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Ethnomusicology 25:

Global Pop


Prof. Tim Taylor
Office: 2265 Schoenberg
Office tel.: 310/206-3033
email: tdtaylor@ucla.edu
Office hours:
Course Description:
The international popular music scene exploded at the close of the 20th century, and one
of its major industrial success stories was the emergence and development of the genre of
world music, sometimes also called world beat. This course questions the meaning
and importance of this trend in contemporary culture, and tracks its history and impacts.
Course Objectives:
1. To develop your reading and critical thinking skills;
2. To develop your listening skills;
3. to practice and improve your writing skills;
4. to learn to explain and use a basic set of theoretical and analytical concepts to
understand music and culture.
Required Items:
1. Timothy D. Taylor, Global Pop: World Music, World Markets (New York:
Routledge, 1997).
2. A course packet.
Course Requirements:
Midterm exam, worth 25% of the final grade;
a 10-page term paper on a topic of your choice related to the course material,
worth 25% of the final grade (several weeks before you hand in the paper you will
hand in a one-paragraph description of your topic, followed later by a one-page
bibliography);
This syllabus, lectures, and handouts are all Timothy D. Taylor, 2004 unless otherwise noted.
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Taylor Issues in World Music
a final exam, worth 35% of the final grade;
attendance and participation, worth 15% of the final grade.
Faithful listening to the assigned music.

NOTE: Late papers drop one half of a grade each day they are late.
Course schedule:
1 Introduction: World Music

2 Basic issues
Reading:
Taylor, Timothy D. 1997. Introduction and chapter 1, Popular Music and
Globalization, in Global Pop, pp. xv-xxiii, 1-37.

3 The (Global) Music Industry
Reading:
Gronow, Pekka and Ilpo Saunio, 1999, The Song of the Future, and The
Gramophone Conquers the World, in An International History of the
Recording Industry (New York: Cassell), pp. 1-35.
Hull, Geoffrey, 1998, Recordings: The Main Stream, and Music
Publishing: The Second Stream, in The Recording Industry (New York:
Allyn and Bacon), pp. 27-72.
Negus, Keith, 1999, Corporate Strategy, and Territorial Marketing:
International Repertoire and World Music, in Music Genres and Corporate
Cultures (New York: Routledge), pp. 31-62, 152-172.
Taylor, Timothy D., forthcoming, You Can Take Country out of the
Country, but It Will Never Be World, in The West and the Rest: Five
Hundred Years of Music and Difference (Durham, N.C.: Duke University
Press).
Listening:
Songs of the Hawaiian Cowboy/Na Mele O Paniolo

4 Legal/Moral/Ethical Issues I
Reading:
Frith, Simon, 1993, Music and Morality, in Music and Copyright, edited by
Simon Frith (Edinburgh: Edinburgh University Press), pp. 1-21.
Laing, Dave, 1997, Copyright and the International Music Industry, in
Music and Copyright, edited by Simon Frith (Edinburgh: Edinburgh
University Press), pp. 22-39.

5 More on Copyright
Reading:
Collins, J ohn, 1993, The Problem of Oral Copyright: The Case of Ghana in
Music and Copyright, edited by Simon Frith (Edinburgh: Edinburgh
University Press), pp. 146-158.
This syllabus, lectures, and handouts are all Timothy D. Taylor, 2004 unless otherwise noted.
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Taylor Issues in World Music
Seeger, Anthony, 1992, Ethnomusicology and Music Law,
Ethnomusicology 36 (xxx): 345-359.

6 Copyright and Ownership
Reading:
Mills, Sherylle, 1996, Indigenous Music and the Law: An Analysis of
National and International Legislation, Yearbook for Traditional Music
28:57-86.
Garofalo, Reebe, 1993, Whose World, What Beat: The Transnational Music
Industry, Identity and Cultural Imperialism, World of Music 35:16-32.
Taylor, Timothy D., 2001, A Riddle Wrapped in a Mystery: Transnational
Music Sampling and Enigmas Return to Innocence, in Strange Sounds:
Music, Technology and Culture (New York: Routledge), pp. xxx.
Listening:
Enigma, MCMXC A.D.
Difang, Difang

7 Global/Local issues
Reading:
Guilbault, J ocelyne, 1993, On Redefining the Local through World
Music, World of Music 35: 33-47.
Hosokawa, Shuhei, 1999, Martin Denny and the Development of Musical
Exotica, in Widening the Horizon: Exoticism in Post-War Popular Music,
edited by Philip Hayward (Sydney: J ohn Libbey), pp. 72-93.
Listening:
Martin Denny

8 Case Studies: America to South Africa, South Africa to America, I
Reading:
Mitchell, Tony, 1996, World Music: Beating through the J ungle, in
Popular Music and Local Identity (New York: Leicester University Press),
pp. 49-94.
Feld, Steven, 1994, Notes on World Beat, in Charles Keil and Steven Feld,
Music Grooves: Essays and Dialogues (Chicago: University of Chicago
Press), pp. 238-246.

9 Paul Simon: Graceland
Reading:
Meintjes, Louise, 1990, Paul Simons Graceland, South Africa, and the
Mediation of Musical Meaning, Ethnomusicology 34:37-73.
Malan, Rian, 2000, Money, Greed and Mystery: Who Wrote The Lion
Sleeps Tonight? Rolling Stone, May 25, pp. 54-66, 84-85.
Listening:
Paul Simon: Graceland

10 Hegmonies and Resistance
This syllabus, lectures, and handouts are all Timothy D. Taylor, 2004 unless otherwise noted.
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Taylor Issues in World Music
Reading:
Erlmann, Veit, 1996, Two Worlds, One Heart: J oseph Shabalala and
Ladysmith Black Mambazo, in Nightsong: Performance, Power and
Practice in South Africa (Chicago: University of Chicago Press), pp. 283-
313.
Taylor, Nothin But the Same Old Story, Strategies of Resistance,
Toward a More Perfect Union chaps. 2, 3 & 7 of Global Pop, pp. 39-97;
173-196.
Listening:
Paul Simon, Graceland
Peter Gabriel, Us
Kronos Quartet, Pieces of Africa
Ladysmith Black Mambazo, Two Worlds One Heart
Rhoma Irama
Djur Djura

11 MIDTERM

12 Pygmies
Reading:
Feld, Steven, 1997, pygmy POP: A Genealogy of Schizophonic Mimesis,
Yearbook for Traditional Music 28:1-35.
Listening:
Deep Forest, Deep Forest

13 Gender
Reading:
Maxwell, Heather, xxx
Taylor, Global Pop, chapter 4, A Music of Ones Own, pp. xxx
Danielson, Virginia xxx
Listening:
DCuckoo
Um Khultum? Xxx
Omou Sangere
TERM PAPER TOPIC DUE

14 The Success of the Celts
Reading:
Martin Stokes and Philip V. Bohlman, 2003, Introduction, in Celtic
Modern: Music at the Global Fringe, edited by Martin Stokes and Philip V.
Bohlman (Lanham, MD: Scarecrow Press), pp. xxx.
Scott Reiss, 2003, Tradition and Imaginary: Irish Traditional Music and the
Celtic Phenomenon, in Celtic Modern: Music at the Global Fringe, edited
by Martin Stokes and Philip V. Bohlman (Lanham, MD: Scarecrow Press),
pp. xxx.
This syllabus, lectures, and handouts are all Timothy D. Taylor, 2004 unless otherwise noted.
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Taylor Issues in World Music
J oyce Sherlock, 1999, Globalisation, Western Culture and Riverdance, in
Thinking identities: Ethnicity, Racism and Culture, edited by Avtar Brah,
Mary J . Hickman, and Mirtn Mac an Ghaill (New York: St. Martins), pp.
xxx.
Timothy D. Taylor, 2003, Afterword: Gaelicer Than Thou, in Celtic
Modern: Music at the Global Fringe, edited by Martin Stokes and Philip V.
Bohlman (Lanham, MD: Scarecrow Press), pp. xxx.
Listening:
Riverdance
Gaelic Storm
Cherish the Ladies
The Chieftains and Van Morrison

15 Strategic Inauthenticity
Reading:
Taylor, Global Pop, chapter 5, Strategic Inauthenticity, pp. xxx
Listening:
Youssou NDour
Anglique Kidjo

16 Hybridity I
Reading:
Lipsitz, George, 1994, But Is It Political? Self-activity and the State, in
Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of
Place (New York: Verso), xxx.
Taylor, Timothy D., forthcoming, Some Versions of Difference: Discourses
of Hybridity in Transnational Musics, in West and the Rest: Five Hundred
Years of Music and Difference (Durham, N.C.: Duke University Press).
Listening:
Yothu Yindi
TERM PAPER BIBLIOGRAPHY DUE

17 Hybridity II
Bhangra/Hindi Remix, and Beyond
Reading:
Hutnyk, J ohn, 1997, Adorno at Womad: South Asian Crossovers and the
Limits of Hybridity-Talk. In Debating Cultural Hybridity: Multi-Cultural
Identities and the Politics of Anti-Racism, edited by Pnina Werbner and Tariq
Modood (Atlantic Highlands, N.J .: Zed Books), pp. xxx.
Maira, Sunaina Marr, 2002, excerpts from Desis in the House: Indian
American Youth Culture in New York City (Philadelphia: Temple University
Press).
Lipsitz, George, 1994, Immigration and Assimilation: Rai, Reggae, and
Bhangramuffin, in Dangerous Crossroads: Popular Music, Postmodernism
and the Poetics of Place (New York: Verso), pp. xxx.
This syllabus, lectures, and handouts are all Timothy D. Taylor, 2004 unless otherwise noted.
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Taylor Issues in World Music
Taylor, Global Pop, chapter 6, Anglo-Indian Self-Fashioning, pp. xxx
Listening:
Apache Indian
Asian Dub Foundation
Bhangra/Hindi remix selections

18 Censorship
Reading: Excerpts from Shoot the Singer! Music Censorship Today, edited by Marie
Korpe (New York: Zed Books 2004).
Listening:
Selections from CD accompanying Shoot the Singer!

19 Collaborations
Reading:
Taylor, Global Pop, chapter 8, We Are the World and the World is Us, pp.
197-206.
Taylor, Timothy D., forthcoming, Consumerism, Globalization, and Music
in the 1980s and After, in The West and the Rest: Five Hundred Years of
Music and Difference (Durham, N.C.: Duke University Press).
Listening:
J ohnny Clegg
1 Giant Leap
Bill Laswell

20 Conclusions: World Music Tamed?
Reading:
Feld, Steven, 2001, A Sweet Lullaby for World Music, in Globalization,
edited by Arjun Appadurai, Durham, NC: Duke University Press, Duke
University Press, pp. 188-216.
Taylor, Timothy D., 2000, World Music in Television Ads, American
Music 18 (summer): 162-92.
Listening:
Adiemus, Adiemus
J onathan Elias, Prayer Cycle

This syllabus, lectures, and handouts are all Timothy D. Taylor, 2004 unless otherwise noted.
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