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Spring
2009 Undergraduate Courses
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The
Art of Listening:
V71.0003
Section 001 Tuesday & Thursday 9:30 - 10:45 (Silver 318)
Instructor: Amy Cimini
What exactly do we do
when
listen? Sigmund Freud thinks we can hear
unconscious wishes in one another’s voices; Ernst Bloch thinks that in
music we
can hear a future utopian social world; Maryanne Amacher makes music
that
sounds only within our inner ears.
These are just a few examples of the rich and diverse ways that
listening and
knowledge are historically linked, and in this course, we’ll examine
these
relationships using thinkers and artists
as varied as Immanuel Kant, Anthony Braxton, Ludwig van Beethoven,
Orson
Welles, John Cage, Annea Lockwood, Sun Ra and Francisco Lopez. Binding
an
introduction to music history to the diverse forms of listening that
are
crucial to making that history, this
course aims ultimately to expand, enrich and complicate our
understanding of
what is possible through listening as both a skill and a creative
act.
Section
002 Monday & Wednesday 8:00 - 9:15 (Silver 320)
Instructor: Allen
Roda
Elements of Music - V71.0020
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
****
Change of Day & Time***
Monday
& Wednesday 9:30 -
10:45
(Silver 218)
Instructor: Amy Brosius
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: TBA
Major revolutions of the early 20th century: Debussy, Schoenberg,
Stravinsky, Bartòk; and later serialism: Webern, Boulez,
Babbitt, Stockhausen. Discussion of Cage, minimalism, and other recent
developments.
The
Wagner Operas - V71.0136
Tuesday & Thursday 2:00 - 3:15 (Silver 218)
Instructor: Rena Mueller
The
Anthropology of Music: Hip-Hop Foundations - V71.0153
Monday & Wednesday 3:30 - 4:45
(Waverly 365)
Instructor: Joe Schloss
Since its birth over three decades ago in New York's African American
and Latino communities, hip-hop music has become the most influential
musical genre in the United States. Some hear in its lyrics a cry
against poverty and oppression, while others hear misogyny and
exclusion. What some see as a postmodernist art form - a creative and
diverse collage of appropriated sound - others see as musical theft.
Drawing from the disciplines of ethnomusicology, African American
studies, Latino studies and culture studies, this course will trace the
emergence of hip-hop, place it in cultural context, define its
constituent elements, and explore the aesthetic goals and methods of
its participants. This seminar will particularly emphasize the ways in
which hip-hop’s artistic agenda reflects the specific concerns of
working-class Afro-diasporic youth living in New York City in the
1970s, and how these specific choices have subsequently been
reinterpreted by more recent participants in different environments.
Harmony
&
Counterpoint II - V71.0202
Monday & Wednesday 11:00 - 12:15 (Silver 318)
Instructor:
Jairo Moreno
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 11:00 - 12:15 (Silver 318)
Instructor: TBA
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: Contemporary Opera - V71.0901.001
Tuesdays & Thursdays 3:30 - 4:45 (Waverly 268)
Instructor: Louis Karchin
The course will first examine some staples of the early 20th century
operatic repertoire, including Stravinsky's The Rake's Progress, and
Britten's Peter Grimes. It will then survey operatic works and stage
dramas of the late 20th/early 21st century by composers such as Ligeti,
Saariaho, Haas, and Lachenmann, among others. The operas will be
discussed from the multiple standpoints of music analysis, dramatic
impact, and their social and historical context. Prerequisites: Harmony and Counterpoint I
and II.
CAS
ADVANCED HONORS SEMINARS IN MUSIC
The
Pastness of the Present, The Presentness of the Past: Exploring
Historically Informed Performance and "Historically Involved
Composition" - V28.0159
Monday & Wednesday 12:30 - 1:45
(Waverly 365)
Instructor:
Elizabeth Hoffman
How have performers of notated Western musics resolved the interpretive
dilemmas that result from performing musics which arose amidst distant
historical conditions and traditions? Tracing 19th- and 20th- century
answers to this question, students will explore the historically
informed performance movement in music studies. Concurrently, we will
consider what this movement's hypothesis and ethics might reveal if
used as a framework for viewing composers' confrontations with past
style practices. The ultimate goal of the course is to give students a
new set of questions with which to interrogate musical culture in the
21st century, and an intellectual framework with which to formulate
their own responses and experience.
Case studies will be drawn from the baroque period and the 19th and
20th centuries, and will include selected examples of recent popular
musics. The course should be of interest to students majoring in music,
history, philosophy, and other disciplines in the humanities and social
sciences. There are no prerequisites
for this course. Reading music is strongly suggested, but is not
required.
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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