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Spring
2010 Undergraduate Courses
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The
Art of Listening -
V71.0003
Tuesday & Thursday 9:30 - 10:45 (Silver 320)
Instructor: Stephen Smith
Elements of Music - V71.0020
Monday & Wednesday 9:30 - 10:45 (Silver 320)
Please refer to Albert for lab sections
Instructor: TBA
Explores the underlying principles and inner workings of the tonal
system, a system that has guided all of Western music from the years
1600 to 1900. It includes a discussion of historical background and
evolution. The focus is on concepts and notation of key, scale,
tonality, and rhythm. Related skills in sight-singing, dictation, and
keyboard harmony are stressed in the recitation sections.
History of
European Music: Baroque & Classical - V71.0102
Tuesday & Thursday 9:30 -
10:45
(Silver 218)
Instructor: Rena Mueller
Topics include the works of Monteverdi, Vivaldi, J. S. Bach, Handel,
Haydn, Mozart, and Beethoven; the ascendancy of the secular over the
sacred resumed and maintained; a new harmonic basis for musical
structure: the basso continuo; the theatricalization of music in opera,
oratorio, and the cantata; the expansion of the span of time music can
sustain and, in the instrumental forms of sonata and concerto, a new
musical independence from nonmusical ideas; the concert as music’s own
occasion; musical autonomy in the symphonies and quartets of the
Viennese classicists.
History of
European Music: 20th Century Music - V71.0104
Monday & Wednesday 2:00 - 3:15 (Silver 218)
Instructor: Rick Carrick
Anthropology
of Music: African American Women and Music - V71.0153
Monday & Wednesday 2:00 - 3:15 (Silver 318)
Instructor: Maureen Mahon
This course will offer a critical, historical perspective on the music
and lives of key 20th century African American women artists. Focusing
on musicians working in blues, gospel, jazz, rhythm & blues, , rock
n' roll, funk, and rap, we will consider the sound and significance of
their musical expressions and the historical and social contexts in
which they were produced. We will use an interdisciplinary approach
that draws on ethnomusicology, popular music studies, African American
studies, black feminist criticism, history, cultural studies, biography
and autobiography as well as audio and visual recordings to discuss the
creative contributions of performers like Bessie Smith, Sister Rosetta
Tharpe, Billie Holiday, Etta James, Tina Turner, Betty Davis, Labelle,
Queen Latifah, and MeShell NdegeOcello and their place in broader
musical histories and canons. The course will place special emphasis on
exploring the impact of gender and genre choice on musicians' careers;
issues of performance and self-presentation; dynamics of race, class,
gender, and authenticity; and the construction and circulation of
images of black women and black femininity through music.
Exploring
the World's Music Traditions: Music and Nation - V71.0151
Monday & Wednesday 12:30 - 1:45 (Silver 218)
Instructor: Tala Jarjour
The idea of nation is one that has undergone numerous changes over the
last few decades, not least in countries that have hosted various
nations over the span of the past century. As music is a domain of
human expression that is susceptible to cultural and historical
influences, this course will consider the relationship between music
and the idea of the nation in a region where the concept of nationhood
has multiple meanings. The course will tackle the large questions of
music and nationalism in what is relevant to the countries studied.
Within the wider area of the Levant and North Africa, the focus will be
on the Arab world, where further intricacies are created by factors
such as regional diversity and pan-Arabism.
Harmony &
Counterpoint II - V71.0202
Monday & Wednesday 11:00 - 12:15 (Silver 318)
Instructors:
TBA
Please
refer to Albert for lab sections
General principles underlying tonal
musical organization. Students
learn concepts of 18th- and 19th- century harmonic, formal, and
contrapuntal practices. Weekly lab sections are devoted to skills in
musicianship and are required throughout the sequence.
Harmony &
Counterpoint IV - V71.0204
Tuesday & Thursday 2:00 - 3:15 (Silver 318)
Instructor: Louis Karchin
Please
refer to Albert for lab sections
The continuation of V71.0201- 002 covers
chromatic extensions of
tonality, intensive analysis of representative works from the tonal
literature, and more advanced contrapuntal practices of the 18th and
19th centuries. V71.0204 also includes an introduction to 20th-century
music theory and popular music.
Honors Seminar: Sources and Criticism in Music of the 19th and Early
20th
centuries - V71.0901.001
Tuesday 3:30 - 6:00 (Waverly 268)
Instructor: Rena Mueller
Examination and evaluation of primary documents (musical transcripts,
prints, etc.; libretti) for composers of the 19th and early 20th
centuries; codicological and paleographic properties, evaluations, and
determination of authenticity (work with catalogues from Sotheby's,
Christie's, and Stargardt). Composers include Beethoven, Granados,
Liszt, Rachmaninoff, Schubert, Schumann, Tchaikovsky, Verdi, and
Wagner; readings in criticism from original sources from the time
(newspapers, journals, diaries), and preparation of a final project on
a topic of the student's choosing.
Honors Seminar - Opera: Production,
Performance, Pleasure and Profit - V71.0901.002
Wednesday 3:30
- 6:00 (Waverly 268)
Instructor:
Suzanne Cusick
How do the desires for profit or pleasure from musical experiences
drive decisions about musical production and performance in the
"classical music" world? How can considering the convergence of
economics and aesthetics influence the way we who produce, perform, or
consume music in that world understand our musical experience?
This course will address these questions through study of the Spring
2010 production of Giacomo Puccini's Madama
Butterfly at New York City Opera. We will prepare ourselves to
think aesthetically about this production using such traditional
academic approaches as listening; viewing multiple productions on
video; study of the opera's score, libretto and literary sources;
consideration of Butterfly's impact
on popular culture (M. Butterfly,
Miss Saigon, Fatal Attraction, the performances of Boy George,
etc.); and discussion of critical literature that explores the work's
representations of gender, ethnicity and US imperialism. We will
prepare ourselves to think about this production as an economic act
with aesthetic (and political?) consequences by interviewing NYCO
personnel who have made crucial financial and artistic decisions
(staging, costuming, casting, interpretations of key roles, etc.).
Additionally, we will tour the theatre, the set and costume shops, and
attend rehearsals as well as at least one performance. Student term
projects will contribute to the critical literature on Butterfly by articulating
interpretations that take into account the economics, politics and
practicalities that inform live performance.
* Ability to read music helpful but not required.
CAS ADVANCED HONORS SEMINARS IN MUSIC
Beginnings
& Endings (& Middles) in Music and Arts - V28.0161
Tuesday & Thursday 11:00 - 12:15
(Silver
218)
Instructor:
Michael Beckerman
What are the strategies and approaches used to begin pieces of music?
What gestures signal conclusion in jazz, pop music, or African
drumming? How do we understand genres, such as opera and concerto,
that, in effect, begin more than once, when the curtain opens or the
soloist enters? This course looks at a broad repertoire of music, from
Beethoven's Fifth to I Heard It through the Grapevine, and from
worldbeat to hip-hop, in order to explore the way musical compositions
are started and stopped. But we also explore a realm stranger still:
the middle. For while middles have a reputation as expendable
transitions between points of importance, they are also places of great
mystery, where material too strange, too delicate, or too sexy to touch
the rest of the world finds a home. Although music will be at the core
of the course, we will also look comparatively at strategies in
Shakespeare and experimental theater, in films such as those by David
Lynch and the Coen Brothers, at examples from modern dance, and at
storytelling ranging from the Bible to Moby Dick to manga. This course
is designed to give students tools with which to ask new questions
about what kind of stuff goes where and why that might be.
* This course does count toward the Music major or minor.
Internship
-
V71.0981
Open to music majors and minors, in each
case with permission from the director of undergraduate
studies or music department chair.
Independent
Study - V71.0998
Seniors majoring in music who, in the
opinion of the department, possess unusual ability are permitted to
carry on individual work in a selected specialized area under the
supervision of a department member.
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