MUSIC AND THE VISUAL ARTS - SYLLABUS

Lecturer: Rana Iren

Course Description This course gives a broad overview of Western Art music (Classical music) from the Middle Ages to the 20th century, using an interdisciplinary approach. The course will concentrate on the masterpieces of music from each time period, which will be studied within their historical and cultural contexts and in relation to the representative examples of visual arts (painting, sculpture and architecture) of their times. The class aims to awaken and encourage an appreciation of Western Art music and to allow students to draw comparisons and enjoy the connections between different art forms. No previous musical knowledge is needed.

Course Material Musical examples will be heard and videos will be watched in each class. We will use a combination of electronic sources, scanned print sources to be distributed by the instructor and the books listed below. The assignments will be mainly listening ones.

Required Readings: Craig Wright, The Essential Listening to Music, 6th edition, Cengage Learning, 2013. Joseph Kerman and Gary Tomlinson, Listen, 7th edition, Bedford/St. Martin’s Press, 2011. E. H. Gombrich, The Story of Art

Evaluation 1. Mid-term exam (25%) 2. Final exam (50%) 3. In-class participation (25%)

Provisional Schedule Class 1 : Introduction: syllabus, course overview. Reflect on the common elements and differences between visual arts and music. Listen to different genres of music and reflect on their performance spaces.

Listening: Excerpts from:  a motet or mass from the Renaissance (ex. de Victoria, O Magnum Mysterium)  a Schumann lied  a Beethoven Symphony  a Wagner Opera  a piece from Varese Watch: David Bryne’s (The Talking Heads) TED Talk on Architecture and Music.

Class 2 : What is Music? Basic introduction to the elements of music: Notation, Instrumentation, Harmony and Tonality, Melody, Rhythm and metre, Texture. The Instruments. Musical genres.

Listening: Excerpts from:  A Symphony orchestra  A String quartet  A recital – Piano sonata  A concerto – Piano or Violin

Class 3 : The Middle Ages Development of Polyphony alongside Gothic architecture in France. Boethius - Music of the Spheres. A highly religious art, characterised by iconographic paintings illustrating scenes from the Bible. Giotto.

Listening:  Perotinus, Viderunt omnes (Notre Dame de Paris) (1160)  Guillaume de Machaut, Messe de Notre Dame (Cathedral de Reims) b. 1365

Class 4 : The Renaissance The Renaissance in arts and its reflection to music in Italy. Court patronage, co-existence of musicians, architects and artists. Leonardo da Vinci, Michelangelo and Raphael. Architects Alberti, Brunelleschi and Bramante. Guillaume Dufay’s Nuper Rosarum Flores and the Cathedral of Florence. ‘Cori Spezzati': Venetian Polychoral Music at Venice St. Mark’s Cathedral. The Sistine Chapel in the Vatican and Palestrina’s music. Palladio’s villas.

Listening:  Guillaume Dufay, Nuper Rosarum Flores (1436)  Giovanni Gabrieli, Kyrie eleison from Sacrae Symphoniae (1597) or Omnes gentes plaudite manibus a 16  Giovanni Pierluigi da Palestrina, Missa Papae Marcelli (1562)

Class 5 : The Baroque Period I: The birth of Opera, Oratorio and Cantata. Italian Court Patronage, the academies and the stile recitativo. Court Patronage (opera and cantata), Church Patronage (oratorio), alongside architecture and sculpture by Bernini and Borromini, and frescoes by Caravaggio. The French Tragedie en musique. Louis IVth palaces. André Le Notre’s garden designs for Versailles, Chantilly.

Listening:  Claudio Monteverdi, Toccata, Orfeo (1607)  Carissimi, Historia di Jephta, (1648)  Lully, Armide, Ouverture (1686)

Class 6 : The Baroque Period II: The Late Baroque Music for different performance contexts and spaces, the different cases of J.S Bach, Vivaldi and Handel. Bach’s and his cantatas for the St Thomas Church in Leipzig. Handel’s music for opera and for church in London. Vivaldi in Venice at the Orphanage.

Listening:  J.S. Bach, A piece from The Brandenburg Concertos (1715–1721)  J.S. Bach Ich habe genug BWV 82  Antonio Vivaldi, Four Seasons, La Primavera Op. 8 RV 269. (1723)  George Frideric Handel - Lascia ch'io pianga from Rinaldo (Opera) (1711)  George Frideric Handel - Hallelujah chorus from the Messiah HWV 56 (Oratorio) (1741)

Class 7 : Classical Period Balance, clarity and elegance in music, parallel to Neoclassical art and architecture. The Enlightenment, Comic opera and public concerts. The sonata form. Sonata, symphony, concerto and the string quartet. Haydn’s early symphonies (Matin - Midi - Soir) composed at the Esterhazy Palace (Neoclassical Architecture). Transition from Classical to Romantic with Beethoven. Canova’s sculptures. Jacques-Louis David's paintings.

Listening:  Joseph Haydn - The Symphony No. 6 in D major (Hoboken 1/6) (1761). It is popularly known as Le matin (Morning).  Wolfgang Amadeus Mozart Symphony no. 25 in G minor, K. 183/173dB, (1773), or  Wolfgang Amadeus Mozart Symphony #40 in G Minor, K 550 - 1. Molto Allegro (1788), or  Wolfgang Amadeus Mozart Eine Kleine Nachtmusik (K. 525 Serenade No. 13 for strings in G major) 1. Allegro (1787)  Ludwig van Beethoven - Symphony No. 9 "Choral" (Finale) (1824)

Class 8 : Romanticism I Expansive symphonies, virtuosic piano music, passionate songs which took inspiration from art and literature. Delacroix’s paintings of themes from Romantic poetry. Caspar David Friedrich and J.M.W. Turner, John Constable’s romantic landscape painting. First class to concentrate on songs and piano works.

Listening:  Franz Schubert, Erlkönig, D.328 (1815)  Schumann, Im wunderschönen Monat Mai, Dichterliebe (1840)  Johannes Brahms Wie Melodien zieht es mir, Opus 105, (1888)  Frédéric Chopin Nocturne Op. 9 No. 2, (1830-32)  Frédéric Chopin Piano Concerto No. 2 - 2. Larghetto

Class 9 : Romanticism II Expansive symphonies, dramatic operas. Brahms and the Musikverein in Vienna, Verdi and La Scala, Wagner and the “Gesamtkunstwerk” - Festspielhaus Bayreuth.

Listening:  Johannes Brahms Symphony no. 4 in E minor - 1. Allegro non troppo (1884)  Gustav Mahler - Symphony no. 5, C sharp minor - 4. Adagietto (1901-2)  Richard Wagner, Der Ring des Nibelungen, Die Walküre (The Valkyrie), WWV 86B - The Ride of the Valkyries (1870)  Richard Wagner, Tristan und Isolde - Prelude (1857-1859)  Giuseppe Verdi, Va Pensiero, Nabucco (1842)  Giuseppe Verdi, La Traviata, Brindisi (1853) Class 10 : Impressionism Impressionism in fine arts, Manet, Degas, Sisley, Monet and Renoir. In music Faure, Debussy and Ravel’s music correlated to French “Symbolist” literature - Verlaine, Mallarmé, Rimbaud.

Listening:  Gabriel Fauré Clair de lune, Op. 46 No 2 (1887) – on a poem by Verlaine.  Claude Debussy, La fille aux cheveux de lin (1909-1910)  Claude Debussy, Suite bergamasque - Clair de lune (1890-1908)  Maurice Ravel, Oiseaux Tristes (1904-1905)

Class 11 : Modernism I Pre–and Post–World War I art experiments: new forms to express modern life. Stravinsky, 2nd Viennese School (Arnold Schoenberg, Alban Berg, Anton Webern). Relationship of music with Cubism (Picasso, Braque) and Expressionism (Kokoschka, Kandinsky’s relationship with Schoenberg, Matisse’s relationship with Stravinsky). Edvard Munch, the Scream.

Listening:  Igor Stravinsky, Le Sacre du printemps (1913)  Arnold Schoenberg Three Piano Pieces, Opus 11 (1909)  Arnold Schoenberg Pierrot Lunaire, Opus 21 (1912)  Alban Berg, Wozzeck (1922)

Class 12 : Modernism II World War II and after. New Sound materials, electronic music. Space as a compositional parameter: The Philips Pavilion, conceived by Xenakis as the setting for Varèse’s Poème électronique and Le Corbusier’s picture projections for the Brussels Exposition Universelle of 1958. Le Corbusier’s monastery of La Tourette and Xenakis’s Metastaseis. Abstract Expressionism in art. John Cage and Chance music in relation with American Abstract Expressionists (Jackson Pollock, Mark Rothko).

Listening:  Olivier Messiaen: Quartet for the End of Time (1941)  John Cage, 4’33’ (1952)  Iannis Xenakis, Metastaseis (1953-54)  Edgard Varèse, Poème électronique (1958)  Iannis Xenakis, Concrete PH (1958)  György Ligeti, Lux Aeterna 1966

Class 13 : Modernism III and after (Called Post-Modernism by some) Minimalism in Music, from the 1970s: Steve Reich, Philip Glass, Terry Riley, John Adams, related to Minimalism in art, which emerged as a movement in the 1950s and continued through the Sixties and Seventies. Ellsworth Kelly, Frank Stella, Dan Flavin, Donald Judd. Contemporary Music, Kaija Saariaho.

Listening:  Arvo Pärt, Spiegel im Spiegel (1978)  John Adams, Short Ride in a Fast Machine (1986)  Gerard Grisey, Partiels (1975)  Kaija Saariaho, L'Amour De Loin (2000) Optional Readings: [to be expanded] Music: Boran, İlke and Yıldız Şenürkmez, Kıvılcım. 2015. Kültürel Tarih Işığında Çoksesli Batı Müziği. Yapı Kredi Yayınları. Büke, Aydın. 2012. Romantizmin Işığı Clara. Can Yayınları. Büke, Aydın. 2012. Mozart, bir Yaşam Öyküsü. Can Yayınları. Isserlis, Steven, 2001. Why Beethoven Threw the Stew. Faber and Faber Ltd. (Also available in Turkish though Pan Yayıncılık). Isserlis, Steven, 2006. Why Handel Waggled His Wig. Faber and Faber Ltd. (Also available in Turkish though Pan Yayıncılık). Gloag, Kenneth, 2012. Postmodernism in Music. Cambridge: Cambridge University Press Griffiths, Paul. 2006. A Concise History of Western Music. Cambridge University Press. Ross, Alex. 2009. The Rest is Noise: Listening to the Twentieth Century.

Fine Arts, Architecture and Music Ausoni, Alberti. 2009. Music in Art, Guide to Imagery. Getty Publications. Batchelor, David. 1997. Movements in Modern Art, Minimalism. Tate Gallery, UK. Bandur, Markus, 2001. Aesthetics of Total Serialism : Contemporary Research from Music to Architecture, Basel : Birkhèauser Benedict, Michael (ed.), 2014. Music in Architecture, Architecture in Music. Centre for American Architecture and Design. The University of Texas at Austin. de Jong, Klaas (ed.), 2012. Music, Space and Architecture, Amsterdam : Amsterdam Academy of Architecture Howard, Deborah and Moretti, Laura, 2009. Sound and space in Renaissance Venice: architecture, music, acoustics. New Haven : Yale University Press Kanach, Sharon, 2008. Music and Architecture : Architectural Projects, Texts, and Realizations / Iannis Xenakis ; compilation, translation, and commentary Hillsdale, N.Y. : Pendragon Press Kılıcaslan, Hare and Tezgel, Işık Ece, 2012. Architecture and Music in the Baroque Period, Procedia - Social and Behavioral Sciences 51 pp. 635 – 640 Muecke, Mikesch W. 2007. Resonance : Essays On The Intersection of Music and Architecture, Ames, Iowa : Culicidae Architectural Press Trachtenberg, Marvin. 2001. Architecture and Music Reunited: A New Reading of Dufay's "Nuper Rosarum Flores" and the Cathedral of Florence, Renaissance Quarterly, 10/2001, Vol.54, Issue 3 Wieseman, Marjorie. Vermeer and Music. The Art of Love and Leisure. National Gallery Company, London. Vergo, Peter. 2005. That Divine Order. Phaidon Press. Vergo, Peter. 2012. The Music of Painting: Music, Modernism and the Visual Arts from the Romantics to John Cage. Phaidon Press.

Classic FM: http://www.classicfm.com/discover-music/periods-genres/

BBC: http://www.bbc.co.uk/programmes/articles/2FvDWTYSlVmCstDqy5LccTy/discovering-the- great-composers The Met’s Heilbrunn Timeline of Art History http://www.metmuseum.org/toah/ https://discorgy.wordpress.com/2008/08/04/varese-xenakis-le-corbusier-poeme-electronique-1958/