Certification in Ethnomusicology and Caribbean Musicology

Program Goals
1. To promote an academic environment that fosters research in the disciplines of ethnomusicology and musicology, in order to support the needs of the university music career and open new possibilities in the job field for future ethnomusicologists and musicologists from Puerto Rico, Latin America and other parts of the world.
2. To provide a broad knowledge of the investigative methods of ethnomusicology and musicology.
3. To prepare highly qualified students to pursue graduate studies in ethnomusicology and musicology.

Program Objectives
1. To provide students with an understanding of research skills related to historical musicology, ethnomusicology, and cultural studies.
2. Gain experience in historical archive research, ethnographic fieldwork, audiovisual documentation techniques, and interdisciplinary analysis of varied musical phenomena (art, popular, traditional music).
3. To provide the student with the opportunity to have practical experience with the musical traditions of Puerto Rico and Latin America through different ensembles.

Graduate profile
The graduate of the Certification in Ethnomusicology and Musicology will demonstrate:
1. Understanding and aptitude to apply the investigative methods and techniques of ethnomusicology and musicology.
2. Knowledge of the latest trends, perspectives and literature related to ethnomusicology and musicology in general, as well as those currently circulating in the region of Puerto Rico, the Caribbean and Latin America.
3. Critical and analytical thinking skills through investigative work.
4. Ability to present at international conferences and forums on ethnomusicology, musicology and related areas.

Admission requirements
1. Have completed a high school diploma in music, arts, social sciences or cultural management and have a minimum average of 2.50.
2. If you are an active student of the Puerto Rico Conservatory of Music (CMPR), you may be admitted starting in your third year of studies and must have a GPA of 2.50. Active CMPR students who have completed courses listed in the certification with a minimum grade of C may request that they be validated as part of the program.
3. Fulfill the admission fee payment of $100 dollars (non-refundable) on or before the date indicated in the academic calendar.
4. Submit an official transcript from the accredited university where you completed your studies. The transcript must demonstrate that you completed your Bachelor's degree with a cumulative grade point average (GPA) of 2.50 or higher on a 4.00 scale.
5. Attend and pass an interview with the faculty of the Department of Theory and Musicology.

Curriculum
The Ethnomusicology and Caribbean Musicology Certification Program is designed to be completed in one (1) year. However, the student will have up to a maximum of two (2) years to complete the certification.

± Choose between the thematic courses: TOPIC 5131 and 5136.

Course description
HIST 3021-3022 History of the Music of Puerto Rico and the Caribbean (2 crs.)
History of music from Puerto Rico and the Caribbean from pre-Columbian times to the 21st century. (One-year course)

HIST 4001-4002 History of Caribbean Popular Music (2 crs.)
History of the cultural origin of popular music created in the geographical area of the Caribbean, its development, instrumentalists, vocalists, composers, styles and characteristics that define it.
(One-year course)

TOPIC 5113 Introduction to Ethnomusicology (World Music) (3 crs.)
Introduction to ethnomusicology and the study of world music traditions. Ethnomusicology, as a discipline that studies world music from perspectives distinct from traditional musicology, provides the most appropriate theoretical framework for the topic of this course.

TOPIC 5115 Methods and Techniques of Ethnomusicological Research (3 crs.)
This course is a continuation of the introductory course to ethnomusicology. It delves deeper into the research methods used in the ethnomusicological discipline, aiming to equip students with the necessary tools to conceive, design, and conduct a variety of ethnomusicological research and analysis projects.

TOPIC 5131 Study and research of Latin American music (3 crs.)
What experiences connect experimental music in Latin America with popular music such as Spanish-language rock, nueva canción, and Brazilian MPB? How do folklore, popular music, and classical music intersect in the creation of genres like tango, opera, and the phenomenon of “Andean music” in Latin America? This course aims to answer these and other questions by studying theories, musical practices, styles, and key figures to examine how Latin Americans have used music to confront conflicts, define their identities, and create new means of expression that satisfy both their own interests and those of other countries. The seminar primarily revolves around the discussion of various contexts and themes related to the musical experience in Latin America. This approach transcends the traditional framework of studying music by country, cultural group, or genre and aims to highlight the shared historical processes and contemporary realities that shape both musical practices and their reception. Through a selection of case studies, the course will delve into the specific styles, musicians, and genres of certain regional practices. Each student must submit a final research project that will provide them with an opportunity to study a topic related to their particular interests.

TOPIC 5136 Latin American Composers (3crs.)
This course will explore the history of Latin American women composers of classical music from the colonial era to the present day. We will examine the history of women in music in Latin America with the aim of highlighting and promoting the contributions of female composers to the musical culture of their countries and the region. We will also analyze the historical challenges faced by women musicians and their unique approach to art in Latin America, including research on music and gender.

CJMN 3061 Latin American Music Ensemble (1 cr.)
This group exposes students to the different genres and styles of Latin American music. They will also work on skills such as sight-reading, tuning, teamwork, and interpretation.

BOMB 3001 Teaching our music: the bomba (3 crs.)
Introductory pedagogical, theoretical and practical course with emphasis on the historical aspect of the genre, aimed at knowing the basic characteristics of the singing, playing, dancing and repertoire of the musical category of Puerto Rican bomba with the purpose of providing the student with practical musical experiences applicable both to the music class and to their musical performance practice.

TCMB 3041 Classical Creole Ensemble (1 cr.) (Audition required)
This group exposes students to the diverse genres and styles of Puerto Rican folk music. It will also serve as a vehicle for practicing improvisation, sight-reading, and collaborative work, and as a workshop for young arrangers and composers who wish to present their work. Placement is subject to audition.

ACJE 3001-3004 AFRO-CARIBBEAN ENSEMBLE – JAZZ (Audition required) (2 crs.)
This group exposes students to various Afro-Caribbean genres. It will also serve as a vehicle for practicing improvisation, sight-reading, and collaborative work, and as a workshop for young arrangers and composers who wish to present their work. Placement is subject to audition.

Final Project Guide
Certification in Ethnomusicology and Caribbean Musicology

The final project is worth 100 points. The project is a monographic essay; it is recommended that the topic of the work be related to the music of the Caribbean and/or Latin America.

Monographic essays generally have three parts: i) introduction to the topic, ii) development of the topic, and iii) conclusion. They must also include in-text citations and a bibliography.

1. Content
– A minimum of 5000-7000 words of double-spaced content (excluding bibliography), [maximum 20 pages]
-Font size 12, font (Times New Roman)
-Document in MS word (.doc or .docx)
-Include Literature Review and Justification

2. In-text citations (footnotes) [1]
-They must follow the Chicago format and appear at the bottom of the page (see example 1 below). When citing a book again on the same page, use Ibid. [2] If you cite the book again in other parts of the document, you must use the short form. [3]

3. Bibliography
-The bibliography must be in alphabetical order and in Chicago format.
In addition to the sources already consulted in the annotated bibliography, you may include other resources (books, journal articles, online sources, documentaries, musical scores, etc.) in the final version of your work. Always remember to be critical of the information you find online, and whenever possible, prioritize reliable academic sources.

Evaluation Criteria:
Content and argument (50 pts)
Organization of ideas (10 pts)
Grammar and spelling (10 pts)
Bibliography and references (30 pts)

[1] If you have any questions about how to cite in-text in Chicago format, please see the Purdue Owl page.
Access here.
Sampsel's book (copies are available in the library) also has a lot of useful information regarding music research; see Laurie J. Sampsel, Music Research: A Handbook (New York: Oxford University Press, 2013).
[2] Ibid, 36.
[3] Sampsel, Music Research, 34.