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Graduate Music History Seminars Spring 2014

The History of Music in Film

MU 552 01
Credits: 3
Prequisites: Writing About Music, Music History 2
                      proficiency exam or review course
Meeting: Monday 10:00–12:50
Instructor: Dr. Jan Swafford

Course Description

This course will tour the history of film music and important film composers American and otherwise.

Topic Areas
Charlie Chaplin— City Lights and silent film music
Max Steiner— King Kong - the first Hollywood carpet score
Erich Wolfgang Korngold— Robin Hood and the grand Viennese/ Hollywood style
David Raksin— Laura and thematic scores
Bernard Hermann— Citizen Kane and the new approach Hermann initiated 
Anton Karas— The Third Man - a non-film score film score done entirely on zither
Alex North— A Streetcar Named Desire and the new jazz-oriented scores
Bernard Hermann—Vertigo and Psycho - scoring as atmosphere
Nino Rota— Juliet of the Spirits - Fellini and the Italian school
Ennio Morricone The Good, the Bad, and the Ugly - the Italian western and a new grand style
2001 - the classical compendium score, including music by Strauss and Ligeti
Toru Takemitsu— Ran - a score founded on Mahler and traditional Japanese music
Carter Burwell— No Country for Old Men - sound effects functioning as music


Textbook
FILM MUSIC: A HISTORY
James Wierzbicki
Routledge, 2008
ISBN: 978-0415991995
 

Art Song: 19th-Century to the Present

MU 552 02
Credits: 3
Prequisites: Writing About Music, Music History 2
                      proficiency exam or review course
Meeting: Tuesday 10:00–12:50
Instructor: Dr. Elizabeth Abbate 

Course Description
Studying selected songs from the Lieder tradition (Schubert, Schumann, Wolf, Brahms, and Mahler) as well as songs by Shostakovich, Messiaen, Ives, Crumb, Carter, and others, we will explore the complexities of the lyric world of art song through discussion and analysis.

Textbooks
COMPLETE SONG CYCLES
Franz Schubert 
Dover Publications, 1970
ISBN: 978-0486226491

RETRACING A WINTER'S JOURNEY: SCHUBERT'S 'WINTERREISE'
Susan Youens 
Cornell University Press, 1991 
ISBN: 978-0801499661

THE SONGS OF ROBERT SCHUMANN
Eric Sams
Faber & Faber, 2009 
ISBN: 978-0571242207




Mozart

MU 552 03
Credits: 3
Prequisites: Writing About Music, Music History 2
                      proficiency exam or review course
Meeting: Wednesday 10:00–12:50
Instructor: Dr. Elizabeth Seitz

Course Description
Mozart is the most important representative of High Viennese Classicism, yet during his lifetime, many critics thought his music was too complex and meant only for the connoisseur. This class will investigate why Mozart’s music was so challenging for his time. Attention will be paid to all the different genres in which he composed, such as the symphony, concerto, string quartet, chamber music, piano sonatas and, of course, opera.

Focus Repertoire
Lucio Silla
Idomeneo
Die Entführung aus dem Serail
Le nozze di Figaro
Don Giovanni
Die Zauberflöte
Symphony nos. 1, 31, 38, 39, 40, 41
Piano concerti nos. 5, 9, 13, 15, 20, 23 and 25
String Quartet nos.  4, 14, and 19
Violin Concerto nos. 1 and 5
String Quintet in c minor
Clarinet Quintet
Mass in C minor
Requiem

Textbook
MOZART'S LETTERS, MOZART'S LIFE
Robert Spaethling, ed.
W.W. Norton & Co., 2005
ISBN: 978-0393328301



Wagner/Verdi

MU 552 05
Credits: 3
Prequisites: Writing About Music, Music History 2
                      proficiency exam or review course
Meeting: Thursday 10:00–12:50
Instructor: Dr. Elizabeth Seitz 

Course Description

This 14-week course will explore the operas of Giuseppe Verdi and Richard Wagner. Though born in the same year, 1813, each composer approached the composition of opera in profoundly different ways. Wagner created his Gesamtkunstwerk, ushering in a new approach to through-composed, folk-based dramas. Verdi, however, remained more within the Italian operatic tradition, yet transformed his operas into a more continuous dramatic form. The differences between these two culture-heroes of the 19th-century will be explored within their cultural and historical contexts.

Focus Repertoire
Nabucco
Rigoletto
La Traviata
Aida
Don Carlo
Otello
Falstaff
Lohengrin
Tristan und Isolde
Das Ring der Niebelungen
Parsifal

Textbook
VERDI AND/OR WAGNER
Peter Conrad
Thames & Hudson, 2011
ISBN: 978-0500515938



TBD

MU 552 06
Credits: 3
Meeting: Thursday 10:00–12:50
Instructor: Dr. Andrew Shryock 

Course Description
coming soon



Opera History Survey

MU 553
Credits: 3
Prequisites: Writing About Music, Music History 1 and 2
                      proficiency exam or review course
Meeting: Tuesday 1:00–2:50
Instructor: Karen Ruymann  

Course Description
This course is designed to be an historical survey of the genre of opera from its inception through the present day with forays into discussions on the economic, social, philosophical, and political elements that contributed to the changes in this musical genre over the past two hundred years. 

Areas of Study
• Late Italian Renaissance, Academie, Monteverdi
• Italian Court Opera, Naples, Public opera – Venice – Late Monteverdi
• Lully, Ballet and French Opera, English Masque as forerunner to English Opera, John Blow, Purcell.
• Opera Seria and Handel, the librettos of Metastasio. 
• Gluckian Reform
• Mozart and Opera
• Romantic Opera: Italy – Early 19th Century: Rossini, Bellini, Donizetti
• Romantic Opera: Italy – Late 19th Century:  Verdi and the path to Continuous Opera
• Romantic Opera in Germany: Weber and Wagner
• Late 19th Century Romanticism: Naturalism, Verismo
• New French School: Debussy, Ravel, Satie vs. Second Viennese School: Berg


Texbooks
A SHORT HISTORY OF OPERA
Donald Jay Grout and Hermione Weigel Williams
Columbia University Press, 2003
ISBN: 978-0231119580

FIRST NIGHTS AT THE OPERA
Thomas Forrest Kelly
Yale University Press, 2006
ISBN: 978-0300115260


 

Ligeti

MU 559 01
Credits: 1.5
Prequisites: Writing About Music, Music History 2
                      proficiency exam or review course
Meeting: Monday 10:00–12:50, weeks 1–7
Instructor: Dr. Rebecca Marchand 

Course Description
This seven-week course will examine the major works of composer György Ligeti (1923-2006), in the context of biographical details and musicological milieus. Students will present on works according to the weekly topics organized primarily by genre: Choral Music, Electronica, &  Fluxus Works; Micropolyphony; Concertos; Chamber Music; Stage Works; and piano works.

Textbook
GYÖRGY LIGETI: MUSIC OF THE IMAGINATION
Richard Steinitz
Northeastern University Press, 2003
ISBN: 978-1555535513


 

The Mass in Church and Concert Hall

MU 559 02
Credits: 1.5
Prequisites: Writing About Music, Music History 1 and 2
                      proficiency exam or review course
Meeting: Monday 10:00–12:50, weeks 8–14
Instructor: Dr. Rebecca Marchand 

Course Description
This seven-week course will explore the role of the Mass as both a liturgical model and a concert genre. Beginning from its origins in plainchant to modern-day “masses” that bear little relationship to the liturgy, the Mass is a polemical genre that reflects historical tensions between sacred and secular music, as well as liturgy and theatrics. Major works by Machaut, Palestrina, Beethoven, Berlioz, Verdi, and Bernstein will frame class discussion regarding these larger questions.

Textbook
COURSE PACKET available from the Music Division Office 



Music of Johannes Ockeghem

MU 559 03
Credits: 1.5
Prequisites: Writing About Music, Music History 1
                      proficiency exam or review course
Meeting: Tuesday 10:00–12:50, weeks 8–14
Instructor: Dr. Scott Metcalfe

Course Description
Although his music is not widely known today, Johannes Ockeghem was regarded in the 15th-century as one of the greatest musicians of his era, and he is beyond a doubt one of the greatest composers of all time – complex, profound, and expressive. This course will offer an overview of Ockeghem's entire oeuvre, which is compact enough to survey, more or less complete, in seven weeks: about two dozen French songs, four motets, and just over a dozen Mass cycles, including a Requiem. Students will develop a sense of Ockeghem's creation in all three genres and grapple with the music, applying the tools of 15th-century theory as well as more modern methods. We will also consider questions of historical performance practice.

 

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