The explosive changes of the last hundred years have created one of the most tumultous but exciting periods of the arts in history. Art music has matched the last century's diversity and change, mirrored its excitement and tragedies. As we move into the twenty-first century art music has continued to challenge as it has begun to break down barriers between high and low art, between East and West, old and new. This course is a creative look at these multifaceted styles, techniques, and expressions that have made art music so powerful.
Because our focus will be on the "classical" tradition, we will not have time in this class to cover popular music, folk music, or music entirely outside of the Western tradition, except as they relate to music in the Western classical tradition. However, this is not to imply by any means that such music is better or more worthy of study.
The materials for this course will include the following:
Discussions, questions, and updates on assignments between classes will be made through the class electronic mailing list: mus-104-l (the last character is an L, not a one). If you are preregistered, you should already be subscribed.
Because this course includes some reading and analysis of musical scores, some ability to read music is a prerequisite. If you are in doubt about your fulfillment of this requirement, please talk to me. Otherwise, students may come to this course from a variety of backgrounds, from music majors to those with only a basic knowledge of music theory and music in the twentieth century. Our class discussions and lectures will be aimed at involving everyone, though assignments may be customized with students' different goals and backgrounds in mind. That is, music majors may receive different assignments and be graded with different expectations, though the amount of work and time required will be the same for all students.
|Reading responses||10 x 3%|
|CD responses||3 x 7%|
|3 Projects||3 x 10%|
This is a class about listening to music. Therefore it is imperative that you listen to the assigned CDs very carefully and several times. Concentrate while listening and take notes. Keeping current and prepared to discuss all assigned listening and reading will also form part of your participation grade.
|Date||Topic||Assignment due||Reading due||Terms to know|
|Aug. 31||Listening guide|
|Sep. 5||Music and culture at the turn of the 20th century||Ross 3-32|
|Sep. 7||Impressionism and modalism||Reading response 1||Ross 33-45||Impressionism, pentatonic, non-diatonic, whole-tone, neo-modalism|
|Sep. 12||Expressionism and free atonality||CD response 1: CDs 1 & 2||Ross 45-73||extended tonality, free atonality, klangfarbenmelodie|
|Sep. 14||Early Stravinsky||Reading response 2||Ross 74-93||polytonality, polyrhythm, primitivism|
|Sep. 19||Modernism in France||Project 1 proposal||Ross 93-119||Les Six, Futurism, Dada|
|Sep. 21||Neoclassicism||Reading response 3||Ross "Prince Igor"||Neoclassicism|
|Sep. 26||Twelve-tone music||Project 1 interim||Ross "Whistling in the Dark"||twelve-tone method, tone row, inversion, retrograde, invariance, combinatoriality, cyclical permutation|
|Sep. 28||Ultramodernism and Jazz in the USA||Reading response 4||Ross 120-156||dissonant counterpoint, microtonality, tone cluster, symphonic jazz|
|Oct. 3||New Objectivity||Project 2 proposal||Ross 178-212; Rockwell: "The Enigma of Kurt Weill"||gebrauchsmusik|
|Oct. 5||Soviet music||Reading response 5||Ross 215-259||Socialist Realism|
|Oct. 10||No class||Project 2 interim|
|Oct. 12||No class||CD response 2: CDs 3 & 4|
|Oct. 17||Fall break|
|Oct. 19||Modernist Nationalism|
|Oct. 24||Nationalism in the USA||Project 2||Ross 260-304|
|Oct. 26||Music in Hitler's Germany||Reading response 6: Modern Music article||Ross 305-354; Modern Music article|
|Oct. 31||Post-war serialism||Ross 386-446||serialism, integral serialism, metric modulation|
|Nov. 2||Chance music||Reading response 7||Schiff "Ah, for the Days When New Music Stirred the Blood"||chance music, aleatory, graphic notation, indeterminacy|
|Nov. 7||Electronic music and postserialism||CD response 3: CDs 5 and 6||Ross "White Noise"||analog synthesis, computer music, modular synthesizer, musique concrète|
|Nov. 9||HSA advising: No class||Reading response 8|
|Nov. 14||The post-serial avant garde||Ross 444-472||texture composition, stochasticism|
|Nov. 16||1960s experimentalism||Reading response 9: Source magazine||Source magazine article||happening|
|Nov. 21||Minimalism||Project 3 proposal||Ross 473-511||minimalism|
|Nov. 23||New Romanticism||Reading response 10||Ross 512-539||New Romanticism|
|Nov. 28||Postminimalism||Project 3 interim||Fink: "Repeating Ourselves"|
|Nov. 30||Postmodernism||Reading response 11||Ross: "The Harmonist"||postmodernism|
|Dec. 5||Postmodernism||Project 3||Sandow: "New Music and the Orchestra Audience"|
|Dec. 7||Discussion, course evaluation|
|Dec. 14 2:00 pm||Final Exam|
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