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Course Name MUS 008: MUSIC OF MULTICULTURAL AMERICA How to Access the Course This course uses the Canvas course management system. Students must be enrolled in order to log in to the course site. • Login to ( ) using your Student ID Number and Password • Click on the Students tab • Look for 'My Online Courses' • Click on 'Log into Canvas' ( ) For technical assistance, visit the () Access URL Instructor Name Dr. Elizabeth Barkley, Dr. Robert Hartwell, and Professor Milissa Carey Email Address Course Type Web-based Units 5 Instructor Division Fine Arts Instructor Phone Number (650) 949-7267 Division Fax Number 650-949-7048 Office Location Dr. Elizabeth Barkley (Room 1407), Dr.

Robert Hartwell (Room 1406) and Professor Milissa Carey (Room 1707) Mailing Address 12345 El Monte Road Los Altos Hills, CA 94022 Course Description This course is a comparative and integrative study of the multicultural music styles of the United States. It includes the musics of Native Americans, European Americans, African Americans, Chicano/Latino Americans, and Asian Americans, tracing the development of that music from its historical roots to its influence on contemporary American music. We discuss each group's unique history and experience in American culture and society and analyze each group's musical traditions from a technical and cultural perspective. Among the music styles we will study are spirituals, gospel, folk music, blues, jazz, Cajun, zydeco, Tejano, salsa, and rock and roll.

What Former Students Have Said of the Course Students are kind enough to share many positive comments about this class, but in the interest of 'space,' I'll just share two: Mayra S: 'I liked everything about this class. Actually 5 of my friends are in your class this quarter, plus two are on the waiting list because I told them it was a great and fun/flexible class.' Shu Jiuan H: 'Thank you a million for the awesome class!' Recommended to International or ESL Students? Yes Prerequisite Basic computer and keyboarding skills, an email account, access to the internet, and basic browsing experience. As this class will be conducted via the World Wide Web, you must use a frames-capable browser such as the most recent versions of Firefox, Safari, or Microsoft Internet Explorer, with JavaScript enabled.

Dates/Times for exams and meetings There are no required meetings. Instructor's Comment This course is taught by an instructional team.

Furthermore, all course sections access the same web site and materials. This course meets Foothill’s General Education Area 6/Multicultural Studies general education requirement, CSU’s Area C-1 Arts Requirement, UC Berkeley’s American Cultures requirement, and it is also on the IGETC California Higher Education Intersegmental Transfer List as part of the Area 3 Arts and Humanities Intersegmental Transfer Curriculum Agreement for credit at all participating California 2- and 4-year colleges. Furthermore, it has successfully met the multicultural/ethnic studies requirement at every 4-year institution for which students have submitted it so far. Required Texts Crossroads: The Music of American Cultures (Barkley, Kendall Hunt and Great River Technologies, 2nd Edition), ISBN 90.

This is a digital textbook, which is an integrated learning environment that includes both reading and laboratory assessments as well as listening examples provided through a 4-month subscription to Rhapsody.com, a digital music library. (Rhapsody.com is available only in the U.S.; if you are taking this course outside of this country, contact Dr. Barkley prior to the end of Week 1 to discuss and evaluate your options.) Because the earlier printed textbook (Crossroads: The Musics of Multicultural America, 2007, published by Prentice Hall) is no longer acceptable for course articulation to other colleges and universities and it does not have the listening examples, lab, or assessments, it will not work as a substitute. Purchasing Textbooks A Digital Textbook Access Card/Code can be ordered in two ways: 1) through GreenRiver Webcom at (fastest and easiest) or 2) the Foothill Bookstore (best if you are on campus or need a physical access card). Online Textbook Vendor Suggestions __ Foothill Bookstore Textbook on Reserve in the Library? No (because it is a digital environment requiring individual student access) Software Word Processing software Web Browser Course Schedule All activities are available the first day of class and can be done on an accelerated schedule (ahead of deadlines) or on a schedule that consists of 4 deadlines distributed throughout the quarter.

Notice on Learning Disability-Related Accommodations To obtain disability-related accommodations, students must contact Disability Resource Center (DRC) as early as possible in the quarter. To contact DRC, you may: • Visit DRC in Room 5400 (near Parking Lot 5) • Email DRC at • Call DRC at 650-949-7017 to make an appointment If you already have an accommodation notification from DRC, please contact me privately to discuss your needs. Exams There is one online, open-resource quiz for each chapter. Grading Grades are determined on a 'point accrual' basis, where the points you have accumulated at the end of the quarter will determine your grade. There are more points available than you need for an excellent grade, hence 'extra credit' opportunities are built in to the system. Assignments This course and the digital textbook are organized into 4 Parts, with each Part subdivided into Chapters. Within each chapter, there are 7 learning activities available to students who have purchased and registered the textbook: • Reflect: Reflect on what you already know about that chapter’s topic.

• Read: Read the series of pages that comprise the narrative portion of the chapter. • Apply (Lab): Read the “Lab” and listen to the music examples on the chapter’s Rhapsody Playlist. Keep track of your answers to Lab questions that are on the bottom of each Lab PDF in order score high on the “Lab Quiz” assessment you will find in “5.

Assess.” • Review: Go through the flashcards to check your recall and understanding of basic vocabulary and concepts. • Assess: Take the Chapter Quiz (includes reading and lab questions). • Share: Post your response to the prompt for this chapter.

• Reflect: Reflect on what you learned in this chapter. Disclaimer This summary is posted to provide you with a helpful and immediate preliminary overview of the course. Although I try to make it as accurate as possible, slight changes may be made to accommodate the specific quarter.

Edius Neo 2 Booster Free Download more. Contents • • • • • • • • • • • • • Contemporary usage [ ] Since the late 1990s, the US has had a substantially rising population of 'Latinos', a term popularized since the 1960s due to the wrong and confusing use of the term ' and the more proper but less popular term '. A great part of the English-speaking media started to refer to any kind of music featuring Spanish vocals as 'Latin music'. In 2000, the (LARAS) established the to recognize musicians who perform in Spanish or Portuguese. LARAS mainly focuses on music in both languages, from Latin America, Spain, Portugal, and the United States. Similarly, the was established in 2012 to recognize songwriters from Spanish- and Portuguese-speaking regions around the world. In 2013, Spanish singer was recognized by as the best-selling male Latin artist of all time. History [ ] 1940s–1950s [ ] The term 'Latin music' originated from the US due to the growing influence of in the American music market, with notable pioneers including (1940s) and (1950s) and then accelerating in later decades.

As one author explained the rising popularity from the 1940s: 'Latin America, the one part of the world not engulfed in, became a favorite topic for songs and films for Americans who wanted momentarily to forget about the conflagration.' Wartime propaganda for America's ' further enhanced the cultural impact. 1960s [ ] The Brazilian became widespread in Latin America and later became an international trend, led especially. Became popular with the younger generation of Latinos in Latin America, notably including Argentine bands such as. Mexican-American guitarist began his decades of popularity. 1970s [ ] became the dominant genre of tropical music in the 1970s.

Was credited for popularizing salsa music, with acts such as,, and expanding the audience. In the late 1970s, an influx of balladeers from Spain such as,, and established their presence on the music charts both in Latin America and the US Latin market. 1980s [ ] In the 1980s, the continued to be the main form of Latin pop music, with,, Julio Iglesias,, and dominating the charts. Lost some traction, and its musical style changed to a slower rhythm with more emphasis on romantic lyrics. This became known as the era. 1990s [ ] music saw a resurgence of popularity with the younger audience. Mexican singer was credited for the renewed interest due to the success of his album, (1991), a collection of classics covered by the artist.

By the mid-1990s, music was dominated by younger artists such as alumnus, Colombian teen, and Julio's son. Around the same time, artists from Italy such as,, and successfully to the Latin music field by recording Spanish-language versions of their songs. In the field, became the most prominent genre. Helped push Tejano music into the mainstream market with her albums (1992) and (1994), although the genre's popularity declined following in 1995. French Dictionary Free Download on this page.

In the field,, which gained attention in the 1980s, rivaled in popularity. 2000s [ ] In the mid-2000s, became popular in the mainstream market, with,, and considered to be the frontiers of the genre. In the tropical music scene, music became popular in the field, with artists such as and finding success in the urban areas of Latin America. Was the dominant genre in the Regional Mexican music field. 2010s [ ] By the turn of the decade, the Latin music field became dominated by up-tempo rhythms including electropop, reggaeton, urban, and contemporary bachata music, as Latin ballads and crooners fell out of favor among U.S.

Latin radio programmers. Has become the dominant form of revenue in the Latin music industry in the United States, Latin America, and Spain. See also [ ].