This page contains a listing of courses that address the study of Latin American and Caribbean Music. Courses designated with an asterisk (*) are core classes for the minors in Latin American and Caribbean Music, while other courses listed may be considered for elective credits within these minors. Please note that these courses are open to students without the declared minor, but some classes may have prerequisites. As always, consult with your academic advisor about how these courses can fit into your degree plan.
The course will cover and examine the crucial elements that comprise Latin Jazz music and Salsa as their own genres. Students will study and develop the knowledge to understand folkloric and popular musical styles from the United States, Mexico, the Caribbean and South America. Students will gain an understanding of the historical development of Latin Jazz and Salsa, their cultural/musical traditions, and how elements from different cultures or sub-cultures (art music versus urban popular music styles) fused or influenced each other as a result of syncretic processes.
Hands-on percussion course focusing on folkloric percussion throughout Latin America and the Caribbean. These may include music traditions from Cuba, Puerto Rico, the Dominican Republic, Haiti, Trinidad and Tobago, Mexico, Guatemala, Belize, Venezuela, Colombia, Peru, and Brazil.
Latin American and Latino popular music genres, their historical and cultural contexts, and their impact in the United States. For non-music majors only. Activities outside of class may be scheduled.
“Global Pop: Focus on the Americas” navigates the vibrant and diverse landscape of popular music throughout the American continents outside the mainstream. This course engages with an array of dynamic genres, ranging from the pulsating beats of reggaeton to the hybrid rhythms of cumbia, the storytelling of narcocorridos, the vibrancy of tropipop, the rich textures of Brazilian popular music, the lyrical flow of Cuban hip hop, the romantic stirrings of bachata, and the innovative expressions of North American indigenous and alternative/indie music. The course begins with a foundational understanding of “global pop” before diving into how these musical styles act as vehicles for social change, identity formation, and political expression. We will critically analyze their significance within their cultural contexts and influence across borders. The course will also address the effects of commodification, media, and the global music industry on musical creation and its international dissemination. With an emphasis on critical listening, cultural critique, and multimedia analysis, students will be equipped to engage with music as a complex global phenomenon, reflecting a diverse Americas.
Fulfills GenEd “Arts & Humanities” and “World Cultures.”
Hands-on percussion course focusing on folkloring percussion throughout Latin America and the Caribbean. These may include music traditions from Cuba, Puerto Rico, the Dominican Republic, Haiti, Trinidad and Tobago, Mexico, Guatemala, Belize, Venezuela, Colombia, Peru, and Brazil.
The purpose of this course is to trace the development of relevant musical traditions that comprise the crucial elements in the genesis of Latin Jazz music and Salsa in North America, Latin America, and the Caribbean. We will also have discussions of issues regarding the formation of these musical styles that sprang forth from cultural, socio-political, and economic forces. Course materials are selected from the repertoire of art, folk, and popular music traditions and are examined based on several matrices, such as the development of the contemporary, popular, and art music styles.
This course explores the history of the globalization of jazz and offers a survey of local jazz scenes in various parts of the planet. Rather than presenting jazz as an exclusive US tradition spreading throughout the world, this course fosters an understanding of jazz as taking shape in a series of diasporic channels, defined by the constant flux of musicians, audiences, and mass mediated music as well as by its adaptation to different musical structures, social conditions, cultural meanings, and racial ideas. By studying how musicans in multiple locales around the world have engaged with jazz, this course furthers a discussion of what jazz is, of its significance in changing historical and cultural scenarios, and of the ways in which jazz has been shaped in the course of its global dissemination. In relation to Latin America and the Caribbean, the course will include various presentations, readings, and discussions pertaining to the connections between New Orleans and the Caribbean in the late 19th century and early 20th century, the consolidation of the idea of Latin jazz in the 1940s, and the development of jazz scenes in multiple places of Latin America throughout the 20th and 21st centuries.
This class surveys the art music of Latin America from the sixteenth through twenty-first centuries through a series of composer case studies and characteristic works. This class places composers, works, and musical trends within cultural and historical contexts and also addresses the historiographic treatment of this repertoire through scholarly readings. Composers whose life and works will be discussed include Gutiérrez de Padilla, Jerusalem, Nunes Garcia, Carreño, Chávez, Villa-Lobos, Ginastera, Piazzolla, León, and more.
The purpose of this course is to trace the development of musical traditions in Rhythm & Blues, Soul and Funk into the 1970's. We will discuss the history of these styles from their beginnings and to their evolution to the present time. Through these idioms, we will cover topics such as the social significance of race, innovative figures in different stylistic periods and the music itself.
The basic premise of this course is that musical and cultural meanings in popular music are created in connection to one another and in relation to specific issues of social equality and inequality. To understand these relationships, students will investigate ways in which the musicians and audiences define and redefine themselves through their music; study the interactions of the diverse groups of people who have created and transformed the music (including African-Americans, European-Americans, other ethnic groups and nationalities) explore the controversies over identity and musical value that have marked the music throughout history; examine communities of musicians as well as prominent individual artists within those communities; and learn to recognize distinctive musical characteristics of the idiom.
This course also approaches these musical styles as a part of American and global cultural history, with emphasis placed on diversity and equality among people from different cultural, racial and ethnic groups in the United States.
Social equalities and inequalities are a very real and influential part of American social history, and these issues along with the social and ethnic diversity of the United States directly influenced and shaped contemporary jazz and soul. In this course, students will be introduced to the concepts through various means: those of first-hand accounts through musicians, scholars, published literature on the subject, ethnomusicology, contemporary reporting, critical reviews and visual arts.
CMLT-C 251 | MW 11:30am – 12:45pm | Carlos Colmenares Gil | 3 credits
We are familiar with rhythms like reggaetón or bachata, popularized all over the world in the 21st century, but famous within Latin America since the end of the past century. But is there more to these rhythms than just partying and having fun with friends or lovers, or, the other side of it, being heart-broken because of an ex-lover? Don't get me wrong, this is all good and interesting, but where do these genres come from? How do they trace back not only to salsa and merengue, but to the aftermaths of colonization and slavery in the Caribbean and Brazil? Is there something else to listen to which will not only make us enjoy the music we already love even more, but that will open up new avenues of flow and knowledge? In this course we will move backwards, from the present to the past, covering Latin trap and hip-hop, bachata, dembow all the way to boleros, samba, son Cubano and tambores from the continental coast. We will encounter amazing artist and performers like Celia Cruz, Totó la Momposina, Gilberto Gil, Ismael Rivera, as well as gain a knowledge of the rhythms and musical instruments that defined several decades of people's everyday life in the region. We will listen to albums, watch a lot of live performances, and read lyrics and fictional and theoretical texts to construct a comprehensive panorama of all the crossings between the music, culture and history of the Afro-Caribbean and Afro-Brazilian experience. The assignments of the course include: class participation (20%), attendance (10%), a weekly class journal (20%) a group project (25%), and the creation and argumentation (5 pages) of a playlist (25%).
Sustainability, green living, and climate change are heated topics in today¿s intersecting arenas of science, economics, and politics. These debates are often positioned as relating to new global concerns, but ecological and environmental awareness has long cut to the core of many Indigenous and Afro-Caribbean musical cultures. This course will consider the collisions of cultures, ideologies, histories, sounds, and daily experiences that have become part of conversations about humanity¿s uses of the environment. We will learn about ecomusicology and acoustic ecology that explore connections between sound, music, and the environment as well as sacred ecologies that tie religious beliefs and metaphysics with environmentalist practices and scientific perspectives on the natural world. And we will evaluate attempts to change the world¿s trajectory for the better, ranging from the United Nations¿ 2030 Agenda for Sustainable Development to local, community-led responses that are frequently grounded in sound, music, and art. Our primary materials for study will be expressive culture (literature, film, visual arts, dance, traditional healing practices, and, especially, music) in Haiti, Jamaica, Cuba, and Taíno and Maroon communities from across the Antilles. This course will be conducted as an upper-level lecture-seminar.
Designed for students of all levels. Divided into modules, the course will allow students to learn about a diverse range of Latin American guitars styles and techniques.
Latin Guitar will examine aspects of Latin American guitar styles and techniques as well as its history and influence on related musical genres. The course will include music traditions from Argentina, Brazil, Bolivia, Colombia, Chile, Paraguay, Peru, Uruguay, Venezuela, and Mexico. It will also provide students with the opportunity to play guitars from Latin America.
* Above class open to undergraduate guitar majors only, or others with permission of instructor
Modules will allow students to learn about a diverse range of Latin American guitar styles and techniques. In-depth readings, seminar discussions, and listening assignments will lead to a research paper and presentation.
Latin Guitar will examine aspects of Latin American guitar styles and techniques as well as its history and influence on related musical genres. The course will include music traditions from Argentina, Brazil, Bolivia, Colombia, Chile, Paraguay, Peru, Uruguay, Venezuela, and Mexico. It will also provide students with the opportunity to play guitars from Latin America.
The purpose of this course is to trace the development of relevant musical traditions that comprise the crucial elements in the genesis of Latin Jazz music and Salsa in North America, Latin America and the Caribbean. We will also have discussions of issues regarding the formation of these musical styles that sprang forth from cultural, socio-political, and economic forces. Course materials are selected from the repertoire of art, folk and popular music traditions and are examined based on several matrices such as the development of the contemporary popular and art music styles.
Latin American and Latino popular music genres, their historical and cultural contexts, and their impact in the United States. For non-music majors only. Activities outside of class may be scheduled.
FOLK-F 315 | MW 1:15pm - 2:30pm | Eduardo Herrera
In this class students will closely listen to the rich and diverse musical traditions of Latin America. This survey course will look at multiple genres, including salsa, reggaeton, Latin rock, merengue, tango, cumbia, and bachata, and explore the cultural, social, political, and economic forces that shape them. Our journey will take us to the Andean region, the Hispanic Caribbean, Argentina, Colombia, Brazil, and Mexico. We will delve into the ways in which music can be used to communicate important messages about the world around us, be used as a tool for region and nation building, tell stories about migration, and shed light on matters of race and gender equality. As we explore the musical landscape of Latin America, we will discover that the region is not simply a geographic location, but a complex set of ideas and relationships that cut across North, Central, and South America, and the Caribbean.
FOLK-E 295 | MW 3:00pm - 4:15pm | Fernando Orejuela
This course examines rap music and hip hop culture as artistic and sociological phenomena within diverse historical, cultural, economic and political contexts. Discussions will include the development of various hip hop styles, the appropriation by the music industry, intercultural participation, intracultural conflict, and controversies resulting from the exploitation of hip hop music and culture as a commodity for national and global consumption. Additionally, we will address race in America and its intersections with gender, class, religion, and ethnicity. Most importantly, this course carries COLL (CASE) A&H Breadth of Inquiry credit within the category of Diversity in the U.S., IUB GenEd A&H credit, and it is not meant to be a music appreciation class.
MUS-F 455 | Javier Leon
Rehearsal and performance of Latin American and Caribbean chamber music. Students must obtain the permission and signature of a faculty coach for their group and receive seven coachings, performing at least once in a public setting. Students should also be aware that a flexible schedule is required when scheduling coachings with their faculty coach.
The class will focus on the emergence of African aesthetic and conceptual principles by collecting and analyzing evidence across academic disciplines and linguistic cultures (Spanish, Dutch, French, English). The class will consider a wide range of material, from the first stirrings in the early 16th century of Africans dislocated through the slave trade to the early 20th century, by which time most of the African artistic and cultural expressions were fully developed and firmly rooted throughout the Americas. The project brings together historic travel narratives and epistles, paintings, prints, maps and other traditional art forms with contemporary work by artists throughout the Caribbean. It traces the development of a spatial and conceptual framework of African artistic practices and how they inform Caribbean artistic traits. Furthermore, it examines the location of the "Afro" Latin American and the Caribbean in the historical and contemporary global visual scene. The course will include close visual analysis of works at the Herman B. Wells and Lilly Libraries at Indiana University.
MUS-F 547 | TuTh 3:00pm - 4:15pm | Joseph Galvin
Contact director Joe Galvin at jgalvin@indiana.edu for ensemble information.
MUS-F 330 | MW 12:40pm - 1:55pm | Joseph Galvin
Hands-on percussion course focusing on folkloric percussion throughout Latin America and the Caribbean. These may include music traditions from Cuba, Puerto Rico, the Dominican Republic, Haiti, Trinidad and Tobago, Mexico, Guatemala, Belize, Venezuela, Colombia, Peru, and Brazil.
MUS-X 40 | Daniel Duarte
Contact director Daniel Duarte at dduarte@iu.edu for ensemble details.
MUS-F 547 | F 2:00pm - 4:00pm | Joseph Galvin
Contact director Joe Galvin at jgalvin@indiana.edu for ensemble information.
This course explores the history of the globalization of jazz and offers a survey of local jazz scenes in various parts of the planet. Rather than presenting jazz as an exclusive U.S. tradition spreading throughout the world, the course fosters an understanding of jazz as taking shape in a series of diasporic channels, defined by the constant flux of musicians, audiences, and mass mediated music as well as by its adaptation to different musical structures, social conditions, cultural meanings, and racial ideas. By studying how musicians in multiple locales around the world have engaged with jazz, the course furthers a discussion of what jazz is, of its significance in changing historical and cultural scenarios, and of the ways in which jazz has been shaped in the course of its global dissemination. In relation to Latin America and the Caribbean, the course will include various presentations, readings, and discussions pertaining the connections between New Orleans and the Caribbean in the late 19th century and early twentieth century, the consolidation of the idea of Latin jazz in the 1940s, and the development of jazz scenes in multiple places of Latin America throughout the 20th and 21st centuries.
The purpose of this course is to trace the development of relevant musical traditions that comprise the crucial elements in the genesis of Latin Jazz music and Salsa in North America and the Caribbean. We will also have discussions of issues regarding the formation of these musical styles that sprang forth from cultural, socio-political, and economic forces. Course materials are selected from the repertoire of art, folk, and popular music traditions and are examined based on several matrices such as the development of the contemporary popular and art music styles.
In this class students will closely listen to the rich and diverse musical traditions of Latin America. This survey course will look at multiple genres, including salsa, reggaeton, Latin rock, merengue, tango, cumbia, and bachata, and explore the cultural, social, political, and economic forces that shape them. Our journey will take us to the Andean region, the Hispanic Caribbean, Argentina, Colombia, Brazil, and Mexico. We will delve into the ways in which music can be used to communicate imporant messages about the world around us, be used as a tool for region and nation building, tell stories about migration, and shed light on matters of race and gender equality. As we explore the musical landscape of Latin America, we will discover that the region is not simply a geographic location, but a complex set of ideas and relationships that cut across North, Central, and South America, and the Caribbean.
Rehearsal and performance of Latin American and Caribbean chamber music. Students must obtain the permission and signature of a faculty coach for their group and receive seven coachings, performing at least once in a public setting. Students should also be aware that a flexible schedule is required when scheduling coachings with their faculty coach.
This class will focus on the emergence of African aesthetic and conceptual principles by collecting and analyzing evidence across academic disciplines and linguistic cultures (Spanish, Dutch, French, English). The class with consider a wide range of material, from the first stirrings in the early 16th-century of Africans dislocated through the slave trade to the early 20th-century, by which time most of the African artistic and cultural expressions were fully developed and firmly rooted throughout the Americas. The project brings together historic travel narratives and epistles, paintings, prints, maps, and other traditional art forms with contemporary work by artists throughout the Caribbean. It traces the development of a spatial and conceptual framework of African artistic practices and how they inform Caribbean artistic traits. Furthermore, it examines the location of the "Afro" Latin American and the Caribbean in the historical and contemporary global visual scene. The course will include close visual analysis of works at the Herman B. Wells and Lilly Libraries at Indiana University.
MUS-F 530 | MW 12:40pm - 1:55pm | Joseph Galvin
Hands-on percussion course focusing on folkloric percussion throughout Latin America and the Caribbean. These may include music traditions from Cuba, Puerto Rico, the Dominican Republic, Haiti, Trinidad and Tobago, Mexico, Guatemala, Belize, Venezuela, Colombia, Peru, and Brazil.
Contact director Joe Galvin at jgalvin@indiana.edu for ensemble information.
MUS-F 547 | TuTh 3:00pm - 4:15pm | Joseph Galvin
Contact director Joe Galvin at jgalvin@indiana.edu for ensemble information.
Spring 2023 Undergraduate Courses
MUS-M/Z 395 | MWF 11:30 AM -12:20 PM | Wayne Wallace
A survey of contemporary jazz and soul (rhythm and blues) music and musicians in the United States. This class covers Latin American Music from the 1920's through the 1970's. This class will touch on Son, Tango, Mambo, Bossa Nova, Salsa and Boogaloo as they relate to R&B and Funk.
This course focuses on the history of sound recording technologies and the recording industry, from the invention of the phonograph in 1877 to the realm of digital streaming in the 21st century. Alongside with the study of the social, cultural, and musical worlds related to modern massive entertainment, it is an opportunity to tackle two big issues: on the one hand, the material design and functioning of recording technologies throughout the acoustic, electric, and digital eras; on the other hand, the development of transnational businesses around these technologies as well as the musical and social dynamics related to the cultural legitimization of recorded sound. Although phonographs, turntables, stereos, iPods, and smartphones are at the center of these stories, they are not the only technological guests. We will also explore the world of player-pianos, cinema, and radio with the aim of having a broader perspective of the industrial scenario that shaped modern entertainment. As far as Latin America is concerned, we will be studying, on the one hand, the multiple recording expeditions that the Victor company organized across the region between 1903 and 1926, and on the other, the emergence and development of local recording industries in various countries, especially in Argentina, Brazil, Colombia, Mexico, Cuba and Chile.
MUS-M 410/413 | MW 9:45 AM - 11:00 AM | Christine Wisch
This class surveys the art music of Latin America from the sixteenth through twenty-first centuries through a series of composer case studies and characteristic works. This class places composers, works, and musical trends within cultural and historical contexts and also addresses the historiographic treatment of this repertoire through scholarly readings. Composers whose life and works will be discussed include Gutiérrez de Padilla, Jerusalem, Nunes Garcia, Carreño, Chávez, Villa-Lobos, Ginastera, Piazzolla, León, and more.
Rehearsal and performance of Latin American and Caribbean chamber music.Students must obtain the permission and signature of a faculty coach for their group and receive seven coachings, performing at least once in a public setting. Students should also be aware that a flexible schedule is required when scheduling coachings with their faculty coach.
Carnival celebrations are central to Caribbean life, and music is vital to the carnival experience. This course will tour the Caribbean basin by pairing ethnographic texts about music with audio and visual records of the festivities, providing an introduction to the diverse performances and politics of carnival traditions. To understand what’s at the heart of all of this revelry,disorder,and vagabondage, we will become acquainted with influential theories by Mikhail Bakhtin and Victor Turner as we consider carnivalesque behavior along a broad spectrum of acts of play and power.
This advanced undergraduate seminar is designed to allow students to design and develop a project that will reflect their understanding of folklore and ethnomusicology. It provides an opportunity for students to consolidate and build upon knowledge they have learned through their coursework and experiences. This semester’s class will take up the contemporary repositioning occurring in the fields of Folklore and Ethnomusicology with regard to how to ethically, critically, reflexively, and creatively rethink and rework methods, ethics, and theories when conducting research projects. We will engage with a diverse range of works and theories in order to stimulate students’ own interests and expand on possible ways of disseminating their projects. Projects will necessarily be works in progress, and we will operate as a learning community to collaboratively provide support and ideas to each other. The ethnomusicology material will include performance materials from both Latin America and the Caribbean.
FOLK majors and minors contact tarcuri@iu.edu for authorization.
Non-FOLK majors and minors contact soliter@indiana.edu for more information.
LATS-L 320 | MW 1:15 PM - 2:30 PM | Alberto Varon
This course looks at how literature, film, and music reflect and create Latinx culture. From reggaeton to hip hop, opera to boleros, indie and folk, the class puts contemporary music and sound studies in conversation with literature and film through the concept of cultural adaptation. We will examine how contemporary Latinx texts experiment with content and form while still adhering to some of the impulses common to 20th-century Latinx cultures’roots in activism and social justice. How do Latinx artists envision both past and future through their art? We will interrogate how literary and artistic expression gives shape to larger questions about the uneven distribution of power and resources, of racialization and privilege, and how, in turn, these texts shape contemporary American culture.
With focus on jazz, reggae, and hip hop, this course links musical production and consumption in the African diaspora to issues of social identity. Among those aspects of social identity considered are race, nation, religion, class, and gender. The course investigates the spread of these musical genres around the world.
A foundation in contemporary global and urban styles of dance that are interwoven and fused within professional contemporary dance such as hip-hop, krump, Israeli ga ga style, and others. This semester, the course will be focusing on primarily Afro-Cuban Folklore. Prepares preprofessional dancers to be well versed physically and intellectually in current contemporary, global dance styles.
*The class is not to prepare for professional dancers. Everyone is learning the material for the first time.
For more information contact: bcapote@iu.edu
Spring 2023 Graduate Courses
MUS-M 510/690 | MW 8:45 AM - 10:00 AM | Paul Borg
Inquiry into selected aspects of music literature and history related to specific repertories, genres, styles, performance practice/traditions, historiography or criticism.
Rehearsal and performance of Latin American and Caribbean chamber music. Students must obtain the permission and signature of a faculty coach for their group and receive seven coachings, performing at least once in a public setting. Students should also be aware that a flexible schedule is required when scheduling coachings with their faculty coach.
Fall 2022 - Undergraduate MUS-Z 213 | Latin American and Latino Popular Music and Culture* MUS-F 330 | Foundations of Latin American and Caribbean Percussion* MUS-M 413 | Topics in Latin American Music: History and Performance of Latin Jazz and Salsa MUS-X 40 | Guitar Ensemble MUS-X 414 | Latin American Ensemble MUS-F 447 | Brazilian Ensemble MUS-F 455 | Latin American and Caribbean Chamber Music FOLK-E 250 | Music Meaning and Emotion HISP-S 495/498 | Sounds of Hispanic Literature LATS-L 398 | Latinx and Latin American Punks (Arts and Humanities in Latino Studies LTAM-L 426 | Caribbean and Latin American Art: Empire, Identity, and Society (Special Topics in Latin American and Caribbean Studies LTAM-L 426 | Modern Argentina (Special Topics in Latin American and Caribbean Studies HISP-S 324 | Introduction to the Study of Hispanic Culture
Fall 2022 - Graduate MUS-M 513 | Topics in Latin American Music: History and Performance of Latin Jazz and Salsa* MUS-X 414 | Latin American Ensemble MUS-F 530 | Foundations of Latin American and Caribbean Percussion MUS-F 555 | Latin American and Caribbean Chamber Music MUS-M 510 | Jazz Around the World (Topics in Music Literature FOLK-F 525 | Readings in Ethnography FOLK-F 804 | Women's Folklore THTR-T 583 | Latinx & Latin American Theatre (Topics in Theatre and Drama LTAM-L 501 | Intro to Latin American Graduate Studies
Spring 2022 - Undergraduate MUS-M/Z 395 | Contemporary Jazz and Soul Music MUS-M 410 | Sound Recording: From Edison to Spotify MUS-M 413/410 | Introduction to Latin American Art Music* MUS-X 40 | Guitar Ensemble MUS-X 40 | Latin Jazz Ensemble MUS-X 414 | Latin American Ensemble MUS-F 447 | Percussion Chamber Ensemble MUS-F 455 | Latin American and Caribbean Chamber Music MUS-Z 161 | Steel Drumming FOLK-F 315 | Latinx and Hip Hop Culture FOLK-F 316 | Caribbean Music, Sacred Ecologies, and the Environment THTR-D 316 | Cultural Choreographies LATS-L 398 | Introduction to Afro-Latinx Literature and Culture ANTH-E 400 | Autoethnography as Feminist Methods AAAD-A 430 | The Cinema of Africana Women
Spring 2022 - Graduate MUS-M 602 | Jazzin' in the Americas MUS-X 414 | Latin American Ensemble MUS-F 547 | Percussion Chamber Ensemble MUS-F 555 | Latin American and Caribbean Chamber Music ANTH-E 600 | Autoethnography as Feminist Methods FOLK-F 638 | Issues in Latin American Music Scholarship AFRI-A 731/FOLK-F 755 | Seminar in Contemporary Africa/Folklore, Culture, and Society "Aesthetics of the Underground: Performing the Street in Africa
Fall 2021 - Undergraduate MUS-Z 213 | Latin American and Latino Popular Music and Culture MUS-F 330 | Foundations of Latin American and Caribbean Percussion* MUS-M 413 | Topics in Latin American Music: Variable Topics: History and Performance of Latin Jazz and Salsa* MUS-X 414 | Latin American Ensemble FOLK-F 497 | Advanced Undergraduate Seminar: Rethinking and Reworking Folklore and Ethnomusicology
Fall 2021 - Graduate MUS-M 510 | Topics in Music Literature: Jazz Around the World MUS-M 510 | Topics in Music Literature: Sound Recording: From Edison to Spotify MUS-M 510 | Topics in Music Literature: Race in American Music Theater MUS-M 513 | Topics in Latin American Music: History and Performance of Latin Jazz and Salsa* MUS-X 414 | Latin American Ensemble
Spring 2021 MUS-M 510/690: Latin American Music and Identity MUS-X 414: Latin American Ensemble
Fall 2020 MUS-M 510/MUS-M 690: Latin American Colonial Music MUS-M 413/MUS-M 513: History and Performance of Latin American Music MUS-Z 213: Latin American Popular Music MUS-X 414: Latin American Ensemble
Spring 2020 MUS-M 510/690: Music and Nationalism in Latin America MUS-X 414: Latin American Ensemble
Fall 2019 MUS-Z 213: Latin American and Latino Popular Culture and Music MUS-M 413 & MUS-M 513: History and Performance of Latin American Music MUS-X 414: Latin American Ensemble
Spring 2019 MUS-M 510: Latin American Colonial Music MUS-X 414: Latin American Ensemble
Fall 2018 MUS-Z 213: Latin American and Latino Popular Culture and Music MUS-X 414: Latin American Ensemble MUS-M 413 & MUS-M 513: History and Performance of Latin American Music
Spring 2018 MUS-X 414: Latin American Ensemble MUS-Z 213: Latin American and Latino Popular Culture and Music
2017 MUS-M 510/690: Music and Nationalism in Latin America MUS-M 413: History and Performance of Latin American Music MUS-X 414: Latin American Ensemble MUS-Z 213: Latin American and Latino Popular Culture and Music
2016 MUS-M 690 / MUS-M 510: Topics in Music Literature: Music of Colonial Latin America
2015 MUS- M 413/MUS-Z 413/LATS-L 400: Latin American and Latino Popular Music and Culture MUS-M 690/ MUS-M 510: Seminar in Latin American Music: 20th- Century Masters: Chávez, Villa-Lobos and Ginastera MUS-M 513: Latin American and Latino Popular Music Culture - A Historical Introduction to Brazilian Popular Music
