Class	12200 MUSI 4523 - 001 (Lecture) Issues in Ethnomusicology
Topic	African Electronic Music
Instructor	Noel Lobley, Basile Koechlin, Xolile 'X' Madinda, Leo Palayeng, Rémy Jadinon
Meetings	Noel Lobley, Basile Koechlin, Xolile 'X' Madinda, Leo Palayeng, Rémy Jadinon MoWe 9:30am - 10:45am Contact Department
Other SIS Info	Enrollment: (Show Graph) 16 students (capacity 15) Status: Closed Units: 3 Meeting Dates: 01/19/2022 - 05/03/2022 Class Components: Lecture Required Enrollment Requirements: None Requirement Designation: NW Class Attributes: ASUD-AIP Grading: Student Option SIS Description: An intensive experience with ethnomusicology and performance studies, this seminar explores musical ethnography (descriptive writing), experiential research, sociomusical processes, and other interdisciplinary approaches to musical performance. Addresses issues involving race, class, gender, and identity politics in light of particular topics and areas studies. Prerequisite: MUSI 3070 or instructor permission.
Class Website	https://youtu.be/GYQUzeshTKU
Class Subtitle	Electronic Music in Africa
Description	In 2018, the renowned British music journal Fact boldly claimed that “the world’s best electronic music festival is in Uganda.” Indeed, African cities have long been places for some of the most futuristic music, sounds that reverberate between local identities and international avant-garde scenes. Explosive, hypnotic and ultra-modern electronic sounds meld stunning dance forms with musical theatre and fashion, articulating the urban youth experience in cities as diverse and vibrant as Johannesburg, Nairobi, Kinshasa, Lagos, Dar es Salaam, and Kampala. In this course, we will engage multiplex genres of electronic music from the African continent, including Congolese congotronics, Ugandan acholitronix, Tanzanian singeli, and South African shangaan electro and gqom apocalyptic bass music, paying close attention to innovations in artistic practice, remix culture and Afrofuturism. Blending critical and contextual work with exciting opportunities for real world outputs, we will be engaging with professional artists from different electronic scenes, such as the boiling Nyege Nyege collective and The Black Power Station, alongside other professional partners in music production, radio and written journalism, as well as exhibition and museum curation. As a way to open professional avenues for students, coursework will be driven towards the organization of an end of the semester multi-modal event representing in Charlottesville the electronic music bursting from the African continent. Building on each other’s interests and skills, students will all be working to imagine, design and curate this event. No prior musical experience is required.
Syllabus	https://434soundslocal.global/ [coming soon]
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