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UNC, Library of Congress launch summer music fellowships Three graduate students in musicology at the University of North Carolina at Chapel Hill will research the music of composer Samuel Barber during World War II, the National Negro Opera Company and the 1975 musical “Chicago” with new summer fellowships at the Library of Congress in Washington, D.C.
Musicologist and anthropologist awarded summer NEH fellowships Music professor Annegret Fauser and anthropology professor Lorraine Aragon in UNC’s College of Arts and Sciences have been awarded $6,000 fellowships from the National Endowment for the Humanities (NEH) for the summer of 2008.
Announcing the 2008 Kenan Music Scholars! Three instrumentalists and a vocalist have been named the second class of Kenan Music Scholars, receiving full scholarships in music to attend the University of North Carolina at Chapel Hill.
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Spring 2005

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

Music 248, Section 2. Schenker, the Graphs and Analysis. Professor Anderson.

It has been 100 years since the publication of Heinrich Schenker's first book, Ein Beitrag zur Ornamentik, 70 years since the appearance of his last, Der Freie Satz. In the subsequent years, his theoretical and analytic ideas have been ceaselessly debated, explicated and expanded; his graphing methods have been wholly or partially appropriated by a host of theorists and commentators; his ideas have come to permeate contemporary theory textbooks; and his work has proved the jumping off point for investigations into topics Schenker himself barely considered, if at all. In this class, we will establish literacy in key Schenkerian concepts while developing a fluency in graphing technique. We will read a cross-section of conceptual and analytic writings from Schenker and several generations of his followers in order to develop a sense of the dynamic and descriptive potential of the ideas, along with a taste for the range of their application.

Music 250, sec. 1. Analyzing and Theorizing Music of the African Diaspora. Professor Garcia.

We will explore the ideas of race and the African Diaspora and the ramifications of these ideas on approaches to analyzing black music making and musical history of Africa and the Americas. In addition to the theoretical literature on the African Diaspora, we will examine and compare the methodologies employed in works on Nigerian juju, Mande (West African) traditional and modern music, nineteenth-century African American popular music, jazz, Afro-Cuban music, Afro-Colombian music, and other musical repertories. Class presentations and one term paper will be required.

Music 337, sec. 1. From Renaissance to Baroque: Issues in Style and Expression. Professor Carter.

The rise of opera and the so-called "new music" in Italy c.1600 raised profound problems in terms of musical style (the abandoning of "classical" polyphony) and also of expression. Changing notions of musical rhetoric (what was the intended effect of music and how might it best be achieved?) combined with new ways of thinking about structure in terms of formal paradigms and tonal argument. The new approaches to all these issues on the one hand remained constant throughout the Baroque period, but on the other, themselves were altered as the contradictions inherent in the early Baroque aesthetic came increasingly to the fore.

We shall explore these matters by looking in particular at late sixteenth- and early seventeenth-century Italian secular music (madrigal, monody, opera), and in particular, the music of Monteverdi, although we shall also ask ourselves whether sacred genres can feasibly be removed from the reckoning.
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