Music M656 Course Schedule

Music M656
Music Since 1900:
Modernism, Tradition, and the Avant-Garde

Spring 2011

Indiana University Jacobs School of Music


| About M656 | Schedule | Reserves | Listening List | The Journal | Group Presentations |


Course Schedule

Table of Contents


Asterisks (*) denote readings and listening excerpts about which you are to write in your journal. The writing assignments are informal and are to be written in your journal. Because the writing assignments will be discussed in class, they cannot be accepted late. See the journal webpage for detailed instructions on the journal.

Use the "listening:" links below to access the listening assignments through Variations2 or to obtain more information on the assigned recordings, including full names and titles, performers, and call numbers for the CDs and scores.


Part I: Modernism in Germany and Austria

WEEK ONE
Monday, January 10

introduction to the course: goals and syllabus
modern music, modernism in music, and what makes music modern

Wednesday, January 12

the origins of modernism in the nineteenth-century concert hall
historicism, emulation, and progressivism in modern music

WRITING ASSIGNMENT (in your journal):

reading:


WEEK TWO
Monday, January 17

MARTIN LUTHER KING DAY

Wednesday, January 19

Schoenberg (1): from tonality to atonality

reading:

listening:


WEEK THREE
Monday, January 24

Schoenberg (2): atonal works
Erwartung and amotivic atonality
Pierrot Lunaire and "composing with the tones of a motive"

listening:

Wednesday, January 26

JOURNALS DUE
Schoenberg (3): Schoenberg the Reactionary
the logic, purpose, structure, and meaning of twelve-tone music
analysis and discussion of the Piano Suite and Fourth Quartet

reading:

listening:


WEEK FOUR
Monday, January 31

Webern: musicology, organicism, and "The Path to the New Music"
those left out of the canon, and why: forming groups for group presentations

listening:

Wednesday, February 2

the rhetorical and the organic: Alban Berg and the possibility of popularity
imitations of tonality and of traditional musical types: how can something sound tonal and not be tonal?

reading:

listening:


WEEK FIVE
Monday, February 7

a different "path": Richard Strauss, musical rhetoric, and the survival of tonality
neo-classic, neo-Baroque: reviving/revisiting historical styles and the vogue for early music as a form of modernism
neo-tonality in Hindemith: what is tonality in the twentieth century, anyway?

listening:

Wednesday, February 9

FIRST EXAMINATION


Part II: Modernism in Other Nations

WEEK SIX
Monday, February 14

symbolism and symmetry: Debussy and Scriabin

listening:

Wednesday, February 16

Stravinsky from The Rite of Spring through neo-classicism

reading:

listening:


WEEK SEVEN
Monday, February 21

Bartók: integrating peasant and classical traditions without compromising the distinctive traits of either

reading:

listening:

Wednesday, February 23

Charles Ives and the European mainstream: the "peripheral" composer as a measure of the central intellectual issues of the first four decades of the twentieth century
Ives and autobiographical music: capturing in music a present-day scene, a memory of long ago, an experience of the spirit

reading:

listening:


WEEK EIGHT
Monday, February 28

JOURNALS DUE
other American modernists: George Gershwin, William Grant Still, Ruth Crawford Seeger, and Aaron Copland

reading:

listening:

Wednesday, March 2

two mid-century masters: Britten in England, Messiaen in France

reading:

listening:


WEEK NINE
Monday, March 7

SECOND EXAMINATION


Part III: The Avant-Garde and Postwar Trends

Wednesday, March 9

the avant-garde and experimental traditions before the Second World War
Satie, Thomson, and the deflation of Romantic aspiration
Ives, Cowell, and exploration of new musical resources

WRITING ASSIGNMENT:

reading:

listening:


Spring Break


WEEK TEN
Monday, March 21

the liberation of sound: futurism, Varèse, and electronic music
the post-electronic orchestra: music of texture and process

reading:

listening:

Wednesday, March 23

changes: the career of John Cage
post-war serialism and super-serialism in the U.S.A. and Europe

reading:

listening:


WEEK ELEVEN
Monday, March 28

quotation and neo-romanticism: the uses of history
once more around emulation: is it avant-garde to write like Mahler or Strauss?

reading:

listening:

Wednesday, March 30

minimalism and beyond: Steve Reich, Arvo Pärt, and John Adams

WRITING ASSIGNMENT:

reading:

listening:


WEEK TWELVE
Monday, April 4

JOURNALS DUE
recent American pragmatists and individuals

reading:

listening:

Wednesday, April 6

First group presentation


WEEKS THIRTEEN AND FOURTEEN

Group Presentations


WEEK FIFTEEN
Monday, April 25

music in the 1990s and 2000s

Wednesday, April 27

the mockery of the past
what now?
summaries and reflections, final thoughts and evaluation: where we have been, what we have seen, what we have missed, and where we want to go next time

reading:


FINAL EXAMINATION

Monday, May 2, 8:00-10:00 AM

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| About M656 | Schedule | Reserves | Listening List | The Journal | Group Presentations |


Last updated: 7 January 2011
URL: http://www.music.indiana.edu/som/courses/m656/M656schd.html
Copyright © 1998-2011 by J. Peter Burkholder