the Carleton University Bookstore and online through MacOdrum Library; additional readings and assigned listening will be placed on reserve in and can be accessed through ARES and via Brightspace. Weekly announcements for upcoming readings will be made in class and on Brightspace.

PROFESSOR: James Wright
DESCRIPTION: This is a seminar course about research in all of its aspects as applied to Music and Culture. As such, it involves consideration of both the “why” and “how” of research in our broad field. The course falls roughly into two sections: the first weeks introduce the theoretical concepts behind research and the practical discussion of general sources and resources, research involving human subjects, writing up research results and submitting proposals; the remaining weeks present issues and methods for research in various sub-fields of musical scholarship (including cultural studies, music and media studies, popular music studies, historical musicology, empirical musicology, ethnomusicology, and “systematic” musicology, among other approaches).
METHOD OF EVALUATION: Seminar participation (20%); Research paper proposal (5%); Research paper (20%); December Research Presentation (15%); 10 weekly reading-journal submissions (20%); Smaller Seminar Presentations (10%); Full Attendance at all Friday MCGSS Graduate Colloquia Talks and Spring Grad Symposium (5%); Completion of online TCPS-2 CORE ethics course (5%)
READINGS: Course text (Sang-Hie Lee, Scholarly Research in Music, 2nd ed’n, Routledge, 2022), and weekly assigned readings (posted on Brightspace).

PROFESSOR: Ellen Waterman
DESCRIPTION: Listening holds a central place in music and sound studies both as a process integral to musicking and sounding and as a metaphor for certain kinds of attention. “Deep listening” is a metaphor for empathy producing good relations. “Hungry listening” is a metaphor for extraction producing bad relations. Listening is often evoked as an extrasonic metaphor, as in the advice to “listen to your body” and not overstrain sore muscles, or “listen to your heart” to make a good decision. Failure to listen is often cited as a reason for discord. Listening, then, is not only the active correlative to hearing, but a term that is applied to social relations. And, although listening is widely lauded as a positive value, the term is subject to critique. This course will explore diverse approaches to listening in relation to musical affect and embodied, intersensory perception. Readings will be interdisciplinary, including musicology and sound studies, acoustic ecology, philosophy, anthropology of the senses, and music sociology.
METHOD OF EVALUATION: TBA
READINGS: TBA

INSTRUCTOR: Allyson Rogers
DESCRIPTION: This course explores the relationship between music and politics, examining how music affects political life and vice versa. Drawing on a variety of theoretical perspectives, and through the study of diverse historical and contemporary musical examples, we will discuss how music is mobilized in political struggles, including the use of music as a means of protest, social control, propaganda, and resistance, as well as the role of music in electoral politics, social movements, and political education.

PROFESSOR: Lyndsey Copeland
DESCRIPTION: This graduate seminar examines recent and historical approaches to publicly engaged music scholarship, broadly defined as intellectual and creative activities for and with communities beyond the academy. Course topics include music scholarship and the changing media landscape, music research and social responsibility, collaborative methodologies, and “applied” research and community engagement. Students will read and respond to literature on public scholarship, review and critique examples of scholarship produced for public audiences, and consider the methods and outcomes of community-engaged and policy-oriented work. Students will practice public-facing writing, work collaboratively to develop original content with public engagement in mind, and engage directly with music scholars working outside the academy
METHOD OF EVALUATION: Preparation and seminar contributions: 15%
Weekly discussion questions: 15%
Short assignments (4): 40%
Collaborative project: 20%
READINGS: No

PROFESSOR: James Deaville
DESCRIPTION: A study of how madness has manifested itself in a wide array of musical genres, even when it is not directly addressed. We will consider its history and aesthetics, regarded through the lens of critical disability theory. Intersections with issues of race and class (among others) will help to inform and direct course discussions.
METHOD OF EVALUATION: TBA
READINGS: TBA

PROFESSOR: Jesse Stewart
DESCRIPTION: In this combined fourth-year undergraduate and graduate level seminar, we will examine a variety of key issues in the study of jazz including history/historiography, race, gender, class, politics, nationality, improvisation, performance, analysis, meaning, and more. By critically examining the ways in which these issues have intersected with one another historically and with “jazz” (broadly construed), we will explore jazz not only as a form of musical discourse, but also as a site for community building, identity formation, civic dialogue, and political action.
METHOD OF EVALUATION: Participation and weekly reading response questions (20%); 3 “pop-quiz” listening tests (15%); Research essay proposal (10%); In-class presentation of research project (15%); Written feedback on student presentations (10%); Final Essay (30%)
READINGS: TBA

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