What are the connections between song and place—visual, musical, and otherwise? How can we describe these
connections--give them form?
Music and place have long been intertwined—and the particulars of place have given rise to some of our most
memorable songs. In the fall semester course we explored this question through old American songs (“On the
Banks of the Ohio,” “Shenandoah” “Red River Valley,” “ Sweet Home Chicago” along with many others). In this
new spring semester course, we’ll continue the exploration, ranging farther afield. The International Edition, as
it were, concentrating on the folksongs of Argentina (for example, Atahualpa Yupanqui’s “Viene Clareando” or
Jorge Cafrune’s “Zamba de Mi Esperanza”) and Russia (“Tonkaya Ryabina”--The Slender Mountain Ash, and
Mark Bernes’ “Shalandi” ), with a swing through Mexico for some corridos del tiempo de la Revolución (and
maybe Cuco Sanchez singing “Cama de Piedra”), touch down in the Nederlands (for a recording of a Dutch
country girl calling in her cows), and make at least one gritty stop-over in Kingston, Jamaica ca. 1972… (for
Max Romeo’s “Every Man Ought to Know,” and the Melodians’ “Rivers of Babylon”…with Ernest Ranglin on
guitar--eight bass notes that in many ways defined an era… And perhaps visit the retreat of guqin master high
on Huashan Mountain in southern China… Full itinerary to be confirmed on departure.