All Courses
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2018FA_MUSICOL_333-0_SEC1_AND_433-0_SEC1
European Popular Music MUSICOL 333 Prof: Inna Naroditskaya innarod@gmail.com Monday-Wednesday, 12:30-1:50 Course Plan W 1 Oct. 1 Intro: What is popular music?! Oct. 3 · Simon Frith, “The Good, the Bad, and the Indifferent: Defending Popular Culture from the Populists;” · Frith, “Look! Hear! The Uneasy Relationship of Music and Television” · Irving Wolther, More than Just Music: the Seven Dimensions of the Eurovision Song Contest” W 2 Oct. 8 France · Harold B. Segel, “Fin de siecle Cabaret” · Keith Reader, “Flaubert Sparrow or the Bovary of Belleville: Edith Piaf as Cultural Icon” (· Andy Fry, “'Du jazz hot à "La Créole"': Josephine Baker Sings Offenbach”) Oct. 10 ----- · Chris Tinker, “A Singer-Songwriter’s View of the French Record Industry: The Case of Leo Ferre” · Tinker, “Georges Brassens and Jacques Brel” W 3 Oct. 15 · Tinker, Jacques Brel is Alive and Well (additional) · Adeline Cordier, “Brel-Brassens-Ferre and Frenchness” · David Looseley, In from the Margins: Chanson, Pop and Cultural Legitimacy” Oct. 17 Italy · Tony Mitchell, “Questions of Style: Notes on Italian Hip Hop” · Jacopo Tomatis, Portrait of the Author as an Artist in the Canzone d’Autore” W 4 Oct. 22 · Paolo Prato, “Selling Italy by the Sound” · Italy, Celentano, Virtuosity and Populism · Dario Martinelli, Lasciatemi Cantare and Other Diseases: Italian Pop Music Abroad” Oct. 24 Britain · Charles Gower Price, “Sources of American Styles in the Music of the Beatles” · John Platoff, “John Lennon,’Revolution,’ and the Politics of Musical Reception” W 5 Oct. 29 · Robert J. Kruse II, “Imagining Strawberry Fields as a Place of Pilgrimage” · Marianne Tatom Letts, “Sky of Blue, Sea of Green: A Semiotic Reading of the FilmYellow Submarine" · Ned Rorem, “The Music of the Beatles” Oct. 31 Mid-Term W 6 Nov. 5 Russia · Robert A. Rothstein, “How It Was Sung in Odessa: At the Intersection of Russian and Yiddish Folk” · Christopher Lazarski, “Vladimir Vysotsky and His Cult” Nov. 7 Class Discussion/Notes t.A.T.u Pussy Riot · Terry Bright, Soviet Crusade against Pop” Dana Heller, “t.A.T.u. You! Russia, the Global Politics of Eurovision, and Lesbian Pop” · Yngvar B. Steinholt, Russian, Kitten Heresy- Lost Contexts of Pussy Riot's W 7 Nov. 12 Eurovision · Toni Langlois, The Rise and Fall of Singing Tiger · Goffredo Plastino, Sanremo Nov. 14 Winning and Losing · Ivan Raykoff and Robert Deam Tobin, A Song for Europe, Intro, “Camping on the Borders of Europe” W 8 Nov. 19 Israel – Dana International · Ted Swedenburg, Saida Sultan from Empire of Song · Yossi Maurey, “Dana International and the Politics of Nostalgia” Nov. 21 Not in Europe and beyond · Katherine Meizel, “Idol Thoughts: Nationalism in the pan-Arab Vocal Competition Superstar” (A song for Europe) W 9 Nov. 26 Turkey – Europe · Thomas Solomon, “The Oriental Body on the European Stage” · Matthew Gumpert, “’Everyway that I can’: Auto-Orientalism at Eurovision 2003” Nov. 28 Nordic and Slavic Victors · Galina Miazhevich, “Ukrainian Nation Branding Off-line and Online: Verka Serduchka at the Eurovision Song Contest” · Annemette Kirkegaard, The Nordic Brotherhood” W10 Dec. 3 PRESENTATIONS Dec. 5 PRESENTATIONS Requirements 1. Attendance 2. Preparation for each class 3. Participation in class discussions and performance 4. Intellectual and musical curiosity 5. Weekly journals – summary of the reading material assigned for a week/not a class lecture or discussion, submitted by Friday noon via Canvas (approximately 250-300 words) 3. Independent research on mid-term and final projects Grading Attendance and class participation 10% Weekly journals 20% Mid-term 25% Final project – oral 20% – written 25%
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2019WI_COMM_ST_324-1_SEC20 Rhetoric of U.S. Women's Rights, Part I
tudents in this course will investigate the early U.S. women’s rights movement through the analysis of primary texts and the examination of critical essays. Students should expect to gain a complex and nuanced perspective on the rhetorical history of public advocacy by U.S. women, and also to improve their skills in critical reading and analysis.