DOCSLIB.ORG

Introduction to Art Music MUS 140.001 Summer 1 2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction to Art Music MUS 140.001 Summer 1 2014 Introduction to Art Music MUS 140.001 Summer 1 2014 INSTRUCTOR: Dr. Scott LaGraff OFFICE: Music 280 E-MAIL: [email protected] OFFICE HOURS: By appt. PHONE: 468-4206 TIME: MTWR 12:30-2:25 SFA School of Music LOCATION: Music 153 Wright Music Building COURSE DESCRIPTION: For non-music majors or minors only, focusing on listening, understanding, and appreciating music literature of the Western and American musical heritage. REQUIRED TEXT: Kamien, Roger. Music: An Appreciation. Eighth Brief Edition (with CONNECT digital content). Boston: McGraw-Hill, 2015. (available at Barnes & Noble in Student Center) NOTE: This text includes a code for digital materials required for the course. Additional CDs need not be purchased. I will post links to any additional required music. GRADING: SCALE: Exams 40% 100 – 90 (A) 89 – 80 (B) LearnSmart/Quizzes 40% 79 – 70 (C) 69 – 60 (D) Concert Report 10% 59 – 0 (F) ATTENDANCE: The official University policy is that students are expected to attend all of their scheduled University classes. Students will, however, be excused from classes for university events and other causes at the discretion of the instructor, provided that they supply appropriate documentation. Each student will be allowed ONE unexcused absence; final grades will be reduced by two points for each subsequent unexcused absence. However, three points will be added to the final grade for perfect attendance! Students who are not present when attendance is taken will be marked absent. Exams missed during unexcused absences will not be made up. Exams missed during excused absences will be made up at the instructor’s supervision. There will be no talking, eating, reading outside materials, or sleeping during class – all of these activities disrupt the learning process. If these common courtesies are not observed, you may be asked to leave the class and/or receive an absence for the day. PROGRAM LEARNING OUTCOMES: This is a general education core curriculum course and no specific program learning outcomes for this major are addressed in this course. CORE CURRICULUM OBJECTIVES (beginning 2014-15): 1. Critical Thinking: Creative thinking, innovation, inquiry, and analysis, evaluation and synthesis of information. 2. Communication Skills: Effective development, interpretation and expression of ideas through written, oral and visual communication. 3. Teamwork: The ability to consider different points of view and to work effectively with others to support a shared purposed or goal. 4. Social Responsibility: Intercultural competence, knowledge of civic responsibility, and the ability to engage effectively in regional, national, and global communities. STUDENT LEARNING OUTCOMES: 1. Students will be able to understand and identify the basic elements of music. 2. Students will understand and appreciate the music literature and composers of Western “classical” music from the Baroque Period to the present. 3. Students will be able to respond critically and articulate an informed personal reaction to musical works and their performance. 4. Students will explore music in its relation to the other arts, the historical events of the times, and the conditions in which the music was created. 5. Students will be able to understand music as an expression of individual and human value within a historical and social context. 6. Students will demonstrate the ability to communicate visually, to function as a team, interact in civic life, and to think critically. CONNECT: The edition of the text for the class comes with a myriad of helpful online features. These will be used regularly in the class, so it is imperative that you become familiar with it. Access to a computer is required for the class. If you do not own a personal computer, you can use the on-campus computer labs. (I would recommend bringing a pair of headphones so that you can do the listening assignments without disturbing others.) CONNECT can be accessed through the course page in D2L. You will be given login information (attached to this syllabus). A representative from McGraw-Hill will come to our first class to make a presentation on navigating the site. Of course, you may address additional questions to me. LEARNSMART ASSIGNMENTS/QUIZZES: There will be regular reading assignments accessible through D2L/CONNECT, which are listed on the Course Outline. Each LearnSmart assignment will help you master the material contained in the assigned readings. These are intended to keep you up to date on the material and to help you prepare for class lectures. I recommend reading the chapter first either from the printed text or from the e-book on CONNECT (accessible through the Library tab). The e-book includes listening examples, which can be very useful. The LearnSmart modules will test your knowledge and point you to relevant materials. Obviously, the more acquainted you are with the material before you begin, the more easily you will move through the modules. The LearnSmart modules will keep asking you questions until you have mastered the content. You have unlimited tries, but the final result will be graded. At the end of each large section, there will be a quiz. Each assignment/quiz is listed on the date by which it must be completed. They will close at 12:00 p.m. on the day on which they are due. Each quiz consists of 25 multiple-choice questions drawn from the assigned readings. You will have 60 minutes to complete each quiz. You may use your books and will also have access to online helps. Students are responsible for all assigned reading material on exams. LISTENING OUTLINES: I have prepared folders on CONNECT with Listening Outlines and associated quizzes. These are both graded activities and will help you prepare for the listening portions on the exams. There is one due just before the midterm and one due just before the final. Use your results to help you prepare for the exams. EXAMS: There will be two exams, each of which will count as 20% of your grade. The exams will be multiple choice, with listening components. The exams are not cumulative. You will be given study guides ahead of time. CONCERT REPORT: A very important element of this course is the Concert Report, which will have several components, enumerated below. It will be due by midnight on July 3 (last day of class), but may be turned in early, of course. On July 24 at 6:00 p.m., you are required to attend the live concert created for this class and write a report on it. The concert venue will be announced in class, but will be either on campus or close by. Please make all necessary arrangements so that you can attend. Invite a guest to the concert (required) o Be sure to explain to your guest the expected concert etiquette, which you will have learned in class Your Concert Report should address the following topics: Social Responsibility (50%) o your own personal musical tastes and experiences (Cultural Self-Awareness) . What kind of music do you listen to? Your family? Friends? . Have you attended any concerts? What values motivate behavior? What are the expected behaviors? o how this culture differs from Western art music culture (Cultural Worldview Framework) . What values motivate behavior in Western art music culture? How are they similar/dissimilar to what you’re accustomed to? o discuss the expected behaviors and social interactions at a “classical” concert. Were they followed at this concert? How do you feel about them? (Civic Responsibility/Concert Etiquette) Critical Thinking/Concert Reaction (50%) o Describe your concert experience . discuss the hall the music was performed in . discuss the audience . most importantly, discuss the music itself o What was your overall reaction to the concert? . Incorporate your guest’s opinions and reactions, too Grading will be based on your success in accomplishing these objectives. The following items will also be taken into consideration: Musical accuracy: Your description of the concert must be clear and thorough. Musical terminology: Use musical language that you understand. Discussing elements such as rhythm, melody, harmony, texture, form, or any other information learned in class is encouraged. Grammar and sentence structure: As this is a college-level course, college-level writing is expected. Please proofread your papers carefully for errors. Seek assistance from the AARC if needed. Concert Report must be between 1200 and 1400 words in length (or approximately 3 ½ to 4 pages, double-spaced, 12-point font, 1-inch margins). Report must be posted on D2L or in CONNECT. If you encounter any difficulties with the syntax of your paper, resort to the Academic Assistance and Resource Center (AARC). The report will be worth 10% of your grade. There will be a lecture on Writing a Good Concert Report. The attached rubrics will be used for grading. Additional Information As music deals with the expression of subtleties in a variety of ways it is very important to keep quiet during a performance. Any audible noise or visual distraction disturbs both the performer and the other listeners. Therefore, please follow polite etiquette behavior and refrain from making noise and unnecessary motions! Being considerate to the performers, and your fellow audience members, is a vital part of enjoying live music. If I witness or I am told by my colleagues about the presence of such disturbing activities during a concert event, I reserve the right to lower the final grade of the student. ACADEMIC INTEGRITY: Academic integrity is a responsibility of all university faculty and students. Faculty members promote academic integrity in multiple ways including instruction on the components of academic honesty, as well as abiding by university policy on penalties for cheating and plagiarism. Definition of Academic Dishonesty Academic dishonesty includes both cheating and plagiarism. Cheating includes but is not limited to (1) using or attempting to use unauthorized materials to aid in achieving a better grade on a component of a class; (2) the falsification or invention of any information, including citations, on an assigned exercise; and/or (3) helping or attempting to help another in an act of cheating or plagiarism.
Load more

Recommended publications
  • Teaching Guide: Area of Study 7
    Teaching guide: Area of study 7 – Art music since 1910 This resource is a teaching guide for Area of Study 7 (Art music since 1910) for our A-level Music specification (7272). Teachers and students will find explanations and examples of all the musical elements required for the Listening section of the examination, as well as examples for listening and composing activities and suggestions for further listening to aid responses to the essay questions. Glossary The list below includes terms found in the specification, arranged into musical elements, together with some examples. Melody Modes of limited transposition Messiaen’s melodic and harmonic language is based upon the seven modes of limited transposition. These scales divide the octave into different arrangements of semitones, tones and minor or major thirds which are unlike tonal scales, medieval modes (such as Dorian or Phrygian) or serial tone rows all of which can be transposed twelve times. They are distinctive in that they: • have varying numbers of pitches (Mode 1 contains six, Mode 2 has eight and Mode 7 has ten) • divide the octave in half (the augmented 4th being the point of symmetry - except in Mode 3) • can be transposed a limited number of times (Mode 1 has two, Mode 2 has three) Example: Quartet for the End of Time (movement 2) letter G to H (violin and ‘cello) Mode 3 Whole tone scale A scale where the notes are all one tone apart. Only two such scales exist: Shostakovich uses part of this scale in String Quartet No.8 (fig. 4 in the 1st mvt.) and Messiaen in the 6th movement of Quartet for the End of Time.
    [Show full text]
  • Glossary for Music the Glossary for Music Includes Terms Commonly Found in Music Education and for Performance Techniques
    Glossary for Music The glossary for Music includes terms commonly found in music education and for performance techniques. The intent of the glossary is to promote consistent terminology when creating curriculum and assessment documents as well as communicating with stakeholders. Ability: natural aptitude in specific skills and processes; what the student is apt to do, without formal instruction. Analog tools: category of musical instruments and tools that are non-digital (i.e., do not transfer sound in or convert sound into binary code), such as acoustic instruments, microphones, monitors, and speakers. Analyze: examine in detail the structure and context of the music. Arrangement: setting or adaptation of an existing musical composition Arranger: person who creates alternative settings or adaptations of existing music. Articulation: characteristic way in which musical tones are connected, separated, or accented; types of articulation include legato (smooth, connected tones) and staccato (short, detached tones). Artistic literacy: knowledge and understanding required to participate authentically in the arts Atonality: music in which no tonic or key center is apparent. Artistic Processes: Organizational principles of the 2014 National Core Standards for the Arts: Creating, Performing, Responding, and Connecting. Audiate: hear and comprehend sounds in one’s head (inner hearing), even when no sound is present. Audience etiquette: social behavior observed by those attending musical performances and which can vary depending upon the type of music performed. Benchmark: pre-established definition of an achievement level, designed to help measure student progress toward a goal or standard, expressed either in writing or as an example of scored student work (aka, anchor set).
    [Show full text]
  • Letter from the Education and Public Engagement Department
    Letter from the Education and Public Engagement Department A team of artists, art historians, educators, interns, librarians, and visitor relations staff comprise the award-winning Education and Public Engagement Department at The San Diego Museum of Art. We work with staff from within the Museum as well as with colleagues from cultural and educational institutions throughout the world to provide programs that enhance the exhibitions presented. Through lectures, tours, workshops, music, film, events for educators, and art-making programs for visitors of all ages, we invite you to inspire your creativity and to learn about art and its connection to your life. We hope you find yourself appreciating the wide array of art culture that is presented within the Museum and its encyclopedic collection. Whether you are new to art, or a long-time member who visits the Museum frequently, we invite you to bring your family, grandchildren, and friends, and to participate at The San Diego Museum of Art. We look forward to meeting you and hearing about any ideas you may have about the Museum and our programming efforts. We hope to see you often! The Education and Public Engagement Department The San Diego Museum of Art SDMArt.org Young visitors are participating in a Museum camp program. THE SAN DIEGO MUSEUM OF ART Learning through the Museum The San Diego Museum of Art first opened its doors on February 28, 1926, as the Fine Arts Gallery of San Diego, and since that time has been building an internationally renowned permanent collection that includes European, North American, Modern Mexican, Asian, Islamic and contemporary art.
    [Show full text]
  • Department of Art, Music, and Theatre
    Department of Art, Music, and Theatre Professors: Michelle Graveline, Rev. Donat Lamothe, A.A. (emeritus); Associate Professors: Carrie Nixon, Toby Norris (Chair); Assistant Professors: Scott Glushien; Visiting Assistant Professors: Peter Clemente, Lynn Simmons; Instructors, Lecturers: Jonathan Bezdegian, Elissa Chase, Bruce Hopkins, Susan Hong-Sammons, Jon Krasner, Gary Orlinsky, Michele Italiano Perla, Joseph Ray, Peter Sulski, Margaret Tartaglia, Tyler Vance. MISSION STATEMENT The department aims to give students an understanding of the importance of rigorous practical and intellectual formation in stimulating creative thought and achieving creative expression. We also strive to help students appreciate Art, Music and Theatre as significant dimensions of the human experience. Studying the history of the arts brings home the central role that they have played in the development of human thought, both within and outside the Judeo-Christian tradition. Practicing the arts encourages students to incorporate creative expression into their wider intellectual and personal development. In forming the human being more completely, the department fulfills a fundamental goal of Catholic education. MAJORS IN THE DEPARTMENT MAJOR IN MUSIC (11) The major in Music covers the areas of Music Theory, Music History, and Performance with the opportunity for development of individual performance skills. Studies develop musicianship, competency in the principles and procedures that lead to an intellectual grasp of the art, and the ability to perform. The major in Music consists of 11 courses: MUS 122 History of Music I MUS 124 History of Music II MUS 201 Music Theory I MUS 301 Music Theory II MUS 330 Conducting MUS 193 Chorale or MUS 195 Band or MUS 196 Jazz Ensemble or MUS 197 String Camerata (six semesters at 1 credit per semester, equivalent to two 3-credit classes) Four additional courses from among program offerings (not to include MUS 101 Fundamentals of Music).
    [Show full text]
  • What Classical Music Is (Not the Final Text, but a Riff on What
    Rebirth: The Future of Classical Music Greg Sandow Chapter 4 – What Classical Music Is (not the final text, but a riff on what this chapter will say) In this chapter, I’ll try to define classical music. But why? Don’t we know what it is? Yes and no. We’re not going to confuse classical music with other kinds of music, with rock, let’s say, or jazz. But can we say how we make these distinctions? You’d think we could. And yet when we look at definitions of classical music—either formal ones, in dictionaries, or informal ones, that we’d deduce by looking around at the classical music world—we run into trouble. As we’ll see, these definitions imply that classical music is mostly old music (and, beyond that, old music only of a certain kind). And they’re full of unstated assumptions about classical music’s value. These assumptions, working in the background of our thoughts, make it hard to understand what classical music really is. We have to fight off ideas about how much better it might be than other kinds of music, ideas which—to people not involved with classical music, the very people we need to recruit for our future audience—can make classical music seem intimidating, pompous, unconvincing. And so here’s a paradox. When we expose these assumptions, when we develop a factual, value-free definition of classical music, only then can we find classical music’s real value, and convincingly set out reasons why it should survive. [2] Let’s start with common-sense definition of classical music, the one we all use, without much thought, when we say we know what classical music is when we hear it.
    [Show full text]
  • The Decline of Improvisation in Western Art Music
    The Decline of Improvisation in Western Art Music: An Interpretation of Change Author(s): Robin Moore Source: International Review of the Aesthetics and Sociology of Music, Vol. 23, No. 1, (Jun., 1992), pp. 61-84 Published by: Croatian Musicological Society Stable URL: http://www.jstor.org/stable/836956 Accessed: 23/07/2008 16:04 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=croat. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org R. MOORE,THE DECLINEOF IMPROVISATION...,IRASM 23 (1992)1, 61-84 61 THE DECLINEOF IMPROVISATIONIN WESTERNART MUSIC: AN INTERPRETATIONOF CHANGE ROBINMOORE UDC: 781.65 OriginalScientific Paper University of Texas, Izvorniznanstveni rad AUSTIN, Texas, USA Received:March 28, 1992 Primljeno:28.
    [Show full text]
  • Western Art Music
    Western Australian Certificate of Education ATAR course examination, 2016 Question/Answer booklet MUSIC: Please place your student identification label in this box WESTERN ART MUSIC Student number: In figures In words Time allowed for this paper Reading time before commencing work: ten minutes Working time : two and a half hours Materials required/recommended for this paper To be provided by the supervisor Number of additional This Question/Answer booklet answer booklets used (if applicable): Score booklet Personal listening device (PLD) PLD number Headphones To be provided by the candidate Standard items: pens (blue/black preferred), pencils (including coloured), sharpener, correction fluid/tape, eraser, ruler, highlighters Special items: nil Important note to candidates No other items may be taken into the examination room. It is your responsibility to ensure that you do not have any unauthorised material. If you have any unauthorised material with you, hand it to the supervisor before reading any further. Copyright © School Curriculum and Standards Authority 2016 Ref: 16-062 WESTERN ART MUSIC 2 Structure of the examination The Music ATAR course examination consists of a written component and a practical (performance and/or composition portfolio) component. Structure of this paper Suggested Number of Number of Percentage working Marks Section questions questions to of written time available available be answered examination (minutes) Section One 6 6 50 57 36 Aural and analysis Section Two Cultural and historical analysis Part A: Analysis 1 1 20 11 Part B: Short response 55 (i) Compulsory area of study 1 1 26 11 (ii) Non-compulsory area of study 1 1 16 12 Section Three 3 3 45 51 30 Theory and composition Total 100 Instructions to candidates 1.
    [Show full text]
  • Modern Art Music Terms
    Modern Art Music Terms Aria: A lyrical type of singing with a steady beat, accompanied by orchestra; a songful monologue or duet in an opera or other dramatic vocal work. Atonality: In modern music, the absence (intentional avoidance) of a tonal center. Avant Garde: (French for "at the forefront") Modern music that is on the cutting edge of innovation.. Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Form: The musical design or shape of a movement or complete work. Expressionism: A style in modern painting and music that projects the inner fear or turmoil of the artist, using abrasive colors/sounds and distortions (begun in music by Schoenberg, Webern and Berg). Impressionism: A term borrowed from 19th-century French art (Claude Monet) to loosely describe early 20th- century French music that focuses on blurred atmosphere and suggestion. Debussy "Nuages" from Trois Nocturnes (1899) Indeterminacy: (also called "Chance Music") A generic term applied to any situation where the performer is given freedom from a composer's notational prescription (when some aspect of the piece is left to chance or the choices of the performer). Metric Modulation: A technique used by Elliott Carter and others to precisely change tempo by using a note value in the original tempo as a metrical time-pivot into the new tempo. Carter String Quartet No. 5 (1995) Minimalism: An avant garde compositional approach that reiterates and slowly transforms small musical motives to create expansive and mesmerizing works. Glass Glassworks (1982); other minimalist composers are Steve Reich and John Adams. Neo-Classicism: Modern music that uses Classic gestures or forms (such as Theme and Variation Form, Rondo Form, Sonata Form, etc.) but still has modern harmonies and instrumentation.
    [Show full text]
  • Why Concert Music Is Wonderful: Three Ways to Approach Western Art Music Conrad Winslow Rollins College, [email protected]
    Rollins Undergraduate Research Journal Volume 2 Article 12 Issue 1 RURJ Spring 2010 4-1-2007 Why Concert Music is Wonderful: Three Ways to Approach Western Art Music Conrad Winslow Rollins College, [email protected] Follow this and additional works at: http://scholarship.rollins.edu/rurj Recommended Citation Winslow, Conrad (2010) "Why Concert Music is Wonderful: Three Ways to Approach Western Art Music," Rollins Undergraduate Research Journal: Vol. 2: Iss. 1, Article 12. Available at: http://scholarship.rollins.edu/rurj/vol2/iss1/12 This Article is brought to you for free and open access by Rollins Scholarship Online. It has been accepted for inclusion in Rollins Undergraduate Research Journal by an authorized administrator of Rollins Scholarship Online. For more information, please contact [email protected]. Winslow: Why Concert Music is Wonderful Why Concert Music is Wonderful: Three Ways to Approach Western Art Music Conrad Winslow A Senior Honors Project Submitted in Partial Fulfillment of Requirements of the Honors Degree Program May, 2007 Faculty Sponsor: Dr. Daniel Crozier Rollins College Winter Park, Florida Published by Rollins Scholarship Online, 2010 1 Rollins Undergraduate Research Journal, Vol. 2 [2010], Iss. 1, Art. 12 To Pop-pop Andrews Copyright © 2007 by Conrad Winslow All rights reserved http://scholarship.rollins.edu/rurj/vol2/iss1/12 2 Winslow: Why Concert Music is Wonderful Table of Contents Introduction........................................................................4 Kinetic Listening................................................................
    [Show full text]
  • Download File
    Noise, Sound and Objecthood: The Politics of Representation in the Musical Avant-Garde Alexander Hall Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2016 © 2016 Alexander Hall All Rights Reserved ABSTRACT Noise, Sound and Objecthood: The Politics of Representation in the Musical Avant-Garde Alexander Hall This essay offers both a historical analysis of twentieth century avant-garde practices relating to representation in music, and a prescriptive model for contemporary methods of composition. I address the taxonomy problem in classical music, clarifying the ontological divide identified by German musicologist Michael Rebhahn Contemporary Classical music and New Music. I demonstrate how neoliberalism has developed a Global Style (Foster 2012) of "Light Modernity,” evident in both contemporary architecture and music alike. The central problem facing composition today is the fetishization of materials, ultimately derived from music's refusal to allow the question of representation to be addressed. I argue that composers have largely sought to define noise as sound-in-itself, eliminating the possibilities of representation in the process. Proposing instead that composers should strive to tackle representation head-on in the 21st century, I show how Jacques Rancière provides a model in which noise and sound—representation and abstraction—function in a conjoined, yet non-homogenized aesthetic regime. Governed by what he calls the "pensiveness of the image,” it allows for a renewed art form that rejects repetition and neoliberalism, re-connecting to the spirit of the avant-garde without slavishly echoing either its outmoded aesthetics or dogmatic philosophies.
    [Show full text]
  • New Perspectives on Classical Music Through the Work of Mark Oâ
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2005 Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck Louanne Marie Iannaccone University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Music Commons Recommended Citation Iannaccone, Louanne Marie, "Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck. " Master's Thesis, University of Tennessee, 2005. https://trace.tennessee.edu/utk_gradthes/2014 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Louanne Marie Iannaccone entitled "Crossing Over in the 21st Century: New Perspectives on Classical Music Through the Work of Mark O’Connor, Edgar Meyer, and Béla Fleck." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Dr. Leslie C. Gay, Jr., Major Professor We have read this thesis and recommend its acceptance: Dr. Wesley Baldwin, Dr. Rachel Golden Carlson Accepted for the Council: Carolyn R.
    [Show full text]
  • Gustav Mahler (1860–1911): a Tribute in Art, Music, and Film
    Cover Auguste Rodin, Gustav Mahler, 1909, bronze, National Gallery of Art, Washington, Gift of Lotte Walter Lindt in memory of her father, Bruno Walter 3 ! Gustav Mahler (1860!–!1911): A Tribute in Art, Music, and Film David Gari" National Gallery of Art 4 David Gari! “We cannot see how any of his music can long survive him.” !—!Henry Krehbiel, New York Tribune, May 21, 1911 “My time will come!.!.!.!” !—!Gustav Mahler Interest in the life, times, and music of Gustav Mahler (1860!–!1911) has been a dominant and persistent theme in mod- ern cultural history at least since the decade of the 1960s. His status is due, in part, to the championing of his music by Ameri- can conductor and composer Leonard Bernstein (1918!–!1990). Last year (2010) was the 150th anniversary of Mahler’s birth; this year (2011), we commemorate the 100th anniversary of his death on May 18. The study of Mahler!—!the man and his music!—!confronts us not only with the unique qualities of his artistic vision and accomplishments but also with one of the most fertile and creative periods and places in Western cultural history: fin-de-siècle Vienna. Mahler’s life and times close the door on the nineteenth century. His death prior to the outbreak of the First World War is fitting, for his music anticipates the end of the old European order destroyed by the war and sum- mons us to a new beginning in what can best be described as a twentieth-century age of anxiety!—!an anxiety prophetically revealed in Mahler’s symphonies and songs.
    [Show full text]