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Spring
2009 Graduate Courses
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Collegium
Musicum - G71.1002
Monday & Wednesday 6:00 - 8:00
Instructors: Stanley Boorman and Margaret Panofsky
Performance
ensemble concentrating on the music of the Middle Ages through the high
baroque and on neglected works or genres from other periods.
Ethnomusicology:
History & Theory - G71.2136
Monday 10:00 - 12:00 (Waverly 268)
Instructor: David Samuels
A
broad intellectual history of the discipline, surveying landmark
studies and important figures. Examines major paradigms, issues, and
frameworks in ethnomusicology. The relation of ethnomusicology to
others disciplines, and the relations of knowledge and power that have
produced them. Serves as an introduction to the field of
ethnomusicology.
Techniques of
Music Composition - G71.2162. 001 & 002
Tuesday 10:30 - 12:30 (Silver 268)
Instructor: Elizabeth Hoffman & Louis Karchin
Students
meet individually with a selected faculty member frequently throughout
the semester, to review and discuss their ongoing creative work. All
students enrolled in this course must also participate in a bi-weekly
seminar, led by rotating faculty, that will encompass discussions of
technical, aesthetic, and theoretical issues related to 20th/21st
century composition. These seminars may also include talks or
masterclasses by guests actively involved in the creation or
performance of new music.
Special
Studies - Toward a Critique of Sonic Latin Americanist Reason: 'Latin
Music' in the U.S. - G71.2198.
Thursday
2:00 - 4:00 (Waverly 268)
Instructor: Jairo
Moreno
Course
Description
Special
Studies - Music and the Construction of Race
- G71.2199.001
Monday 2:00 - 4:00 (Waverly 268)
Instructor: Maureen Mahon
The idea that race is a social construction has become a commonplace in
the humanities and the social sciences. In this course, we will examine
the ways scholars, critics, musicians, and audiences have constructed
race through their engagements with music.
We will read work by ethnographers, ethnomusicologists, musicologists,
historians, and cultural critics and take up some of the following
questions: How do we produce racial identities and ideas about
race through music? How have people created, deconstructed, challenged,
or changed racial meanings through their participation in or writing
about music? How do constructions of race affect our experiences and
understandings of music? How is race related to other categories of
identity (e.g., ethnicity, gender, sexuality, generation) and how are
these identities formed in relation to music? What can we learn about
music by focusing on race? What can we learn about race by focusing on
music?
Special
Studies - Voice and Vocality: A Collaborative Writing Seminar -
G71.2199.002
Wednesday 3:00 - 5:00 (Waverly 268)
Instructor: J. Martin Daughtry
The human voice has long been a
supersaturated trope and major aporia for scholars throughout the
humanities and social sciences. Voice has been presented as, among
other things: the result of a complex physiological process; a
privileged vehicle for communication; the universal musical instrument;
an autonomous aesthetic object; the mysterious residue of logos; a
principal site for the negotiation of (gendered, racialized, ethnic,
class-based) identities; a powerful metaphor for individual and
collective agency; and sonic evidence of the unique, embodied,
relational nature of individual human experience.
The past decade has witnessed an interdisciplinary wave of new
voice-centered scholarship, with philosophers (e.g., Cavarero, Dolar,
Ihde), scholars of media studies (e.g., Kahn), literature (e.g.,
Picker) and, yes, music (e.g., Tomlinson, Middleton, Abbate, Clayton,
Levin/Süzükei, Fox) producing significant theoretical
contributions to the topic. As further indication of the centrality of
voice to recent scholarship, a survey of books and articles that I
recently commissioned yielded over 5,000 entries written in the last
eight years alone. This experimental seminar is designed to embrace,
critique, and begin charting some reasonable trajectories through these
works.
After reading and discussing a small number of seminal works on voice,
seminar participants will divide my master bibliography of recent
literature into individual reading lists that balance their own
research interests with the needs of the collective. Rather than write
individual research papers, we will work together toward the production
of a large, collaboratively-authored review article for publication in
a peer-reviewed music journal. (Discussions with one potential editor
have already commenced.)
Graduate students from within and outside the department are welcome.
Due to the nature of the writing project, the number of participants
will be limited to eight. Please contact me (jmd19@nyu.edu) as soon as possible if
you are interested in enrolling.
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