Winter 2013 Courses

 

UNDERGRADUATE COURSES

 

MUSI 10100 Introduction to Western Art Music

Miriam Tripaldi, Meredeith Moretz

01 Tripaldi: TR 10:30 a.m. - 11:50 a.m., GoH 402
02 Moretz: MW 1:30 p.m. - 2:50 p.m., LC 703

This one-quarter course is designed to enrich the listening experience of students, particularly with respect to the art music of the Western European and American concert tradition. Students are introduced to the basic elements of music and the ways that they are integrated to create works in various styles. Particular emphasis is placed on musical form and on the potential for music to refer to and interact with aspects of the world outside.

Note(s): Background in music not required. Students must confirm enrollment by attending one of the first two sessions of class. During the Friday class time, students meet in separate labs in GOH 205, GOH 402, C 307 or C 309. The GOH 205 lab meets Friday, 11:30-12:20. This course meets the general education requirement in the dramatic, musical, and visual arts.

MUSI 10200 Introduction to World Music (=CRES 10200)

Kaley Mason, William Faber, Michael Figueroa

01 Mason: MW 10:30 a.m. - 11:50 a.m., LC 901
02 Faber: MW 3:00 p.m. - 4:20 p.m., LC 703
03 Figueroa: TR 3:00 p.m. - 4:20 p.m., LC 703

This course is a selected survey of classical, popular, and folk music traditions from around the world. The goals are not only to expand our skills as listeners but also to redefine what we consider music to be and, in the process, stimulate a fresh approach to our own diverse musical traditions. In addition, the role of music as ritual, aesthetic experience, mode of communication, and artistic expression is explored.

Note(s): Background in music not required. Students must confirm enrollment by attending one of the first two sessions of class. Keyboard labs for sections 01 and 02 will be held in LC 703 on T 10:30-11:30AM, W 12:30-1:30PM and R 9:30-10:30AM.This course meets the general education requirement in the dramatic, musical, and visual arts.

MUSI 10300 Introduction to Music: Materials and Design

Andrew McManus

TR 12:00 p.m. - 1:20 p.m., LC 901

In this variant of the introductory course in music, students explore the language of music through coordinated listening, analysis, and exercises in composition. A study of a wide diversity of musical styles serves as an incentive for student compositions in those styles.

Note(s): Background in music not required. Students must confirm enrollment by attending one of the first two sessions of class. This course meets the general education requirement in the dramatic, musical, and visual arts.

MUSI 10400 Introduction to Music: Analysis and Criticism

Chelsea Burns

TR 1:30 p.m. - 2:50 p.m., LC 703

This course aims to develop students' analytical and critical tools by focusing on a select group of works drawn from the Western European and American concert tradition. The texts for the course are recordings. Through listening, written assignments, and class discussion, we explore topics such as compositional strategy, conditions of musical performance, interactions between music and text, and the relationship between music and ideology as they are manifested in complete compositions.

Note(s): Background in music not required. Students must confirm enrollment by attending one of the first two sessions of class. This course meets the general education requirement in the dramatic, musical, and visual arts.

MUSI 12100 Music in Western Civilization - I (=HIST 12700, SOSC 21100)

Anne Robertson

MWF 9:30 a.m. - 10:20 a.m., C 307

This two-quarter sequence explores musical works of broad cultural significance in Western civilization. We study pieces not only from the standpoint of musical style but also through the lenses of politics, intellectual history, economics, gender, cultural studies, and so on. Readings are taken both from our music textbook and from the writings of a number of figures such as St. Benedict of Nursia and Martin Luther. In addition to lectures, students discuss important issues in the readings and participate in music listening exercises in smaller sections.

Note(s): During the Friday class time, students meet in separate labs in GoH 205, GoH 402, C 307 or C 309. The GoH 205 lab meets Friday 11:30 a.m. - 12:20 p.m. Prior music course or ability to read music not required. Students must confirm enrollment by attending one of the first two sessions of class. This two-quarter sequence meets the general education requirement in civilization studies; it does not meet the general education requirement in the dramatic, musical, and visual arts.

MUSI 15200 Harmony and Voice Leading - II

Stefan Love

01 Love: MWF 10:30 a.m. - 11:20 a.m., GoH 402
02 Love: MWF 11:30 a.m. - 12:20 p.m., GoH 402

This three-quarter sequence serves as an introduction to the materials and structure of Western tonal music. The first quarter focuses on fundamentals: scale types, keys, basic harmonic structures, voice-leading and two-voice counterpoint. The second quarter explores extensions of harmonic syntax, the basics of classical form, further work with counterpoint, and nondiatonic seventh chords. The third quarter undertakes the study of modulation, sequences, and additional analysis of classical forms. Musicianship labs in ear training and keyboard skills required.

PQ: MUSI 15100 or consent of instructor and ability to read music.

MUSI 23513 Musical Performances of Race/Gender/Sexuality (=CRES 23513)

Sidra Lawrence

TR 1:30 p.m. - 2:50 p.m., GoH 205

This course explores the relationships between race, sexuality, and gender in the context of musical performances. Understanding categories of race, gender, and sexuality as intersectional, we will explore the various ways that people construct their subjectivities and organize around issues of race, class, gender, and sexuality. Within each of these categories, multiple subjectivities emerge, allowing for us to investigate how different embodied experiences condition divergent perspectives. 

Structures of race, gender, and sexuality exist within broader systems of power and are not uniform. Thus we will explore various case studies from world musical cultures, contextualizing the historical and cultural parameters. Through locally grounded case studies we will investigate race, gender, and sexuality as embedded within hierarchical power structures. Moving beyond myopic interpretations of power and resistance, we begin with understanding conceptions of the self and ideological parameters as emergent, shifting, and continuously re-performed. We ask how people respond to the global phenomena of colonialism, neocolonialism, racism, sexism, capitalism, HIV/AIDS, and other forms of oppression through musical performance. Musical performance provides a fruitful ground for unearthing the subversive potentialities of both articulated and unarticulated resistance movements. 

The literature of the course draws from multiple bodies of feminist theory such as Black feminist thought, postcolonial feminisms, poststructuralist feminism, and global feminist perspectives. We will also utilize theoretical frameworks that provide a lens for exploring identity politics such as critical race theory and queer theory. As we seek to untangle issues of musical performance, embodiment, movement, and representation, we will draw from ethnomusicology, performance studies, postmodern anthropology, and postcolonial theory. We will draw linkages between the various bodies of literature, examining the entry points for investigating race, gender, and sexuality as performed categories of being. These theoretical positions serve to inform our studies; I ask students to reintegrate their area studies interests through these theoretical perspectives. 

Noting that race, gender, and sexuality are not only academic discourses, but political positions as well, we will consider conversations outside of the academy as authorities. This includes poetry, art, theater, literature, film, music, ethnography, and everyday life. Going further, we will problematize the structures of power that authorize certain discourses as legitimate and authorial while marginalizing others. Meets with MUSI 33513.

PQ: Any 10000-level Music course.

MUSI 23613 Popular Culture in the Middle East and North Africa (=NEHC 23613)

Shayna Silverstein

T 1:30 p.m. - 4:20 p.m., JRL 264

This course remaps popular culture of the contemporary Middle East and North Africa (MENA) in light of ongoing uprisings in this region. Expressive practices create senses of community at the same time that they may reinforce political and religious differences. Engaging popular culture as a means to identify newly emerging publics across the region, we will theorize the intersection of aesthetics, politicsm and religion, such as how Islamists turn to art for political and mobilizational purposes. We will utilize social media and theorize its role in disseminating creative practices. This course will develop historical and theoretical perspectives on materials ranging from literature and satirical comedy to protest song and slogans, including hiphop, dabke, and other forms of Arab street culture. Meets with MUSI 33613.

MUSI 24000 Composition Lessons

Andres Carrizo

This course consists of individual weekly composition lessons.

PQ: MUSI 15300 or consent of instructor.

Note(s): Students may enroll in this course more than once as an elective, but it may be counted only once toward requirements for the music major or minor.

MUSI 25013 Music and Philosophy

Michael Gallope

TR 1:30 p.m. - 2:50 p.m., GoH 402

What is distinctive about a philosophical explanation of musical experience? Through close examination of canonical readings from the nineteenth and twentieth centuries, this course will allow us to reflect critically on the ways in which philosophical discourse can inform, distort, deepen, broaden, or even silence our accounts of musical experiences, both past and present. Particular attention will be paid to the ways in which continental philosophers have tried to account for the development of modernist aesthetics since the late nineteenth century.

Questions we will confront include: Does music, itself, represent anything? How does its meaning (or lack thereof) relate to the meaning of opera libretti, song texts, and programmatic narratives? How does sung music present the human voice? Is music exclusively temporal, or does it have a distinct spatial dimension like architecture? Does its temporality bear any relationship to the temporality of life? Or is music a cryptic language that indicates something we cannot speak or think? Does it express something unique about the memory of human suffering and trauma? And what is music’s relationship to the body, to ecstasy, and to erotic desire? Meets with MUSI 35013.

PQ: Any 10000-level Music course.

Note(s): A reading knowledge of German and French will prove helpful, but it is not required.

MUSI 25113 Analysis of Music in the Classical Period, 1775-1825

Steven Rings

TR 10:30 a.m. -11:50 a.m., GoH 402

This course focuses on the analysis of music by composers associated with the Viennese classical period, including Haydn, Mozart, and Beethoven. Topics include classical phrase structure, standard tonal forms such as sonata-allegro, and basic chromatic harmony. Participants present model compositions and write analytical papers. Meets with MUSI 30913.

PQ: Any 10000-level Music course.

MUSI 26400 Introduction to Computer Music - II

Howard Sandroff

W 10:30 a.m. - 1:20 p.m., GoH 205

This two-quarter course of study gives students in any discipline the opportunity to explore the techniques and aesthetics of computer-generated/assisted music production. During the first quarter, students learn the basics of digital synthesis, the Musical Instrument Digital Interface (MIDI), and programming. These concepts and skills are acquired through lecture, demonstration, reading, and a series of production and programming exercises. Weekly lab tutorials and individual lab time in the department’s computer music studio are in addition to scheduled class time. Meets with MUSI 34800.

PQ: MUSI 26300 or consent of instructor. Rudimentary musical skills (but not technical knowledge) required.

Note(s): Basic Macintosh skills helpful. This course is offered in alternate years.

MUSI 26413 Modernist Movements: Stravinsky-Balanchine, Cage-Cunningham, and Others

Daniel Callahan

TR 3:00 p.m. - 4:20 p.m., GoH 205

Focusing on the work of the two most celebrated composer—choreographer teams in the twentieth-century United States—Igor Stravinsky and George Balanchine, John Cage and Merce Cunningham—this course will explore modernist choreomusicalities—i.e., relationships between music and dance—and their historical, cultural, and aesthetic contexts and implications. Following a quick overview of some influential predecessors (Duncan and various then dead canonical composers, Stravinsky and Nijinsky, Graham and Copland), we will view and read about choreographies ranging from Balanchine’s first ballet created in the U.S. (Serenade, 1934, to the eponymous music of Chaikovsky), Cage and Cunningham’s early “expressive” dances, two of the three Stravinsky-Balanchine “Greek” ballets (Apollo and Agon), and the chance-derived Cage-Cunningham Suite for Five all the way up to Cunningham’s chance-dependent 2003 collaboration with Radiohead and Sigur Rós, Split Sides. We will conclude with a brief examination of dance that is often labeled as postmodernist, including that of choreographers from the Judson Dance Theater, Mark Morris, and William Forsythe.

While exploring the formal, historical, and theoretical aspects of these collaborations, our ultimate goal will be to figure out what constitutes persuasive description of and discussion about the interaction between dance and music, two especially fugitive arts. We will read critics and scholars who have attempted to meet this challenge, and we will attempt it ourselves in several shared low-stakes response papers. In addition to our writing (including a final paper) and readings—not only from dance and music studies but also performance, American, modernist, art/visual, and gender/sexuality studies—we will view a considerable amount of video, likely attend a live performance together, and possibly even dance a bit ourselves. Meets with MUSI 36413.

PQ: Any 10000-level music course or the permission of the instructor.

Note(s): While the ability to read music would be helpful, anyone especially passionate about dance or the performing arts should not hesitate to contact the instructor.

MUSI 27200 Topics: History of Western Music - II

Robert Kendrick

MW 3:00 p.m. - 4:20 p.m., GoH 402

This sequence is a three-quarter investigation into Western art music, with primary emphasis on the vocal and instrumental repertories of Western Europe and the United States. MUSI 27200 addresses topics in music from 1600 to 1800, including opera, sacred music, the emergence of instrumental genres, the codification of tonality, and the Viennese classicism of Haydn and Mozart.

PQ: Any 10000-level Music course. Open to nonmajors with consent of instructor.

MUSI 28500 Musicianship Skills

Fusun Koksal

F 1:30 p.m. -2:50 p.m., JRL 264

This is a yearlong course in ear training, keyboard progressions, realization of figured basses at the keyboard, and reading of chamber and orchestral scores. Classes each week consist of one dictation lab (sixty minutes long) and one keyboard lab (thirty minutes long).

PQ: MUSI 15300 or consent of instructor. Open only to students who are majoring in music. Credit given in spring after completion of year's work.

MUSI 29113 Lohengrin Laboratory: Opera, Dramaturgy, and Stage Practice (=GRMN 39113)

Majel Connery & David Levin

W 1:30 p.m. - 4:20 p.m., LC 901

In 2014, the International Contemporary Ensemble (ICE) will stage a production of Salvatore Sciarrino's Lohengrin directed by Majel Connery, Executive Director of Opera Cabal, an experimental opera company based in New York City and Chicago. This team-taught, interdisciplinary seminar will serve as a laboratory for the production. The first half of the class explores in depth the work’s genesis (Wagner’s opera, Lohengrin) and subsequent adaptation (a short story by Symbolist poet Jules Laforgue which, in turn, is re-adapted for opera by Sciarrino). As a class we will cultivate a fluency with the theoretical stakes of these multiple Lohengrins (including Alain Badiou’s and Adorno’s writings on Wagner, Michel Poizat on voice, and Slavoj Žižek/Mladen Dolar on opera, voice and the gaze) in order, finally, to develop a suite of mini-Lohengrins—group-based scenic reflections and solutions. Meets with MUSI 39113.

Note(s): No previous experience staging opera is expected, although an interest in exploring the intersection of textual exegesis, conceptual analysis, and stage practice is essential. Students with an interest in any of the following are especially welcome: contemporary music, performance theory, dramaturgy, design, and/or directing.

MUSI 29700 Independent Study in Music

This course is intended for students who wish to pursue specialized readings in music or to do advanced work in composition.

PQ: Consent of instructor and Director of Undergraduate Studies.

Note(s): Students are required to submit the College Reading and Research Consent Form.

MUSI 29900 Senior Essay or Composition

PQ: Consent of instructor and Director of Undergraduate Studies.

Note(s): Students are required to submit the College Reading and Research Consent Form.

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GRADUATE COURSES

 

MUSI 30000 Reading Course

Note(s): Enter section from faculty list.

MUSI 30913 Analysis of Music in the Classical Period, 1775-1825

Steven Rings

TR 10:30 a.m. -11:50 a.m., GoH 402

This course focuses on the analysis of music by composers associated with the Viennese classical period, including Haydn, Mozart, and Beethoven. Topics include classical phrase structure, standard tonal forms such as sonata-allegro, and basic chromatic harmony. Participants present model compositions and write analytical papers. Meets with MUSI 25113.

MUSI 32400 Proseminar: Music from 1450-1600

Robert Kendrick

M 9:00 a.m. - 11:50 a.m., JRL 264

This course examines issues and contexts for European music in the period, concentrating on cultural meaning, transmission, improvisation, and sources. Students will do work with digital editions of Renaissance music, interactions between Europe and the Americas, and problems of gender and music.

 

MUSI 32800 Proseminar: Music from 1900-2000

 

SETH BRODSKY

M 1:30 p.m. - 4:20 p.m., JRL 264

MUSI 33000 Proseminar: Ethnomusicology

Philip Bohlman

T 9:00 a.m. - 11:50 a.m., GoH 205

The sea change through which musical scholarship has passed at the beginning of the twenty-first century would be unthinkable without the sweeping influences of ethnomusicology. Once thought to concern itself with the music of the Other, whether the cultures outside Europe or the social conditions of the rural and disadvantaged in Western society, ethnomusicology is now a comprehensive discipline at the center of musical scholarship. Ethnomusicological research enjoys a global reach, and it generates methods and theories that serve both the humanities and the social sciences. Ethnomusicology courses have also moved from the margins to the center of university music programs, where those courses are increasingly critical for all students, undergraduate and postgraduate. This dramatic rerouting of the intellectual history of musical scholarship will provide the road map that we follow through the “Proseminar in Ethnomusicology” in 2013.

Ethnomusicology in the twenty-first century also claims an historical longue durée that stretches across continents and cultures, providing us with the point of departure in the early weeks of the proseminar. In the first sessions we consider the history and historiography of ethnomusicology. Beginning with concepts of ontology and origins in music—the shaping of music’s multiple and culturally situated identities—we explore the ways in which encounter, collection, and analysis developed in such ways that music could have multiple forms as an object. The formation of repertories and genres that lent themselves to ethnomusicological study and theoretical formulation (e.g., Johann Gottfried Herder’s Volkslieder, “folk songs,” in the late eighteenth century, and the transnational appropriation of world music through the mass media in the late twentieth century) provide a common thread unifying the first part of the proseminar.

With the sessions in the second part of the course we navigate the present and move toward the future, where we explore the complex disciplinarity of ethnomusicology. The critical methodological presence of fieldwork and ethnography guide us into the themes of the second part. In the final weeks we turn toward the disciplinary directions of the new ethnomusicology at the turn of the present century, when ethnomusicological interest global popular music and sound studies led to further expansion of ethnomusicology as a field, which nonetheless meant that ethnomusicologists would different aesthetic and ethical questions as they entered new domains of the human sciences.

Graduate students in all subdisciplines of the Music Department are welcome to take this proseminar. Students from across the Social Sciences, Humanities, and Divinity, especially those whose studies involve area studies and the affective and expressive presence of the arts in culture, are similarly welcome to take the proseminar in Ethnomusicology.

MUSI 33513 Musical Performances of Race/Gender/Sexuality (=CRES 23513)

Sidra Lawrence

TR 1:30 p.m. - 2:50 p.m., GoH 205

This course explores the relationships between race, sexuality, and gender in the context of musical performances. Understanding categories of race, gender, and sexuality as intersectional, we will explore the various ways that people construct their subjectivities and organize around issues of race, class, gender, and sexuality. Within each of these categories, multiple subjectivities emerge, allowing for us to investigate how different embodied experiences condition divergent perspectives. 

Structures of race, gender, and sexuality exist within broader systems of power and are not uniform. Thus we will explore various case studies from world musical cultures, contextualizing the historical and cultural parameters. Through locally grounded case studies we will investigate race, gender, and sexuality as embedded within hierarchical power structures. Moving beyond myopic interpretations of power and resistance, we begin with understanding conceptions of the self and ideological parameters as emergent, shifting, and continuously re-performed. We ask how people respond to the global phenomena of colonialism, neocolonialism, racism, sexism, capitalism, HIV/AIDS, and other forms of oppression through musical performance. Musical performance provides a fruitful ground for unearthing the subversive potentialities of both articulated and unarticulated resistance movements. 

The literature of the course draws from multiple bodies of feminist theory such as Black feminist thought, postcolonial feminisms, poststructuralist feminism, and global feminist perspectives. We will also utilize theoretical frameworks that provide a lens for exploring identity politics such as critical race theory and queer theory. As we seek to untangle issues of musical performance, embodiment, movement, and representation, we will draw from ethnomusicology, performance studies, postmodern anthropology, and postcolonial theory. We will draw linkages between the various bodies of literature, examining the entry points for investigating race, gender, and sexuality as performed categories of being. These theoretical positions serve to inform our studies; I ask students to reintegrate their area studies interests through these theoretical perspectives. 

Noting that race, gender, and sexuality are not only academic discourses, but political positions as well, we will consider conversations outside of the academy as authorities. This includes poetry, art, theater, literature, film, music, ethnography, and everyday life. Going further, we will problematize the structures of power that authorize certain discourses as legitimate and authorial while marginalizing others. Meets with MUSI 23513.

MUSI 33613 Popular Culture in the Middle East and North Africa (=NEHC 23613)

Shayna Silverstein

T 1:30 p.m. - 4:20 p.m., JRL 264

This course remaps popular culture of the contemporary Middle East and North Africa (MENA) in light of ongoing uprisings in this region. Expressive practices create senses of community at the same time that they may reinforce political and religious differences. Engaging popular culture as a means to identify newly emerging publics across the region, we will theorize the intersection of aesthetics, politicsm and religion, such as how Islamists turn to art for political and mobilizational purposes. We will utilize social media and theorize its role in disseminating creative practices. This course will develop historical and theoretical perspectives on materials ranging from literature and satirical comedy to protest song and slogans, including hiphop, dabke, and other forms of Arab street culture. Meets with MUSI 23613.

MUSI 34000 Composition Lessons

Shulamit Ran, Marta Ptaszynska, Augusta Read Thomas

PQ: MUSI 26100 or consent of instructor.

MUSI 34100 Composition Seminar

Marta Ptaszynska

M 4:30 p.m. - 5:50 p.m., GoH 205
 

MUSI 34600 Orchestration

Cliff Colnot

T 6:45 p.m. - 8:30 p.m., GoH Fulton Recital Hall

Note(s): This class meets Jan. 8, Jan. 29, Feb. 5, Mar. 5, Apr. 2, Apr. 16, and May 28. Class time will vary: on 2/5, 3/5 and 4/2, class will meet at 5:15-8:30pm.

MUSI 34800 Introduction to Computer Music - II

Howard Sandroff

W 10:30 a.m. - 1:20 p.m., GoH 205

This two-quarter course of study gives students in any discipline the opportunity to explore the techniques and aesthetics of computer-generated/assisted music production. During the first quarter, students learn the basics of digital synthesis, the Musical Instrument Digital Interface (MIDI), and programming. These concepts and skills are acquired through lecture, demonstration, reading, and a series of production and programming exercises. Weekly lab tutorials and individual lab time in the department’s computer music studio are in addition to scheduled class time. Meets with MUSI 26400.

Note(s): Basic Macintosh skills helpful. This course is offered in alternate years.

MUSI 35013 Music and Philosophy

Michael Gallope

TR 1:30 p.m. - 2:50 p.m., GoH 402

What is distinctive about a philosophical explanation of musical experience? Through close examination of canonical readings from the nineteenth and twentieth centuries, this course will allow us to reflect critically on the ways in which philosophical discourse can inform, distort, deepen, broaden, or even silence our accounts of musical experiences, both past and present. Particular attention will be paid to the ways in which continental philosophers have tried to account for the development of modernist aesthetics since the late nineteenth century.

Questions we will confront include: Does music, itself, represent anything? How does its meaning (or lack thereof) relate to the meaning of opera libretti, song texts, and programmatic narratives? How does sung music present the human voice? Is music exclusively temporal, or does it have a distinct spatial dimension like architecture? Does its temporality bear any relationship to the temporality of life? Or is music a cryptic language that indicates something we cannot speak or think? Does it express something unique about the memory of human suffering and trauma? And what is music’s relationship to the body, to ecstasy, and to erotic desire? Meets with MUSI 25013.

Note(s): A reading knowledge of German and French will prove helpful, but it is not required.

MUSI 36413 Modernist Movements: Stravinsky-Balanchine, Cage-Cunningham, and Others

Daniel Callahan

TR 3:00 p.m. - 4:20 p.m., GoH 402

Focusing on the work of the two most celebrated composer—choreographer teams in the twentieth-century United States—Igor Stravinsky and George Balanchine, John Cage and Merce Cunningham—this course will explore modernist choreomusicalities—i.e., relationships between music and dance—and their historical, cultural, and aesthetic contexts and implications. Following a quick overview of some influential predecessors (Duncan and various then dead canonical composers, Stravinsky and Nijinsky, Graham and Copland), we will view and read about choreographies ranging from Balanchine’s first ballet created in the U.S. (Serenade, 1934, to the eponymous music of Chaikovsky), Cage and Cunningham’s early “expressive” dances, two of the three Stravinsky-Balanchine “Greek” ballets (Apollo and Agon), and the chance-derived Cage-Cunningham Suite for Five all the way up to Cunningham’s chance-dependent 2003 collaboration with Radiohead and Sigur Rós, Split Sides. We will conclude with a brief examination of dance that is often labeled as postmodernist, including that of choreographers from the Judson Dance Theater, Mark Morris, and William Forsythe.

While exploring the formal, historical, and theoretical aspects of these collaborations, our ultimate goal will be to figure out what constitutes persuasive description of and discussion about the interaction between dance and music, two especially fugitive arts. We will read critics and scholars who have attempted to meet this challenge, and we will attempt it ourselves in several shared low-stakes response papers. In addition to our writing (including a final paper) and readings—not only from dance and music studies but also performance, American, modernist, art/visual, and gender/sexuality studies—we will view a considerable amount of video, likely attend a live performance together, and possibly even dance a bit ourselves. Meets with MUSI 26413.

Note(s): While the ability to read music would be helpful, anyone especially passionate about dance or the performing arts should not hesitate to contact the instructor.

MUSI 36913 Twelve-tone Counterpoint

Marta Ptaszynska

MW 3:00 p.m. - 4:20 p.m., GoH 205

The course is specifically designed for graduate composers. The aim of the course is to acquaint the students with 12-tone polyphony, in strict and free dodecaphonic writing.

Emphasis is put on strict 12-tone polyphonic writing in all principal species as well as in more advanced forms of two- and three-part miniatures and inventions. Also, the course will explore in depth more extended types of dodecaphonic writing.

MUSI 37200 History of Music Theory - II

Lawrence Zbikowksi

W 9:00 a.m. - 11:50 a.m., JRL 264

This course explores topics in the history of music theory from the seventeenth through twentieth centuries (with excursions into the sixteenth and twenty-first centuries as necessary). We will focus on a range of topics, including

  • scientific empiricism and music theory
  • musical rhetoric
  • the transition from modal to tonal thinking
  • the partimenti tradition
  • harmonic theory in the eighteenth and nineteenth centuries
  • theories of modulation and tonality
  • theories of form
  • theories of musical rhythm
  • hermeneutic and semiotic approaches to musical analysis

Although secondary literature on these topics will be an important part of the assigned readings, our focus will be on primary sources. Not all of these have been translated, and so a reading knowledge of French and German will be useful. (Of course, secondary sources may be in either of these languages as well.)

In addition to doing the readings and participating in class discussion, students will make a short presentation on conceptual material relevant to the course and complete two brief analysis assignments. There will be a final exam similar in design to the theory essay exams given during comprehensives.

MUSI 38000 Orchestral Conducting

Barbara Schubert

R 3:00 p.m. - 5:00 p.m., LC 803

This year-long course provides an introduction to the art, the craft, and the practice of orchestral conducting. The course is targeted particularly toward graduate students in Music Composition, and toward experienced musicians familiar with the basic orchestral repertoire as well as the fundamental procedures of orchestral playing. Ideally, all students enrolled in the course should have had several years’ experience playing in a symphony orchestra or other musical ensemble. Proficiency in sight-reading and ear-training, as well as basic keyboard skills, are prerequisites for the course, but will not be specifically included in the curriculum.

Through a combination of classroom work and extra ensemble sessions, the student will gain significant practical experience in conducting. Weekly classroom sessions will incorporate singing, keyboard work, and instrumental participation by class members and guest musicians. Important technical exercises will be assigned every week, as well as modest reading selections. Periodic ensemble sessions will involve small groups of eight to twelve players, and occasionally as many as twenty or thirty players. Several short papers and classroom presentations will be assigned each quarter, in conjunction with the background readings and classroom work. In all, the goal is to develop an understanding and appreciation of the serious responsibilities and the creative possibilities linked to the conductor’s role, as well as to promote a basic proficiency in the craft of conducting.

Note(s): The overall work load of the course is commensurate with a one-third course load per quarter. Students receive course credit only upon completion of the entire year’s work. Students should register for the course in all three quarters; they will receive an ‘R’ in autumn and winter, and a final grade in the spring.

MUSI 39113 Lohengrin Laboratory: Opera, Dramaturgy, and Stage Practice (=GRMN 39113)

Majel Connery & David Levin

W 1:30 p.m. - 4:20 p.m., LC 901

In 2014, the International Contemporary Ensemble (ICE) will stage a production of Salvatore Sciarrino's Lohengrin directed by Majel Connery, Executive Director of Opera Cabal, an experimental opera company based in New York City and Chicago. This team-taught, interdisciplinary seminar will serve as a laboratory for the production. The first half of the class explores in depth the work’s genesis (Wagner’s opera, Lohengrin) and subsequent adaptation (a short story by Symbolist poet Jules Laforgue which, in turn, is re-adapted for opera by Sciarrino). As a class we will cultivate a fluency with the theoretical stakes of these multiple Lohengrins (including Alain Badiou’s and Adorno’s writings on Wagner, Michel Poizat on voice, and Slavoj Žižek/Mladen Dolar on opera, voice and the gaze) in order, finally, to develop a suite of mini-Lohengrins—group-based scenic reflections and solutions. Meets with MUSI 29113.

Note(s): No previous experience staging opera is expected, although an interest in exploring the intersection of textual exegesis, conceptual analysis, and stage practice is essential. Students with an interest in any of the following are especially welcome: contemporary music, performance theory, dramaturgy, design, and/or directing.

MUSI 41000 Graduate Colloquium: Music

Staff

GoH Fulton Recital Hall
 

MUSI 41500 Dissertation Proposal Seminar

Lawrence Zbikowski

R 9:00 a.m. - 11:50 a.m., JRL 264

The purpose of this seminar is to assist students (typically in their third year) in crafting a dissertation proposal, gaining critical feedback from their peers, and honing compelling research projects. The meeting schedule of the seminar will be flexible: beginning in the fourth week of Autumn term, we will meet about once every two weeks; it may be, however, that we pick up the tempo a bit during Winter term, such that during Spring term we can slow it down a bit to allow students more time to work with their advisors on the formulation of their research projects.

Note(s): Participants will include students in Ethnomusicology and History/Theory who are writing dissertation proposals, as well as Composition students working on a Minor Field Paper.

MUSI 42113 The Silence of Music

Philip Bohlman

W 2:00 p.m. - 4:50 p.m., GoH 205

Music is always far more than sound, for it ceaselessly strives to be more than itself. It is be-cause music pushes beyond the bounds of the sonic that the aesthetic, sacred, and political accrue it, affording it the multiple conditions of power. During the course of this seminar we examine the metaphysics and ontologies of music in ways that allow us to respond to music in its frightening fullness, the silence that, at once, can result either from the absence of sound or from the deafening impact of music in the service of power. The silence of music embodies multiple meanings, ranging from the absence of being to the negation of being. If concepts of music privilege the soundedness of music, the themes we explore in the seminar draw us into a counterintuitive way of understanding how music comes into being and what kinds of cultural work it mobilizes. We seek ways to identity and understand the conditions of music that lie beyond sound, experiencing music not just as “humanly organized sound,” one of the standard definitional strategies of ethnomusicology, and making a disciplinary move that stretches beyond the limits of even those new academic formations, among them “sound studies,” that still approach sound as if it is a given in the perception of music.

We begin the seminar by broadening the aesthetic considerations brought to bear on music, drawing from Western and non-Western musical thought, as well as the aesthetic use of mu-sic in religious traditions throughout history. We modulate from myth to history by turning to historical considerations that arose from the encounter unleashed by the Age of Discovery. Midway through the seminar we introduce additional aesthetic registers by turning to the body as a site of response and perception, not simply as a means of sound production. Following its affective emergence, however, the body falls victim to the full force of modernity, the genocides that calibrate our own age. Revival with its musical and sacred meanings, bring us in the final weeks to our inconclusive conclusion, the history of the present that a multidisciplinary musical scholarship makes possible. The individual themes we trace during the weeks of the seminar afford us possibilities to follow distinctive historical paths, alternatives to the silencing impact of a hegemonic Western music history. The religio-aesthetic foundations of the seminar lie in the renewing forces of ontology, eschatology, and soteriology, which give us new ways of listening beyond sound to experience musical meaning.

Note(s): Graduate students in all disciplines of Music are welcome to take this seminar. Students from other departments, especially those for which the aesthetics, politics, and sacred meanings of music play a significant role, are similarly welcome to take the seminar.

MUSI 43013 Case Studies in the Postwar Avant-Garde

Seth Brodsky

F 10:30 a.m. - 1:20 p.m., JRL 264

This seminar will tack between two weaving paths: first, an engagement with some of the most important actors in postwar European composition; and second, an introduction to the work of psychoanalyst Jacques Lacan and his recent readers, and its musical application.

The first, and substantially wider path entails an exploration of issues in postwar European modernism via four of its most established, influential, and idiosyncratic composers: Italy’s Luciano Berio (1925-2003), Hungary’s György Ligeti (1923-2006), and Germany’s Helmut Lachenmann (b. 1935) and Wolfgang Rihm (b. 1952). Disparate in style and technique, allegiant to different aesthetic and political traditions, they nonetheless share some “elective affinities,” in particular their (not entirely avowed) sympathy with T.W. Adorno’s Gordian Knot of a claim that “art must be and wants to be utopia,” but simultaneously “will not allow itself to be utopia”. In the course of our explorations, we’ll become intimately acquainted not only with the works, but also the discursive world (essays, interviews, analyses) of each of these composers. We’ll also look closely at the work of Adorno and its complicated influence on these composers, concentrating in particular on writings from the long decade after his return to Germany.

At the same time, this seminar will also provide some strategically awry perspectives on its material via theories and concepts from Lacanian psychoanalysis, both through Lacan and others (Žižek, Fink, Verhaege, et al.). We’ll concentrate particularly on the Lacanian notion of fantasy, and its promising capacity for bridging the psychic, ideological, and music-analytic registers of the texts taken up. How, for instance, can the “impossible relationship” between art and utopia staged in Adorno’s writings be read with (and not simply onto!) the stagings of similarly impossible relationships between stasis and articulation in Ligeti; object and gloss in Berio; form and hunt in Rihm; tone and noise in Lachenmann? And how might these stagings reveal the entanglement of the composer’s political/cultural arena and writing desk?

MUSI 43113 Tonalité

Thomas Christensen

T 9:30 a.m. -12:20 p.m., JRL 264

In 1832, the Belgium musicologist Joseph-Francois Fétis presented a public lecture in Paris in which he elaborated an ambitious theory of musical “tonalité.” Although the details of his theory were heavily disputed over the next decades by scholars, Fétis’s terminology nonetheless proved indispensable, one that we continue to use—and argue about—to this day.

In this seminar, I want to use Fétis’s writings as a jumping-off point in order to consider many of the wider ramifications that the concept of tonality had in a variety of musical sub-fields in the 19th century (with occasional nods towards 20th-century scholarship). We will explore four main areas: historical musicology, ethnomusicology, music theory, and composition.

1. Fétis’s rigid bifurcation of music into “modern tonality” and “plain-chant tonality” (a division that he pinned precisely at the year 1605), led to a vigorous debate among scholars regarding the empirical semiotics of tonality. In particular, scholars who were then beginning to study Gregorian chant as part of the nascent chant-reform movement (de la Fage, Danjou, d’Ortigue) argued about the nature of ecclesiastical modality (with important implications to their reading and editing of chant and early polyphony). Fétis’s theory was also critical to the historiography of music in the 19th century, with its quasi-Hegelian trajectory of tonal consciousness over time pointing tantalizingly to its future development.

2. A number of scholars in the 19th century began to turn their attention to the vernacular and popular songs of the Middle Ages (e.g. Coussemaker, Tiersot, Kiesewetter), finding in this music remarkable premonitions of modern tonality. A question arose, then, whether modern tonality as we know it had secular origins that long predated Fétis’s cutoff date. (The answer was not obvious, since many of these same scholars claimed to find latent modal tendencies in the repertoire of the popular Chanson that they were then collecting and analyzing.)

3. At the same time, a few musicologists were beginning to look at the music of many non-Western cultures (particularly Arabic and East Asian). Problems about the nature of their “tonalities” raised intriguing possibilities about the existence of a “universal” origin for music, as well as more Orientalist prejudices regarding the evolution of music from “primitive” tonalities.

4. It’s not surprising that many theorists took a turn in this debate. We will look at their research into the sub-disciplines of harmony, music psychology, tuning theory, and acoustics by which tonality was reified. Fétis’s reception by German theorists such as Riemann will also be considered. Not to be left out are some of the more eccentric tonal theories of the time penned by an odd assortment of mystics, theosophists, numerologists, and Orientalists.

5. Finally, we will want to spend some time looking at the implications of this wide-ranging debate upon composers. Many composers of the 19th century were acutely aware of the work of their scholarly compatriots and responded to it in their music. (Liszt is perhaps the supreme example, with his late experimental works such as the “Bagatelle without tonality”). More to the point, the “tonality of the future” of Wagner, with it stimulating chromaticism and modulatory excess, posed a special political challenge to French artists, one that was often approached in two ways: either through capitulation (Saint-Saens, d’Indy) or by a retreat into a kind of idealized Gothic modalism—the latter mocked by Richard Taruskin as “getting rid of the glue.” In short, an acute self-consciousness of “tonality” both past and present, French or German, Western or not, proved to be an important stimulant (or constraint) to many composers of the later 19th century.

Note(s): Many of the readings we will look at are in English, although a number of them will also be in French. So it is advisable that you have some ability in French if you plan to register for this class. A single seminar paper will be due at the end of the quarter.

MUSI 45313 Power Plays: Opera and Politics, ca. 1750-1800

Erling Sverdrup Sandmo

R 1:30 p.m. - 4:20 p.m., JRL 264

The second half of the 18th century was a time of intense interest in the psychological effects of music, in the effects of pleasure on subjectivity, and in politics. This course deals with the political context of opera and vice versa between Rousseau’ Letter on French Music (1753) and the French revolution and the deaths of Mozart and Gustav III in the early 1790s. The main objective is to try out different ways of connecting music drama and political power, partly by reading operas as reflections on political issues and topics, partly by exploring various conceptions of power in light of music history. France and Gustavian Sweden provide two spectacular case studies, but we will be discussing a broad operatic repertoire – and a whole spectre of ways of writing histories of music and culture. The course will be based on recent literature, operas from Rousseau via Gluck and Haydn to Kraus and Mozart, as well as contemporary texts, such as Rousseau’s Letter, Charles Burney’s travel journals, reviews, and essays on the effects and politics of music.