MUS 379K/387L: Twentieth-Century Orchestral Music Tuesday & Thursday 2:00 pm – 3:30 pm MRH 2.610 Spring 2019

Professor Alison Maggart Office: MRH 3.714 Office Hours: Mondays 10:30 am – 12:00 pm and by appointment Open Sound Meditations: TBD Email: [email protected]

Course Overview The twentieth century produced some of the most challenging and provocative works in the western art music tradition. In the absence of any dominant style, a diversity of compositional approaches and musical philosophies questioned previous distinctions between music, sound, noise, and silence; reconfigured the relationships between composer, performer, and audience; reconceived the roles of time, space, tonality, timbre, and rhythm in musical structure; and reimagined the significance of the subconscious, emotion, and author in the creative process. A deepening historical consciousness led to rejections and reinterpretations of past styles and forms. New technologies and increasing globalization expanded composers’ sonic palettes. And boundaries between popular, folk, and art music disintegrated.

During this period, orchestral music – as the most public declaration of a composer’s musical philosophy – was subject to more external pressure than any other repertoire. The nineteenth- century legacy of the symphony made the genre particularly loaded: having been both the locus of hotly-contested ideological and formal debates and the foundation for canonization, symphonic composition was often approached with caution, proclaimed exhausted, or viewed as a retreat into the past during the twentieth century. As Stravinsky put it at mid-century, “Though the standard orchestra is not yet an anachronism, perhaps, it can no longer be used standardly except by anachronistic composers.” Economic and political stresses also affected composition, contributing, for example, to the decline of orchestral compositions during the interwar years and the revivification of traditional forms under Soviet Realism. Lastly, dependence on social tastes and ideologies has made the orchestra one of the more conservative institutions of cultural life, safeguarding the canon as well as instituting exclusionary policies regarding participation by women and minority groups.

In this course, arranged chronologically, we will examine major developments in twentieth- century orchestral music in their historical, social, and cultural contexts. We will do this by reading and discussing a number of essays (listed below) written by the composers themselves, intellectuals within the composers’ milieus, and scholars today. We will also undertake close analyses of assigned works (listed below) in order to better understand individual composers’

1 unique methods and characteristics, national and international styles, and broader “-isms” (e.g. compositional methods, philosophical perspectives, and leanings) of the twentieth century.

Texts/Scores/Recordings There is no assigned textbook for this class. All readings can be found either on JSTOR or on the Canvas course website.

All scores can be found online through imslp.org, in the music library, and/or on Canvas.

Most recordings are available to stream on Alexander Street [accessible via the UT Library Catalog], Spotify, or YouTube.

Assessment • Daily attendance and participation in class • 4 “Unit Packets” each comprised of: • 1 essay (3–4 pages, double spaced) on a question that will be posted to Canvas one week before it is due • 1 informal analysis (2-3 pages, double spaced) on a score that will be posted to Canvas one week before it is due • 7–8 Annotations (250 words per annotation) of selected readings from the unit (marked in the course schedule) • 4 listening quizzes • 1 abstract (300 words) and research paper (10 pages, double spaced and not including examples, figures, footnotes, and bibliography; more details are provided on Canvas)

Grades Attendance + Participation: 10% Essays (5% each): 20% Analyses (5% each): 20% Annotations (2.5% each): 10% Listening Quizzes (5% each): 20% Research Paper: 20% Abstract: required, but not graded

2 GRADE BREAKDOWN Attendence & Participation Research Paper 10% 20%

Essays 20%

Listening Quizzes 20%

Analyses Annotations 20% 10%

I use the following scale for determining grades:

B+ = 87-89 C+ = 77-79 A = 93-100 B = 83-86 C = 73-76 D = 60-69 F = <59 A- = 90-92 B- = 80-82 C- = 70-72

Policies Academic Integrity: You are expected to abide by the University’s honor code:

The core values of The University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member of the university is expected to uphold these values through integrity, honesty, trust, fairness, and respect toward peers and community.

Plagiarism and cheating will not be tolerated in this class. Any student suspected of academic misconduct will be reported to the Student Judicial Services. For more information on plagiarism see http://deanofstudents.utexas.edu/sjs/scholdis_plagiarism.php.

Absences: You must attend every scheduled class meeting of this course and arrive on time. In order to be excused for a University-sponsored activity or family emergency, you must provide written notice before the absence occurs in order to be excused. In the case of illness, you must have a doctor’s note. All unexcused absences will negatively affect your grade, and after five unexcused absences, your grade will be lowered by a full letter grade.

3 Technology: Did you know that you actually will likely retain information better if you write your notes manually (check out: https://www.medicaldaily.com/why-using-pen-and-paper-not- laptops-boosts-memory-writing-notes-helps-recall-concepts-ability-268770)? Please refrain from using any electronic device (cell phone, iPhone, iPad, etc.) unless it is necessary or more financially and/or environmentally conscious. (For example, students may use laptops to view larger scores/readings that are available online.) If you have a disability that requires you to use an electronic device, please let me know.

Writing Center: Writing is like playing an instrument: it requires a lot of practice. And, no matter how good you might be, there are always new things that can be learned (e.g., about technique, interpretation, and expression). Everyone is encouraged to consult the University Writing Center (PCL 2.330 / ucw.utexas.edu / 512.471.6222). Appointments are available (uwc.utexas.edu/appointments) or by calling the front desk.

Accommodations: I am happy to make accommodations for students with documented physical or mental disabilities. If you fall under this category, please contact Services for Students with Disabilities to obtain an official letter detailing authorized accommodations (471-6259 voice or 471-4641 TTY for users who are deaf or hard of hearing). Present the letter to me at the beginning of the semester so that we can discuss accommodations. For more information see http://www.utexas.edu/diversity/ddce/ssd/. In addition, know that UT has a number of services available to students who face mental health challenges (e.g., feeling down, having difficulty concentrating, a lack of motivation, increased anxiety, or substance use), which might negatively impact one’s ability to participate and succeed in class. The UT Counseling and Mental Health Center (http://chmc.utexas.edu/) provides counseling, psychiatric, consultation, and prevention services that facilitate students' academic and life goals and enhance their personal growth and well-being. The CMHC crisis line is available 24/7/365 at 512-471-2255; our COFA Care Counselor Nathan Langfitt can be reached at the direct line 512-471-0392.

Lastly, the MindBody Lab, a self-paced environment designed to help UT students explore various resources for improving their emotional and physical health. The Lab currently features audio and video instruction on a variety of topics, including sleep issues; food and body image; health and well-being; relaxation and meditation. Most of this material is experiential, enabling students to follow along and practice the skills as they are being discussed.

Title IX: UT Austin (and me!) is committed to providing a safe learning environment free from all forms of discrimination (racial, national origin, sexuality, disability, etc.) for all students. If you have experienced discrimination or harassment, know that you are not alone. UT has a number of resources, services, and organizations with staff members who are trained to support you (see https://titleix.utexas.edu/resources/).

Please be aware that I am considered a “responsible employee,” meaning that if you disclose any situation involving sexual harassment, sexual assault, dating violence, domestic violence,

4 stalking, etc. to me, I must report that information to the Title IX Coordinator. Confidential Advocates (http://deanofstudents.utexas.edu/emergency/advocacysupport.php / 512.471.5017) are not mandated to report disclosures made by students who have been impacted by interpersonal violence.

Gender Inclusion: If you have a name and/or set of pronouns that differ from those in your student records, please let me know so that I can address you properly. I prefer “Alison,” “Professor Maggart,” “Dr. Maggart,” and “she/her.”

Religious Holidays: Should you observe a religious holy day, you must notify me 14 days in advance. If you miss a class, you will be given 2 class periods to complete any work that you missed.

5 ***** Schedule ****** (Please note that this schedule is tentative. Depending on the interests of the class, certain lectures may be extended, abbreviated, cut, or added. If you want to explore a topic relevant to the course but not listed on the current schedule, please see me early in the semester to discuss its incorporation.)

Key for Finding the Assigned Readings:

C – The reading has been uploaded onto Canvas. Please search by author last name under the File tab. J – The reading can be found by searching JSTOR through the UT Library Shibboleth portal. E – The reading is part of an Ebook that can be accessed through UT Library.

***Readings Boxed in a Dotted Line Are to Be Annotated***

UNIT 1

WEEK 1 January 22: Introductions and Overview

January 24: Crisis and the Hero Narrative in Austro-Germany I Listening: Strauss, Don Quixote, “Don Quixote’s Theme,” “Sancho Panza’s Theme” “Adventures at the Windmills,” and “The Ride through the Air” (1897) Strauss, Ein Heldenleben (1898)

Reading: C – Strauss, “Is There a Progressive Faction in Music?” (1907) C – König’s Program for Ein Heldenleben C – Charles Youmans, “Intellectual History and Artistic Production,” in Richard Strauss’ Orchestral Music and the German Intellectual Tradition (Indiana UP, 2005), 3–28. C – James Hepokoski, “The Second Cycle of Tone Poems,” in The Cambridge Companion to Richard Strauss, edited by Charles Youmans (Cambridge UP, 2010), 78–104.

WEEK 2 January 29: Crisis and the Hero Narrative in Austro-Germany II Listening: Mahler, Symphony No. 5 (1901-02) Mahler, Symphony No. 8 (1907)

6 Mahler, Symphony No. 1 (1888) [optional]

Reading: E – Constantin Floros, trans. by Neil Moran, “First Part: Basics of the Symphony,” in Gustav Mahler and the Symphony of the 19th Century (Peter Lang GmbH, 2014), 5– 24. J – Barbara Barry, “The Hidden Program in Mahler’s Fifth Symphony,” The Musical Quarterly 77/1 (Spring 1993): 47–66. C – Stephen Hefling, “Background: Mahler’s ‘symphonic worlds’ before 1908,” in Mahler: Das Lied von der Erde (Cambridge UP, 2000), 1–28.

January 31: Nordic Composers of Symphonies and Tone Poems Listening: Sibelius, Symphony No. 4 (1910–11) Sibelius, Symphony No. 5 (1915–19) Nielsen, Symphony No. 5 (1921–22) Sibelius, Tapiola (1926) [optional] Nielsen, Saga-drøm (1907–8) [optional]

Reading: C - James Hepokoski, “Musical Process and Architecture: a proposed overview,” in Sibelius: Symphony No. 5 (Cambridge UP, 1993), 58–84. C – Elliott Antokoletz, “The musical language of the Fourth Symphony,” in in Sibelius Studies, edited by Timothy Jackson and Veijo Murtomäki (Cambridge UP, 2001). 296–321. J – Daniel Grimley, “Modernism and Closure: Nielsen’s Fifth Symphony,” The Musical Quarterly 86.1 (Spring 2002): 149–173. C – David Fanning, “Carl Nielsen and Theories of Symphonism,” in Carl Nielsen Studies, vol. 4 (2009): 9–19.

WEEK 3 February 5: The British Sea I Listening: Elgar, Sea Pictures (1897–99) Vaughan Williams, Symphony No. 1 (1910) [optional] Vaughan Williams, Symphony No. 3 (Pastoral) (1922)

7 Reading: E – Leon Botstein, “Transcending the Enigmas of Biography: The Cultural Context of Sir Edward Elgar’s Career,” in Edward Elgar and His World, edited by Byron Adams (Princeton UP, 2007), 265–405. C – Tim Rayborn, “English Music from the Later 19th Century: A Renaissance and a Revival,” in A New English Music: Composers and Folk Traditions in England’s Musical Renaissance from the Late 19th to the Mid-20th Century (McFarland, 2016), 11– 38. C – Vaughan Williams, “National Music” (1934)

February 7: Looking Eastward (Exoticism I) Listening: Debussy, La mer (1903–05) Mahler, Das Lied von der Erde, “Der Abschied” (1908–09)

Reading: C – Simon Trezise, Debussy: La Mer (Cambridge UP, 1994), 51–95. C – Stephen Hefling, “Genesis” in Mahler: Das Lied von der Erde (Cambridge UP, 2000), 28–53. E – Carl Niekerk, “The Two Faces of German Orientalism,” in Reading Mahler: German Culture and Jewish Identity in Fin-de-Siècle Vienna (Boydell & Brewer, 2013), 310– 365.

WEEK 4 February 12: Expressionist Color I Listening: Schoenberg, Kammersymphonie No. 1, op. 9 (1906) Schoenberg, Five Pieces for Orchestra (1909)

Reading: E – Walter Frisch, “The First Chamber Symphony, op. 9 (1906),” in The Early Works of Arnold Schoenberg, 1893–1908 (UC Press, 1993), 220–247. C – Arnold Schoenberg, “Heart and Brain in Music” (1946), in Style and Idea, ed. by Leonard Stein, 53–62. E – Leon Botstein, “Schoenberg and the Audience: Modernism, Music, and Politics in the Twentieth Century,” in Schoenberg and His World, edited by Walter Frisch (Princeton Up, 1999), 19–54.

February 14: Expressionist Color II Listening: Berg, Five Orchestral Songs (1911–12) Webern, Fünf Stuckë fur̈ Orchester, Op. 10 (no.3) (1913)

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Reading: J – David P. Schroeder, “Alban Berg and Peter Altenberg: Intimate Art and the Aesthetics of Life,” Journal of the American Musicological Society 46/2 (1993): 261– 294.

***LISTENING QUIZ 1***

UNIT 2

WEEK 5 February 19: Mystical Poems Listening: Scriabin, Poem of Ecstasy (1905–08) Scriabin, Prometheus: The Poem of Fire (1910)

Reading: C – Lincoln Ballard and Matthew Bengtson, “Symphonies and Orchestral Works,” in The Alexander Scriabin Companion: History, Performance, and Lore (Rowman & Littlefield, 2017), 74–110. C – Richard Taruskin, “Scriabin and the Superhuman,” in Defining Russia Musically: Historical and Hermeneutical Essays (Princeton UP, 1997), 308–359.

***UNIT 1 PACKET DUE IN CLASS***

February 21: Mystical Birds Listening: Stravinsky, Firebird suite (1919) Stravinsky, Petrushka suite (1910–11)

Reading: J – Elliott Antokoletz, “Interval Cycles in Stravinsky’s Early Ballets,” Journal of the American Musicological Society 39/3 (1986): 578–614. C – Richard Taruskin, “Stravinsky’s Petrushka,” in Petrushka: Sources and Contests, edited by Andrew Wachtel (Northwestern UP, 1998), 67–114.

WEEK 6 February 26: Stravinsky’s Neoclassicism Listening: Stravinsky, Symphonies of Wind Instruments (1920) Stravinsky, Concerto for Piano and Wind Instruments, mvt. 1 (1924)

9 Stravinsky, Symphony of Psalms (1930)

Reading: J – Wilfrid Mellers, “1930: Symphony of Psalms,” Tempo 97, Igor Stravinsky 17 June 1882-6 April 1971 (1971): 19–27. J – Edward Cone, “Stravinsky: The Progress of a Method,” Perspectives of New Music 1/1 (1962): 18–26. [optional] C – Stravinsky, Excerpts from Poetics of Music (1946)

February 28: Quotation and Collision in the U.S. (Pluralism in the Americas I) Listening: Ives, Symphony No. 4 (1924) Varèse, Amériques (1921) Thomson, Symphony on a Hymn Tune (1926-8)

Reading: J – Thomas Brodhead, “Ives’ Celestial Railroad and His Fourth Symphony,” American Music 12/4 (1994): 389–424.

WEEK 7 March 5: Looking Across the Atlantic (Exoticism II) Listening: Milhaud, Le boeuf sur le toit (1919) Milhaud, La creation du monde, 1st tableau (1923) Ravel, Piano Concerto in G Major, mvt. 1 (1929–31) Gershwin, An American in Paris (1928) Antheil, A Jazz Symphony (1925) [optional]

Reading: C – Jeffrey Jackson, “Music Halls and the Avant-Garde,” Making Jazz French: Music and Modern Life in Interwar Paris (Duke UP, 2003), 104–122. J – Manoel Aranha Corrêa do Lago, “Brazilian Sources in Milhaud’s ‘Le Boeuf sur le Toit’: A Discussion and a Musical Analysis,” Latin American Music Review / Revista de Músical Latinoamericana 23/1 (2002): 1–59. C – Still, “Horizons Unlimited” (1957) C – Milhaud, “The Evolution of the Jazz Band and Music of the Negroes of North America” (1923) E – Oja, “Widening Horizons,” in Making Music Modern (Oxford, 2000), 313–335 and 346– 356.

March 7: Looking Across the Black Atlantic (Pluralism in the Americas II)

10 Listening: Still, Symphony No. 1 “Afro-American” (1930) Still, Africa (1930) Price, Symphony No. 1 (1932) Price, Ethiopia’s Shadow in America (1932)

Reading: C – Paul Gilroy, “‘Jewels brought from bondage: black music and the politics of authenticity,” in The Black Atlantic: Modernity and Double Consciousness (Harvard UP, 1993), 72–110. E – Catherine Parsons Smith, “The Afro-American Symphony and Its Scherzo” in William Grant Still: A Study in Contradictions (UC Press, 2000), 114–152. E – Rae Linda Brown, “Florence B. Price’s ‘Negro Symphony,’” in Temples for Tomorrow: Looking Back at the Harlem Renaissance, edited by Geneviäve Fabre and Michel Feith (Indiana UP, 2001), 84–98.

WEEK 8 March 12: Folk Influences in Bartók Listening: Bartók, Kossuth (1903) [optional] Bartók, Music for Strings, Percussion, and Celesta (1936) Bartók, Violin Concerto No. 2 (1938)

Reading: C – Judit Frigyesi, “The Romantic Roots and Political Radicalism of Hungarian Modernism, in Béla Bartók and Turn-of-the-Century Budapest (UC Press, 1998), 61– 88. J – Elliott Antokoletz, “Diatonic Extension and Chromatic Compression as a Basic Unifying Principle in Bartók’s ‘Music for Strings, Percussion, and Celesta,’” International Journal of Musicology 9 (2000): 303–328.

March 14: Inspiration from Native & Popular Traditions (Pluralism in the Americas III) Listening: Chávez, Sinfonía India (1935-36) Copland, Billy the Kid, “The Open Prairie” and “Street in a Frontier Town” (1938) Thomson, The Plow that Broke the Plains suite (1936)

Reading: E – Beth Levy, “Power in the Land,” and “Communal Song, Cosmopolitan Song,” in Frontier Figures: American Music and the Mythology of the American West (UC Press, 2012), 166–186 and 283–311.

11 C – Copland, “The Composer in Industrial America” (1952)

***LISTENING QUIZ 2*** ***ABSTRACT DUE***

WEEK 9: SPRING BREAK

UNIT 3

WEEK 10 March 26: Useful and Modern Technologies Listening: Antheil, Ballet Mécanique (1924) Honegger, Pacific 231 (1923) Hindemith, Kammermusik No. 5 (1927) Hindemith, Mathis der Maler symphony (1934) Orff, Catulli carmina, “Praelusio” (1943) [optional]

Reading: J – Karen Painter, “Symphonic Ambitions, Operatic Redemption: ‘Mathis der Maler and Palestrina’ in the Third Reich,” The Musical Quarterly 85/1 (2001): 117–166. [skip the section on Pfitzer] E – Oja, “The Machine in the Concert Hall,” in Making Music Modern (Oxford, 2000), 59– 94. ***UNIT 2 PACKET DUE IN CLASS***

March 28: The Soviet Union Listening: Shostakovich, Symphony No. 5 (1937), Shostakovich, Symphony No. 7 (Leningrad) (1941) Shostakovich, Symphony No. 10 (1953) Prokofiev, Symphony No. 1 (1917) [optional] Prokofiev Symphony No. 5 (1944)

Reading: C – Prokofiev, “Open Letter” (1948) C – Shostakovich, “My Creative Answer” (1938) C – “Chaos Instead of Music” from Pravda (1936) C – Zhdanov, “Resolution on Music” (1948) C – Taruskin, “Public Lies and Unspeakable Truth: Interpreting Shostakovich’s Fifth Symphony,” in Shostakovich Studies, ed. Fanning (Cambridge, 1995), 17–56.

12 WEEK 11 April 2: The British Sea II: Listening: Britten, Four Sea Interludes, Op. 33a (1945) Britten, War Requiem “Requiem aeternam” and “Agnus dei” (1961)

Reading: C – Christopher Scheer, “Crosscurrents in the Britten Legacy: Two Visions of Aldeburgh,” in Sea in the British Musical Imagination, edited by Eric Saylor and Christopher Scheer (Boydell Press, 2015), 67–80. C – Stephen Arthur Allen, “‘He descended into Hell’: Peter Grimes, Ellen Orford and salvation denied,” in The Cambridge Companion to Benjamin Britten, edited by Mervyn Cooke (Cambridge, 1999), 81–94. C – Britten, “On Winning the Aspen Award” (1964)

April 4: Romanticism in the U.S. Listening: Bernstein, Symphonic Suite from On the Waterfront (1954) Barber, Knoxville: Summer of 1915 (1948) Rachmaninoff, TBD Williams,

Reading: J – Benedict Taylor, “Nostalgia and Cultural Memory in Barber’s Knoxville: Summer of 1915,” The Journal of Musicology 25/3 (2008): 211–229. Anthony Bushard, “‘He Could’ve Been a Contender’: Thematic Integration in Leonard Bernstein’s Score for On the Waterfront (1954),” Journal of Film Music 2/1 (2007): TBD.

WEEK 12 April 9 & 11: European Formalism Listening: Webern, Symphony, op. 21 (1928) Messiaen, Turangalîla-Symphonie (1946–48) Boulez, Pli selon pli (1960) Stockhausen, Gruppen (1955–57) Berio, Nones (1954) [optional]

Reading: J – Boulez, “Aléa” (1964) C – Erling Guldbrandsen, “Casting New Light on Boulezian Serialism: Unpredictability and Free Choice in the Composition Pli selon pli – portrait de Mallarmé,” in Pierre

13 Boulez Studies, edited by Edward Cambell and Peter O’Hagan (Cambridge, 2016), 193–220. J – Gareth Healey, “Messiaen and the Concept of ‘Personnages,’” in Tempo 58/230 (2004): 10–19. C – Webern, “The Path to Twelve-Note Composition,” in Modernism and Music: An Anthology of Sources, edited by Daniel Albright, 202-215. C – Stockhausen, “…how time passes…” (1957/59) J – Jonathan Goldman, “Of Doubles, Groups, and Rhymes: A Seriation of Works for Spatialized Orchestral Groups (1958–60),” in The Dawn of Music Semiology: Essays in Honor of Jean-Jacques Nattiez, edited by Jonathan Dunsby and Jonathan Goldman (Boydell and Brewer, University of Rochester Press, 2017), 139–176. [especially sections on Gruppen] J – Maja Trochimczyk, “From Circles to Nets: On the Signification of Spatial Sound Imagery in New Music,” Computer Music Journal 25/4 (2001): 39–56. [optional]

WEEK 13 April 16: Formalism in the U.S. Listening: Carter, Double Concerto (1961) Babbitt, Relata I (1965) Stravinsky, Movements (1960)

Reading: E – Babbitt, “On Relata I,” (1970) in The Collected Essays of Milton Babbitt, edited by Stephen Peles, Stephen Dembski, Andrew Mead, and Joseph Straus (Princeton UP, 2003), 237–258. E – Babbitt, “Stravinsky’s Verticals and Schoenberg’s Diagonals: A Twist of Fate,” (1987), in The Collected Essays of Milton Babbitt, edited by Stephen Peles, Stephen Dembski, Andrew Mead, and Joseph Straus (Princeton UP, 2003), 404–427. J – Daniel Guberman, “Elliott Carter as (Anti-)Serial Composer,” American Music 33/1 (2015): 68–88.

April 18: Sonorous, Aleatoric, and Stochastic Textures Listening: Penderecki, Fluorescences (1961) Lutoslawski, Symphony No. 2 (1965–67) Lutoslawski, Livre pour orchestra (1968) [optional] Higgins, The 1000 Symphonies (1967) Xenakis, Pithoprakta (1955–56)

14 Reading: C – James Harley, “Considerations of Symphonic Form in the Music of Lutoslawski,” in Lutoslawski Studies, edited by Zbigniew Skowron (Oxford UP, 2001), 163–194. J – Danuta Mirka, “To Cut the Gordian Knot: The Timbre System of Krzysztof Penderecki,” Journal of Music Theory 45/2 (2001): 435–456. C – Xenakis, “Free Stochastic Music” in Formalized Music: Thought and Mathematics in Composition, rev. edition (Pendragon Press, 1992), 1–42.

***LISTENING QUIZ 3***

UNIT 4

WEEK 14 April 23: Colorful Texture Listening: Ligeti, Atmosphères (1961) Grisey, Partiels (1975) Murail, Gondwana, (1980) Vivier, Lonely Child (1980) Saariaho, Du Cristal (1990) Chin, Xi (1998)

Reading: C – Ligeti, “On the Path to Lux aeterna” (1969) J – Rose, “Introduction to the Pitch Organization of French Spectral Music,” Perspectives of New Music 34/2 (1996): 6–39. C – Fineberg, “Spectral Music” Contemporary Music Review 19/2 (2000): 1–5. C – Fineberg, “Guide to the Basic Concepts and Techniques of Spectral Music,” Contemporary Music Review 19/2 (2000): 81–113. C – Grisey, “Did you say spectral?” trans. Fineburg, Contemporary Music Review 19/3 (2000): 1–3. ***UNIT 3 PACKET DUE IN CLASS***

April 25: Collage & Polystylistics Listening: Berio, Sinfonia (1968) Schnittke, Symphony No. 1 (1969–72) Rochberg, Symphony No. 5 (1986) Foss, Baroque Variations (1967) [optional] Corigliano, Symphony No. 1 (1989) [optional]

15 Reading: J – Louis Goldford, Janne Irvine, and Robert Kohn, “Berio’s Sinfonia: From Modernism to Hypermodernism,” Interdisciplinary Literary Studies 13, no. ½ (2011): 19–44. C – Gavin Dixon, “Polystylism as dialogue: Interpreting Schnittke through Bakhtin,” in Schnittke Studies, edited by Gavin Dixon (Routledge, 2016), TBA. C – Jonathan Kramer, Postmodern Music, Postmodern Listening (Bloomsburg Press, 2016), 5–22 and 115–150.

WEEK 15 May 2: Minimalism I Listening: Reich, The Desert Music (1983) Glass, Symphony No. 4 “Heroes” (1996) Adams, Grand Pianola Music (1982) Adams, Harmonielehre (1985) [optional]

Reading: E – Fink, “(Post-)minimalisms 1970–2000: The Search for a New Mainstream,” in The Cambridge History of Twentieth Century Music, ed. Cook (2004), 539–556. C – Cahill, “Grand Pianola Music” from Lincoln Center’s John Adams Festival Book (2003) J – Johnson, “Minimalism: Aesthetic, Style, or Technique?” The Musical Quarterly 78/4 (1994): 742–773. J – Jeremy Grimshaw, “High, ‘Low,’ and Plastic Arts: Philip Glass and the Symphony in the Age of Postproduction,” The Musical Quarterly 86, no. 3 (2002): 472–507.

May 4: Minimalism II Listening: Pärt, Tabula Rasa (1977) Górecki, Symphony No. 3 (1976) Oliveros, Four Meditations for Orchestra (1997)

Reading: C – Marie Cizmic, “Music, Mourning, and War: Henryk Górecki’s Third Symphony and the Politics of Remembering,” in Performing Pain: Music and Trauma in Eastern Europe (Oxford, 2012), 133–166. C – Hillier, “Sounding Icons,” and “Tintinnabuli,” in Arvo Pärt (Oxford, 1997), 1–23 and 86–97. C – Oliveros, Sonic Meditations, Introduction 1 through Sonic Meditation XI

WEEK 16

16 May 7 & 9: Globalization and the New Accessibility Listening: Tower, Sequoia (1981) Larsen, Deep Summer Music (1982) Yi, Symphony No. 2 (1993) Higdon, Concerto for Orchestra (2002)

Reading: C – Nancy Yunwa Rao, “The Transformative Power of Musical Gestures: Cultural Translation in Chen Yi’s Symphony No. 2,” in Analytical Essay on Music by Women Composers: Concert Music from 1960–2000, edited by Laurel Parsons and Brenda Ravenscroft (Oxford, 2016), 127–152. C – Lau, “Fusion or Fission: The Paradox and Politics of Contemporary Chinese Avant- Garde Music,” in Locating East Asia in Western Art Music, ed. Everett and Lau (Middletown, CT: Wesleyan University Press, 2004), 1–39.

***LISTENING QUIZ 4*** ***RESEARCH PAPER DUE***

***UNIT 4 PACKET DUE ON FINAL EXAM DATE***

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