PLEASE NOTE: INCOMPLETE FORMS CANNOT BE CONSIDERED.
Sydney Conservatorium of Music
The University of Sydney
Proposal for a New Unit of Study 2011
Deadline: March, 2010
Contact person for this proposal…Daniel Rojas …………… Extension…x14045 ..……
1. Name of provider unit: Arts Music Unit
Is the teaching to be shared with (an)other unit(s)?
Yes
No
If YES, state unit(s):
What proportion [%] taught by provider unit?
2. New unit of study code: MUSC3640
Credit point value: 6 cp
100%
3. ASCED Code
100101
4. Name of unit of study: (No more than 40 characters: Letters, spaces, punctuation all count
as characters)
Name: Rhythms and Sounds of Latin America
Code and Name of Unit being replaced: MUSC2636 Performance Theory 2
5. Semester(s) that the UoS will be taught in 2011
March (s1)
July (s2)
6. Unit description (Handbook entry)
Maximum 80 words. Descriptions should clearly explain the main purpose and content of the
Unit and demonstrate its appeal for students.
Latin American music has become a powerful force in today’s music industry, but its rich
diversity and cultural contexts are not always acknowledged. This unit of study surveys a
number of Latin American popular, folk and indigenous musical traditions in terms of their
cultural milieu and historical development. Various musical, historical and cultural concerns
are examined with a practical involvement with these styles. Particular emphasis will be
placed on the compositional characteristics and the repertoire pertinent to these traditions.
7. Associated degrees: list all degrees associated with this new UoS
B.A. and all associated sub-degrees and double-degrees. B. Mus., B. Mus. Stud., Dip. Mus
8. Enrolment targets:
•
First year offered: 40
•
After first year: 40
9. Why is this Unit being introduced? Provide a brief description of the need and demand for
the new unit of study:
The Conservatorium of Sydney currently offers no dedicated units of study in any branch of
Latin American music. There is very little attention given to this area of music in universities
around Australia and, to my knowledge, any subject dedicated to Latin American music is
primarily directed towards ensemble performance. Given the influence of Latin American
music upon the broader popular and classical music of today there is a noticeable gap in the
music curriculum of this institution. The Department of Spanish and Latin American Studies in
the Arts Faculty offers a broad range of topics dealing with language and culture. However, a
unit of study in music lies outside their realm of expertise.
With respect to a number of musical traditions, this unit will examine the manner in which
music is conceived, structured and performed. It will also discuss how these various complex
musical traditions function within their respective social, political and cultural contexts.
Students will also have access to a number of Latin American instruments (which I will make
available) as well as group experience in performing various gestures (particularly rhythmic)
of the traditions to be studied.
Students currently in the Arts Music Unit have shown a keen interest in this unit of study,
particularly those who have undertaken Fundamentals of Music 1 and 2 in which aspects of
Latin American music have been integrated into their aural activities. Given this unit of study
will be available to students with no previous experience in music notation, it has potential to
attract significant enrolments across the broader university student community. There is also
cross-listing potential with the Department of Spanish and Latin American Studies.
10. Rationale: explain the value of unit of study to the award as a whole
The introduction of Latin American music and culture through migration to Australia in the
past 30 years has resulted in a vibrant centre of Latin American cultural dialogue in academic
and non-academic contexts. This unit of study will add to this dialogue by presenting a broad
range of topics and issues relating to the musical heritage of Latin America.
Proposal for a New Undergraduate Unit of Study 2011
Sydney Conservatorium of Music
2
11. Aim: indicate what students will understand or be able to do at the completion of the Unit
of Study
Students will be given sufficient knowledge and tools to intelligently discuss the musical
characteristics of the genres to be studied and apply this to an informed understanding of
their respective cultural contexts.
12. Learning objectives and outcomes: what students will be able to do whatever assessment
tasks are set
At the conclusion of this unit of study students will be expected to:
• demonstrate a knowledge and appreciation of a number of Latin American musical
traditions;
• critically listen to, respond to and discuss a range of significant musical elements from
sound recordings and video material relating to Latin American musical traditions;
• form links between music and its cultural context; and
• be able to play and sing important musical gestures of the genres studied
13. Entry Requirements (specify by code and name)
• Pre-requisites (must be completed before): 18 junior credit points in any discipline.
•
• Co-requisites (must be completed before or with):
•
Prohibition (may not be taken with or after):
14. Contact Hours and Assessment
EITHER
OR

3 – 4 hours per week + 4000 – 4500 words of assessment or equivalent
2 hours per week + 6000 words of assessment or equivalent
(one credit point equates to a minimum expectation of 1.5 – 2 hours of student effort)
No of Lectures (eg. 2 x 1hr lecture per week) : 2 hour lecture
No of Tutorials/ Seminars/ Workshops (eg. 1 x 1hr tutorial per week) 1 hour tutorial per
week.
Other class hours (e.g. intensive blocks: please provide reason)
•
Non-classroom hours counted as class hours, including off campus (please describe eg
designated group exercise/ online lectures or tutorials/ fieldwork, and explain
supervisory arrangements)
•
Assessment (specify each task – “6000 words of written work” is NOT sufficient)
Please provide an indication of weighting of the task, which should be roughly
commensurate with the word count and workload.
Proposal for a New Undergraduate Unit of Study 2011
Sydney Conservatorium of Music
3
If you include a participation mark, this has no word count value and is a mark
awarded for preparation and contribution to class activities. It is under no
circumstances simply a mark for attendance.
ASSESSMENT TASK
WORDS
Essay OR 3-4 minute creative project (score or 2500
recording or videotape) with reflective
statement.
WEIGHTING
50
20
Listening test
(500 words)
Multiple choice and short answer knowledge
exam with a listening test component
(equivalent to 30
1500 words)
Total Words and percentage 4500
100
15. Marking criteria: list criteria in relation to the various forms of assessment eg. Oral
presentations, essays, recitals, exams etc
• 2500 word essay will be judged primarily on thoroughness of research, strength
of argument and clarity of presentation
• The creative project will be judged according to its accuracy to the musical
style(s) being represented. The clarity and quality of the presentation will also be
considered whether scored or recorded. Stylistically informed innovations will be
encouraged.
• Listening tests will require accurate and specific responses when describing and
identifying styles, periods, place, artist and lyrical content.
• Multiple choice and short answer exam will test the student’s knowledge and
understanding of the content of the entire unit of study.
16. Plagiarism: Indicate penalties for plagiarism and direct students to university policy sites
Academic honesty is a core value of the University of Sydney. Students who submit work
which show clear evidence of plagiarism will receive a fail grade for that assessment and
may fail the unit of study. Students will be directed to the University of Sydney’s policy
on academic honesty and the Sydney Conservatorium of Music’s Assignment Guide.
Penalties: these may cover wide variety of infringements including late submission and
incomplete work
The standard Arts Music Unit policy for submission of late work is 2% per week day
(Monday-Friday) or part thereof after the due date. This applies to work submitted in
hard copy or electronic format.
Work submitted a calendar month or later than the due date will not be marked, and an
automatic mark of zero will be applied for that assignment or piece of work.
Furthermore, an Absent Fail grade for this entire unit of study may result from nonsubmission of work.
Students in genuine need may apply for Special Consideration. According to the
Academic Board, Special Consideration is only warranted by "serious illness or
misadventure during a semester or occurring at the time of an examination."
Special Consideration requests need to be submitted through a student's home faculty
office. Please note that such requests usually need to be submitted before the
assignment or piece of work is due.
All assessments need to be successfully completed in this unit of study for the entire
Proposal for a New Undergraduate Unit of Study 2011
Sydney Conservatorium of Music
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Unit of Study to be passed.
Appeals: what a student can do if they are unhappy with a grade
Appeals can be made either to the instructor or to the Chair of the Arts Music Unit;
appeals against assessment grades, whether informal or in writing, need to be made
within six months of the assessment.
Use of On-Line sources:
Online sources may be used where appropriate so long as adequate referencing is undertaken.
17. Graduate Attributes: tick relevant boxes
Research and Inquiry: Graduates of the Conservatorium will be able to create new
knowledge and understanding through the process of research and inquiry.
x be able to identify, define and analyse problems in written work, composition, teaching or
performance and identify or create processes to solve them;
x be able to exercise critical judgement and critical thinking in creating new
understandings in relation to some or all of the following: music analysis, music
composition, music education, music history, music technology, and music
performance;
x be creative, imaginative and independent thinkers in their artistic endeavours;
x have an informed understanding of the principles, standards, values and boundaries of current music
knowledge, pedagogy and performance practice;
x be able to question critically and to evaluate current music knowledge and
compositional, pedagogical and performance practices, acknowledging global and
historical diversity and recognising the limitations of their own knowledge;
Information Literacy: Graduates of the Conservatorium will be able to use information
effectively in a range of contexts.
x be able to recognise the extent of information needed for professional and informed
music performance, composition, teaching and research;
x locate needed information efficiently and effectively using a variety of printed,
audiovisual and digital media and online sources;
x evaluate information and its sources;
x use information in critical thinking and problem solving contexts to construct
knowledge and improve music composition, performance or teaching;
x understand economic, legal, social and cultural issues in the use of printed, audiovisual and online
information;
x use contemporary technology and audiovisual media to access and manage information;
x recognise the importance of observation of the composition, performance and music
education practice of others as a source of knowledge;
Personal and Intellectual Autonomy: Graduates of the Conservatorium will be able to work
independently and sustainably, in a way that is informed by openness, curiosity and a desire to
meet new challenges.
x be intellectually curious and able to sustain intellectual interest;
x be capable of rigorous and independent thinking;
x be open to new ideas, methods and ways of thinking;
x be able to respond effectively to unfamiliar problems in unfamiliar contexts;
x be able to identify processes and strategies to learn and meet new challenges in
scholarly work, composition, teaching or the development of artistry in performance;
x be independent learners who take responsibility for their own learning;
x recognise and be able to undertake lifelong learning through reflection, self-evaluation and selfimprovement;
x have a personal vision and goals and be able to work towards these in a sustainable way by
establishing good work practices in music scholarship, composition, teaching or performance;
 be committed to a lifelong pursuit of the highest ideals of artistic expression;
Ethical, Social and Professional Understanding: Graduates of the Conservatorium will hold personal values
and beliefs consistent with their role as responsible members of local, national,international and professional
communities
x strive for truth, honesty, integrity, open-mindedness, fairness and generosity;
x acknowledge their personal responsibility for their own value judgements and
behaviour;
 understand and accept social, cultural, global and environmental responsibilities;
 be committed to social justice;
x have an appreciation of and respect for diversity;
Proposal for a New Undergraduate Unit of Study 2011
Sydney Conservatorium of Music
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x hold a perspective that acknowledges local, national and international concerns;
 work with, manage, and lead others in music teaching contexts, research partnerships or performance
ensembles in ways that value their diversity and equality and that facilitate their contribution to the
group and to the wider community;
Communication: Graduates of the Conservatorium will recognise and value communication as a tool for
negotiating and creating new understanding, interacting with others, and furthering their own learning.
x use oral, aural, written and visual communication to further their own learning;
x make effective use of appropriate forms of communication to critique, negotiate and
create understanding;
x use spoken, audiovisual and written media and music performance as communicative tools for
interacting with and relating to others;
18. Course Outline: provide detailed structure of unit of study on a weekly basis, specifying
weekly lecture/tutorial/seminar topics together with associated reading/listening etc.
(please attach as a separate document)
19. Will this unit involve any online components? Please note details.
(For example, a unit of study web site to provide information to students, or a site that students
are required to use to complete an assessment task such as WebCT)
Informational WebCT site.
20. How are you planning to review and develop the unit in addition to USE evaluation?
This will be done primarily through my interaction with students during tutorials and through making
myself available during consultation times and by email.
21. Consultation occurring with other units or outside professional bodies where relevant.
As this is a research-lead unit of study, the co-ordinator (Daniel Rojas) regularly composes using
aspects of Latin American music, as well as performs with Latin American bands. This is expected to
continue.
22. Resource Impact:
Are there any additional resources required from the Faculty to provide this new Unit?
NOTE: The recommendation of the Undergraduate Studies Committee does not imply any commitment
to additional resources from the Faculty for funding the proposed unit of study.
•
Staffing (including part-time teaching, extra examinations, auditions or marking etc)
Daniel Rojas will be taking this unit of study. He is currently on a 1 year contract, and so his status at the
time of this UoS being offered is unknown at this stage.
•
Financial
•
Other (specify)
Proposal for a New Undergraduate Unit of Study 2011
Sydney Conservatorium of Music
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23. If special funding situation (eg, external funding)
•
Please specify the source and duration
•
How will the unit be funded thereafter?
•
Would cessation of funding affect students’ degree structures?
Yes
No
24. Library Impact Statement.
Already provided.
25. APPROVAL
Chair of Unit
I have consulted within the Unit and, with the support of the Unit, I forward this proposal for
consideration.
Signature .........
..............
Date: ....6 April 2010..
Pro Dean (Academic)
I approve this proposal for further consideration after determining that adequate resources are available.
Signature ....................................................................... Date: ......................
Dean
I approve this proposal for further consideration after determining that adequate resources will be available.
Signature ....................................................................... Date: .......................
Proposal for a New Undergraduate Unit of Study 2011
Sydney Conservatorium of Music
7
Proposed New UoS: Rhythms and Sounds of Latin America
Weekly schedule and reading list (Q18)
Week One: Introduction
Introduction and presentation of course content and assignments. The stylistic diversity of musical traditions
throughout Latin America: a general overview.
Week Two: Digging up the New World
Pre-Columbian musicological archaeology: musical instruments, reliefs, pottery and the context in which
these were found. Musical implications from such archaeology.
Week Three: Through Conquest to Colonialism and from Independence
The Spanish contribution and the search towards a national musical identity in Latin America, including the
Jesuit musical heritage, indigenous musical traditions, the “Extirpation of Idolatries” in the Virreinato of
Peru and the survival traditions through syncretism.
Week Four: The Tango of Extremes: the love affair in three minutes
The Argentinian origins of the tango through to its adoption by the upper class; national identity and the
world stage. Traditional to avant garde expressions of the tango.
Week Five: Salsa with Legs I
Cuba, Puerto Rico and New York. Past, present and future history of salsa.
Week Six: Salsa with Legs II
Salsa dura vs. salsa erotica. El Manisero (the Peanut Vendor), Indestructible.
Week Seven: The People’s Music of Cuba, Venezuela and Colombia
Folk music genres from these countries, including batá, joropo and cúmbia.
Week Eight: The Andean Region and “Perú Negro”
The taxonomy of Peruvian and Bolivian music. Their influence on the Chilean revivalist movement and
political protest.
Week Nine: Brazil
Example of music-dance forms: samba, bossa nova, capoeira.
Week Ten: Latin American Idol
Popular Music in Latin America and the world: Ricky Martin, Enrique Iglesias, Gloria Estefan, Shakira, JLo,
Orishas, Daddy Yankee.
Week Eleven: Latin American Music and Australia
The Latin American diaspora. Australian expressions and responses to Latin American music.
Week Twelve: Where to now? Conclusion.
Fusions and hybrids in popular and classical music.
Course Reader and resources: will be created and provided from a variety of
academic and non-academic sources. Including:
Journals
Latin American Music Review. Austin TX: University of Texas Press.
Ethnomusicology. J. Lawrence Witzleben, ed. Journal for the society of Musicology. Champaign, IL:
University of Illinois Press.
Books
Aparicio, Frances R. Listening to Salsa. Middle Town: Wesleyan University Press, 1998.
Arroyo, Joe. Rebellion. London: World Circuit, 1988. Audio CD.
Azzi, María Sasana, Simon Collier, Yo-Yo Ma. Le Grand Tango: the life and music of Astor Piazzolla. Oxford:
Oxford University Press, 2000.
Berroa, Ignacio, Paul Siegel, Rob Wallis et al. Ignaco Berroa: Mastering the Art of Cuban Drumming. Miami:
DCI Music, 1995.
Boggs, Vernon. Salsiology: Afro-Cuban music and the evolution of salsa in New York City. New York:
Greenwood Press, 1992.
Clark, Walter A., ed. From Tejano to Tango: Latin American popular music. New York Routledge, 2002.
Gerard, Charley and Marty Sheller. Salsa!: the rhythm of Latin Music. Crown Point, IN: White Cliffs Media
Co., c. 1989.
Leymarie, Isabelle. Cuban Fire: the story of salsa and Latin jazz. New York: Continuum, 2002.
Mauleó n, Rebeca. Salsa guidebook: for piano and ensemble. Petaluma, CA.: Sher Music, 1993.
Morales, Ed. The Latin Beat: the rhythms and roots of Latin music from bossa nova to salsa and beyond.
Cambridge, MA: Da Capo Press, 2003.
Neas. Victoria. What it takes to tango!: the tango and Astor Piazzolla with special emphasis on Le Grand
Tango for cello and piano. Masters Thesis. Sydney: University of Sydney, 2006.
Otter, Elisabeth den. Music and Dance of Indians and Mestizos in an Andean Valley of Peru. Delft: Eburon,
1985.
Romero, Raúl. Debating the Past. New York: Oxford University Press, 2001.
Savigliano, Marta. Tango and the political economy of passion. Boulder: Westview Press, 1995
Steingress, G Steingress, ed. Songs of the Minotaur: hybridity and popular music in the era of globalization: a
comparative analysis of rebetika, tango, rai, flamenco, sardana, and English urban folk. Vol Bd. 9. Munster:
Lit, 2002.
Steward, Sue. Salsa: musical heartbeat of Latin America. London: Thames & Hudson, 1999.
Steward, Sue. Musica! The rhythm of Latin America, salsa, rumba, merengue, and more. San Francisco:
Chronicle Books, 1999.
Stobart, Henry. Music and the Poetics of Production in the Bolivian Andes. Aldershot, England: Ashgate,
2006.
Sweeney, Philip. The Rough Guide to Cuban Music. London: Rough Guides, 2001.
Turino, Thomas. Music in the Andes: experimenting with music, expressing culture. New York: Oxford
University Press, 2008.
Waxer, Lise, ed. Situating Salsa: global markets and local meanings in Latin popular music. New York:
Routledge, 2002.
Sound and Video Recordings:
Crowe, Veronica. Traditional Music of Highland Peru [book and cassette]. Vol 5. Sydney: Australia's
Multicultural Music Series, 1989.
Flutes & strings of the Andes [sound recording]. Chapel Hill, NC: Music of the World, 1988.
Gardel, Carlos, Michel Plasson. Tangos. France: EMI, 1992.
Histoire du tango [sound recording]. Piazzolla, Astor. London: ASV, 2003.
Kingdom of the sun: Peru’s Inca heritage. Fiestas of Peru: music of the high Andes. Lewiston, David,
producer. New York: Elektra/Nonesuch, 1988.
Machito and his salsa big band [sound recording]. West Germany: Timeless Records, c. 1983.
Mountain music of Peru [documentary, videorecording]. John Cohen (producer)
Berkeley, CA: University of California Extension Center for Media and Independent Learning, 1984.
Mountain music of Peru: Volume II. Washngton, D.C.: Smithsonian Folkways, 1994.
Music of the Andes and Argentina [sound recording] performed by Troveros Cuyanos. Chapel Hill, NC: Music
of the World, 1992.
Music of the Incas: Andean harp and violin music from Ayacucho, Peru. [sound recording]. Performed by
Ayllu Sulca. New York: Lyrichord, 1970.
Paucartambo: Festival of the Andes [sound recording]. London: Music of the World, 1996.
Rough Guide to the Music of Cuba [Sound Recording]. London: World Music Network, 1997.
Rough Guide to the Music of the Andes [sound recording]. London: World Music Network, 1996.
Tango [sound recording]. Wadhurst, E. Sussex: Flapper, 1992.
Scores
Piazolla, Astor [score]. 6 tangos. Darmstadt: Tonos, 1975.
Sher, Chuck, ed. The Latin real book [score]. Petaluma, CA: Sher Music; 1997