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Fall 1999

by admin-oasis — last modified 2007-05-14 16:11

Music 243. Proseminar in Classical Music–Beethoven's Later Symphonies. Professor Bonds.

Using the late symphonies of Haydn and Mozart, and Beethoven's own Second Symphony, as a benchmark, this seminar will focus on a handful of Beethoven's later works in this genre (Nos. 3, 5, 6, 7, and 9). We will consider questions of form, genre, genesis, and reception, with special attention to recent literature about Beethoven's symphonies. Students will be asked to make several brief, informal presentations over the course of the semester in addition to a formal essay to be submitted toward the end of the semester.

 

Music 244. Proseminar in Romantic Music–The Lieder of Franz Schubert. Professor Finson.

We will study the creation of what Nägeli calls the "polyrhythmic Lied" at the beginning of the nineteenth century as exemplified in Schubert's songs. Topics will include the nature of reading circles in Vienna and the debate about the role of homosexuality in Schubert's circle of friends. Reading in Dürr's Das deutsche Sololied im 19. Jahrhundert, contemporary journals, Richard Kramer, and other secondary literature. Term paper, reports.

 

Music 245. Proseminar in Modern Music. Professor Neff.

This course has a dual purpose. On the one hand, it will investigate the writings of composers about their own music. The essays and commentaries of Schoenberg, Scriabin, Roslavets, Varèse, Babbitt, and Schnittke will be considered. On the other hand, the course will investigate writings--mostly theoretical--about the same composers: Bernard and Babbitt on Varèse; Taruskin on Schnittke; Baker and Dernova on Scriabin; Lendvai and Babbitt on Bartók; Lobanov on Roslavets; Kandinsky, Dale, and Frisch on Schoenberg. Class discussions will focus on the following issues: Does the composer's voice have a place in theoretical study? Is the theoretical understanding of a work ever a later influence on a composer? What is compositional theory? Is compositional theory related to analysis? In studying their own work, do composers become theorists?
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