Collège universitaire / Undergraduate Program / Enseignements / Teachings
ﬁeldwork around a concert, and a written test on the day of the last class. Workload : Class meetings will be devoted to lectures, discussion and listening. Listening assignments may also be given. The ﬁnal essay will have to be based on some music discussed in the course (or a related approved topic), or on some ethnography / ﬁeldwork around a concert (concerts in Paris will be suggested during the semester). Students also have the possibility to maintain a process journal. Course Description : The many musics known as "jazz" (what we call the "jazzistic ﬁeld") have always been an expression of freedom – from the freedom of speech and of storytelling reinvented by the African American people by the means of voices and rhythms that one can also hear in the gospel and in the blues, in rock and in rap, to the freedom of interpretation and improvisation that this creative music has offered to other people internationally. Challenging notions of "high" and "low" arts, notions of "roots" (always in Africa ?) and "route" (always in the Western world ?), of identity and difference, of individuals and communities. And of alternative institutions. Questioning what is a structure, musically, socially, culturally. Throughout this course, we will try to understand creative music through some of its micro-musical aspects (i.e. its internal musical organization), and through some its macro-musical aspects (i.e. musical transformations as reﬂecting various social, cultural and political factors). As a consequence of this anthropology, our hope is also to move towards a new understanding of musical forms as social forms, i.e., of socio-musical forms and, more generally, of the forms of creative interaction which are shaping social structures and human history in the post-modern times. Required reading : W.E.B. Du Bois, Les âmes du peuple noir, Paris, Éditions Rue d'Ulm, coll. « Versions françaises », 2004 [I / 1903 : The Souls of Black Folk]). ; Paul Gilroy, The Black Atlantic. Modernity and Double Consciousness, Cambridge, Harvard University Press, 1993. ; Leroi Jones [Amiri Baraka], « Le Peuple du Blues », Paris, Gallimard – folio, 1997 [I / 1963 : « Blues People »]. ; Stuart Hall, Identités et Cultures – Politiques des Cultural Studies, Paris, Éditions Amsterdam, 2007 & Identités et cultures 2 – Politiques des différences, Paris, Editions Amsterdam,
2013. ; George Lipsitz, Dangerous Crossroads : Popular Music, Postmodernism, and the Poetics of Place, Londres, Verso, 1994.
POLITICAL ECONOMY OF CENTRAL BANKING
Semester : Spring Number of hours : 24 Language of tuition : English
Teachers : Philippine COUR (Economiste principal), Jean-Pierre LANDAU (Professeur associé à Sciences Po). Prerequisite : There is no prerequisite. Some students may ﬁnd it easier to follow the course if they have some grasp of macro-economic theory. Formalization is kept to a minimum, but the substance is presented in a rigorous way and students are expected to acquire analytical precision in the description of monetary evolutions. Pedagogical Format : Seminar Course validation : The evaluation is based on two multiple choice exams of one hour, each counting for 40% of the ﬁnal grade ; the remaining 20% will be allocated to individual participation during the class. Course Description : This course is about money and Central Banking : what money is ; how it is created ; how it moves around and what impact it may have on the economy. Students are introduced to the basics of money creation, the role of Central Banks, the theory of inﬂation, and monetary policy. We also analyse speciﬁcally the actions of the European Central Bank and the US Federal Reserve over the past decade, and address the global aspects of Central Banking. The objective is to acquire a good knowledge of the analytics and macroeconomics of Central Banking and gain some grasp of the policy and political challenges facing Central Banks. Required reading : Requir