Music Program Classes
Click here to see preview of schedule for FALL
2002 CLASSES
Spring 2002 Classes at the Graduate Center
|
Monday |
Tuesday |
Wednesday |
Thursday |
Friday |
10am-
1pm |
Music
88100
Music of Africa
Prof. Blum
3cr., Rm. 3491
|
Music
85400
Schenker II
Prof. Burstein
3cr., Rm. 3491
|
Music
86600
Enlightenment
Prof. Kramer
3cr., Rm. 3389
|
Music
81504
20th C. Perf. Practice
Prof. Peress
3cr., Rm. 3491
|
Music
85800
Modernist Analysis
Prof. Rupprecht
3cr., Rm. 3389
Music 86700
Words & Music
Prof. Atlas & Hanning
3cr., Rm. 3491
|
2pm-
5pm |
Music
83500
World Music Culture
Prof. Manuel
3cr., Rm. 3389
Theatre 80200
Musical Theatre
Prof. Savran
(NB: 4:15-6:25pm) |
Music
86300
Jazz in NY
Prof. Taylor
3cr., Rm. 3389
|
Music
86000
Movie Musical
Prof. Graziano
3cr., Rm. 3491
|
Music
82000
Analysis for Performers
Prof. Basquin
3cr., Rm. 3389
Music 84000
Theory Pedagogy
Prof. Straus
3cr., Rm. 3389
[50061] |
|
6pm-
9pm |
Music
81501
Film Music
Prof. Brown
3cr., Rm. 3491
[50057] |
English
80200
Hotel Women
Prof. Koestenbaum
(NB: 6:30-8:30pm)
3cr., Rm. 3491 |
|
Music
89200
Composers Forum
Prof. Olan
(NB: 7-9pm)
0cr., Rm. 3389 |
|
Note that Graduate Center students may take (with permission) classes at other CUNY campuses.
Music 81501 Seminar in Music History;
Film Music
(Cross Listing with Theatre 81500-Seminar in Film Studies: Film Music)
Monday , 6-9pm, Rm. 3491 3 credits Prof. Brown [50057]
The course will examine the entire phenomenon of film music and the technical, artistic,
aesthetic, psychological, and political problems it poses. As an ongoing process, we will
track the evolution of film music and how its metamorphoses run parallel to and diverge
from those in the art and commerce of the cinema. For the "classical" film
score, we will examine essential differences between film and concert music. Scores will
be studied in the light of how the composer has solved both the musical and dramatic
problems at hand, and we will discuss the ways in which varying musical styles, from
romantic to avant-garde, have been deployed in the cinematic context. In many instances,
the musical score opens doors onto deeper readings of the filmic text, and we will explore
some of the ways in which this occurs. The movement of film music into non-classical
areas, in particular pop and jazz, will also be examined, as will the recent shift towards
electronics (synthesizers, sampling, etc.) and new tendencies in film/music interactions,
such as the breakdown of the distinction between source (diegetic) and nondiegetic music.
Numerous examples from films and scores will be presented in class. Video copies of
complete films, including documentaries on composers such as Bernard Herrmann, Jerry
Goldsmith, Toru Takemitsu, and Georges Delerue, will be available for viewing in the
library. When possible, film composers such as Howard Shore will be invited to come to the
class and talk about their work. I am also working on a way of making copies of one entire
film score available to students taking the course.
Music 81504 Performance
Practice: 20th Century
Thursday, 10am -1pm Rm. 3491 3 cr Prof. Peress [ 50058 ]
A study of the music of Antheil, Bernstein, Crumb, Ellington, Feldman, Gershwin, Ives, and
Stravinsky. Special emphasis will be given to American com-posers whose broad range of
vernacular-inspired styles pose interpretive challenges alongside the technical problems
usually faced by the modern performer: polyrythms, unusual instrumentation, layered tempi,
and aleatoric music. Students will be asked to prepare applicable works for instrument or
voice.
Music 82000 Analysis for
Performers
Thursday, 2-5pm, Rm. 3491 3 cr Prof. Basquin [50059 ]
Analysis of various works in tonal and post-tonal styles, with emphasis on those aspects
(harmonic, melodic, structural, rhythmic and thematic) that influence performance
decisions. Students will prepare works for analysis and performance in class. Assigned
readings, listenings, short weekly analyses and a longer final paper are required. This
course is intended for and required of all students in the DMA program. Limited to 15
students.
Music 83500 Seminar in
Ethnomusicology: Globalization, Diasporas, and World Music Culture
Monday, 2-5pm Rm. 3389 3 cr Prof. Manuel [ 50060]
A cross-cultural exploration of the musical ramifications of globalization, including the
socio-musical dynamics of diaspora cultures. Theoretical literature of cultural
globalization will be studied in relation to music. Topics will also include:
reconsideration of standard approaches to acculturation and syncretism; socio-political
perspectives on world beat; music and the cultural imperialism thesis; and postmodernism
and transnational music flows and interactions. Diaspora studies will be approached via
theoretical literature and a set of case studies. Musics associated with Afro-American,
caribbean-American, Indo-Caribbean, Indo-British, Jewish, and other ethnic/national
diasporas will be explored, not for their own sake, but as diasporic phenomena, i.e., in
relation to specific relevant themes. Assigned readings, listenings, seminar reports: one
term paper, on a topic related to one's interests.
Music 84000 Seminar in Theory/Analysis:
Theory Pedagogy
Thursday, 2-5pm Rm. 3389 3 cr Prof. Straus [50061]
A practical course in teaching music theory. We will consider selected topics in all of
the principal undergraduate classes in music theory (Rudiments, Harmony and Voice Leading,
Sightsinging and Ear-Training, Counterpoint, Post-Tonal Theory, Form and Analysis) and a
variety of associated pedagogical issues (choosing a textbook, leading a discussion,
grading, writing to learn, etc.). Required work will include demonstration teaching,
review of textbooks, several short papers, and a final paper. Limited to 15 Graduate
Center students.
Music 85400 Seminar in
Theory/Analysis: Intermediate Schenkerian Analysis
Tuesday 10am-1pm Rm. 3491 3 cr Prof. Burstein [50062]
This course will focus on the practice and theory of Schenkerian analysis. Intensive work
in analysis of selections from the tonal literature will be supplemented by close readings
of Schenker's theoretical and analytical writings as well as readings from the secondary
literature. Prerequisite: Introduction to Schenkerian Analysis (Music 74500) or consent of
the instructor.
Music 85800 Modernist Analysis:
Carter, Ligeti and Birtwistle
Friday, 10am-1pm, Room 3389 , 3 cr, Prof. Rupprecht [50063]
The seminar will analyze major works by three vastly influential figures of the later
twentieth century mainstream: Elliott Carter (b. 1908); György Ligeti (b. 1923), and
Harrison Birtwistle (b. 1934). Exploring the distinctive idiom of each figure, we will
reflect on three issues of urgent concern to many composers plausibly described as
"Modernists": (i) rhythm (new attitudes to regulating the flow of musical time);
(ii) texture (a fascination with simultaneity and new models of polyphony); (iii) form
(strategies for constructing goal-directed motion; approaches to ideals of coherence).
Readings from the secondary literature will supplement our hands-on analytic encounters
with this music.
Music 86000 Seminar in Music History:
The Movie Musical
Wednesday, 2-5pm Rm. 3491 3 cr Prof. Graziano [ 50064]
An examination of movie musicals and movies with music from 1928 through the 1990s. We
will survey the different genres seen on film, including the musical short and animated
musicals, and analyze the structure of original book musicals, those adapted from
Broadway, and movies with music, and the music that is heard as the underscore and as part
of the musical. There will be two papers and several class presentations required. Limited
to 15 students.
Music 86300 Seminar in
Music History: Jazz in New York, 1917 - 1930
Tuesday 2-5pm Rm. 3389 3 cr Prof. Taylor [ 50065 ]
This course begins in the year of what are widely considered the first recordings of jazz
(by the Original Dixieland Jazz Band) and traces the complex development of the music
during the 1920s. Through the study of recordings, analysis of transcriptions, and
examination of a variety of primary and secondary sources (including newspapers, oral
histories, and critical literature), the course explores the artistry of New York-based
musicians such as Duke Ellington, Fletcher Henderson, James P. Johnson, and others, and
investigates the ways in which their careers were shaped by the wider context of the
community, industry and time period in which they worked. Central to the course will be a
discussion of what the term "jazz" meant in the 1920s, and how the variety of
styles gathered under that term were linked to other genres of popular and art music, as
well as to important artistic and philosophical trends of the time.
Music 86600 Seminar in
Music History: Surfing the Enlightenment: Part I - ENLIGHTENMENT AND ITS AFTERMATH
Wednesday, 10am-1pm, Rm. 3389, 3 credits, Prof. Kramer [50066 ]
"What is Enlightenment?" asked Kant, in a famous essay of 1784. We ask this
question again, and enquire into the relationship between Enlightenment thought and the
Arts, concentrating on the writings of Diderot (Rameau's Nephew, The Paradox of the
Actor), Rousseau (The Origin of Languages), Herder (The Origins of Language), Lessing
(Laokoon), Goethe (commentary on Lessing), Sterne (Sentimental Journey through France and
Italy); the music of Haydn (Keyboard Variations in F minor; The Creation), Mozart
(Idomeneo, Don Giovanni, Magic Flute), Emanuel Bach (from the collections of keyboard
music "fuer Kenner und Liebhaber"); and the problem of Lied in the 1780s. Part
II [Fall 2002]: Beethoven Inside Out.
Music 86700 Seminar in Music
History: Words and Music in the Renaissance
Friday, 10am-1pm Rm. 3491 3 cr Prof. Atlas & Prof. Hanning [50067]
A detailed look at the various ways in which music and words interacted during the
fifteenth, sixteenth, and early seventeenth centuries. Prof. Atlas will concentrate on the
"fixed forms" of the fifteenth century-mainly French, but also Italian and
Spanish-and the many issues that they raise, including the so-called
"abbreviated" rondeau, combinative chansons, motet-chansons, contrafacta,
performance practice, and problems of authenticity and dissemination in connection with
individual pieces. Prof. Hanning will consider Italian secular music of the sixteenth and
early seventeenth centuries: analysis of the verse forms of Petrarch, Tasso, Guarini, and
others; discussion of the influence of the semantic and sonic values of their texts on
settings principally of madrigals by humanist composers from Willaert to Monteverdi.
(Prior knowledge of Italian is helpful but not necessary.) Students will make two formal
presentations and submit a short paper in connection with each one. Finally, students
should read the following items prior to class: (1) the essays by Giamatti and Flescher on
Italian and French versification, respectively, in Versification: Major Language Types,
ed. W.K. Wimsatt (New York: MLA and New York University Press, 1972), and (2) the article
by Leeman Perkins, "Towards a Theory of Text-Music Relations in the Music of the
Renaissance," in Binchois Studies, ed. Andrew Kirkman and Dennis Slavin (Oxford: OUP,
2000).
Music 88100 Regional Studies in
Ethnomusicology: Music of Africa
Monday, 10-1pm, Rm 3491, 3 credits, Prof. Blum [50068]
This seminar explores interrelationships among various African musical practices in the
second half of the twentieth century (and beyond) – those developed in cities and
townships as well as those of farmers and hunters. The emphasis is on vocal and
instrumental resources used by musicians, ways in which these resources are complementary,
and strategies followed by performers. Reading and listening assignments are supplemented
with a small number of ear-training exercises.
Music 89200 Composers
Forum
Thursday, 7:00-9:00pm Rm. 349 0 cr Prof. Olan [500070]
The Composers Forum features a series of lectures by prestigious composers and
scholars of 20th-century and contemporary music. The meetings of the Composers Forum are
open to the public. Note that the Composers Forum does not meet every Thursday, but only
on selected dates; the specific dates and events may be found on the Composers Forum page.
Also of interest:
The following two classes are offered by other departments, but they might be of
interest to Music majors. Click here for descriptions
of these courses.
English
80200 Hotel Women: Stein, Colette, Rhys, F. Chopin & Others
Tuesday, 6:30-8:30pm Room 3491 Prof. Wayne Koestenbaum [50669]
Theatre 80200
Seminar in a Dramatic Genre: Critical Perspectives on the American Musical Theatre
Monday, 4:15-6:15 pm Room TBA Prof. Savran [50038]
Click here to see Fall
2001 offerings at the Graduate Center.
