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MUH 5684 Tuesday, Period 3 | Thursday, Periods 3–4 • MUB 232 • Spring 2020 Dr
detail from F-Pn vma ms 1068 | hand of violinist Pierre Baillot | photo by Michael Vincent Introduction to Historical Musicology MUH 5684 Tuesday, Period 3 | Thursday, Periods 3–4 • MUB 232 • Spring 2020 Dr. Michael Vincent • [email protected] • MUB 351 • Thursday & Friday period 5 Please visit me during my office hours. I’m available to discuss our course or issues of professional development. Overview We explore critical approaches to the history of musicology as an academic discipline. The readings provide an overview of fundamental concepts and methodologies, and significant musicological writings representing style periods and conceptual issues. While musicologists traditionally focus on European music in the classical tradition, we will sample scholarship that focuses on a broad range of repertoires. Students will be encouraged to approach the discipline and its history critically. This critical approach will inform your personal work, giving you the tools to investigate your own topic in novel and insightful ways. Each student will choose a “lab rat” at the beginning of the semester: an artistic period, repertoire, performer, social movement, or composer. You will investigate your lab rat using the weekly methodology, diversifying your knowledge of your chosen subject. Your lab rat may grow in unexpected ways as the semester progresses. This course has prerequisites: successful completion of the complete undergraduate music history sequence; graduate student status; and successful completion of the music history entrance exam or the review course. Expectations ❖ Reading You’re expected to come to class having completed all reading on the syllabus for that week. You must be ready to engage with the materials. -
The Aquitanian Sacred Repertoire in Its Cultural Context
THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, IN HOC ANNI CIRCULO, AND CANTUMIRO SUMMA LAUDE by ANDREA ROSE RECEK A THESIS Presented to the School ofMusic and Dance and the Graduate School ofthe University of Oregon in partial fulfillment ofthe requirements for the degree of Master of Arts September 2008 11 "The Aquitanian Sacred Repertoire in Its Cultural Context: An Examination ofPetri clavigeri kari, In hoc anni circulo, and Cantu miro summa laude," a thesis prepared by Andrea Rose Recek in partial fulfillment ofthe requirements for the Master ofArts degree in the School ofMusic and Dance. This thesis has been approved and accepted by: Dr. Lori Kruckenberg, Chair ofth xamining Committee Committee in Charge: Dr. Lori Kruckenberg, Chair Dr. Marc Vanscheeuwijck Dr. Marian Smith Accepted by: Dean ofthe Graduate School 111 © 2008 Andrea Rose Recek IV An Abstract ofthe Thesis of Andrea Rose Recek for the degree of Master ofArts in the School ofMusic and Dance to be taken September 2008 Title: THE AQUITANIAN SACRED REPERTOIRE IN ITS CULTURAL CONTEXT: AN EXAMINATION OF PETRI CLA VIGER! KARl, INHOC ANNI CIRCULO, AND CANTU MIRa SUMMA LAUDE Approved: ~~ _ Lori Kruckenberg Medieval Aquitaine was a vibrant region in terms of its politics, religion, and culture, and these interrelated aspects oflife created a fertile environment for musical production. A rich manuscript tradition has facilitated numerous studies ofAquitanian sacred music, but to date most previous research has focused on one particular facet of the repertoire, often in isolation from its cultural context. This study seeks to view Aquitanian musical culture through several intersecting sacred and secular concerns and to relate the various musical traditions to the region's broader societal forces. -
Brown, Orange, and Blue Gamelan Is Back at Illinois!
SPRING 2007 The News Magazine of the University of Illinois School of Music Brown, Orange, and Blue Gamelan is Back at Illinois! Crossover Artists Poker Games and Liberation Classes Jeffery S. Kimpton: Educator for a Lifetime Choice From the Interim Dean It is a pleasure for me to introduce this new edition of sonorities sonorities , the news magazine for the School of Music at Spring 2007 the University of Illinois at Urbana-Champaign. Published for alumni and friends of the After ten years as the chief academic officer of the Col - School of Music at the University of Illinois at Urbana-Champaign. lege of Fine and Applied Arts, Dean Kathleen F. Conlin The School of Music is a unit of the College recently stepped down to take up duties as the Barnard Hewitt Professor of of Fine and Applied Arts at the University of Theatre and Director in Residence in the Department of Theatre here at the Illinois at Urbana-Champaign and has been an accredited institutional member of the National University of Illinois. All of us in the College owe her a debt of gratitude, and Association of Schools of Music since 1933. the School of Music in particular has greatly benefited from her support of Karl Kramer, director such initiatives as the revitalized and expanded jazz program, the residency of Edward Rath, associate director the Pacifica Quartet, and the recruitment of world-class artists and scholars to Marlah Bonner-McDuffie, associate director, development teach our students. Indeed, it has been a daunting task for me personally as I David Atwater, assistant director, business fill in for her in the dean’s office while a national search is conducted to name Joyce Griggs, assistant director, enrollment management and public engagement her successor. -
MUSIC in the RENAISSANCE Western Music in Context: a Norton History Walter Frisch Series Editor
MUSIC IN THE RENAISSANCE Western Music in Context: A Norton History Walter Frisch series editor Music in the Medieval West, by Margot Fassler Music in the Renaissance, by Richard Freedman Music in the Baroque, by Wendy Heller Music in the Eighteenth Century, by John Rice Music in the Nineteenth Century, by Walter Frisch Music in the Twentieth and Twenty-First Centuries, by Joseph Auner MUSIC IN THE RENAISSANCE Richard Freedman Haverford College n W. W. NORTON AND COMPANY Ƌ ƋĐƋ W. W. Norton & Company has been independent since its founding in 1923, when William Warder Norton and Mary D. Herter Norton first published lectures delivered at the People’s Institute, the adult education division of New York City’s Cooper Union. The firm soon expanded its program beyond the Institute, publishing books by celebrated academics from America and abroad. By midcentury, the two major pillars of Norton’s publishing program—trade books and college texts— were firmly established. In the 1950s, the Norton family transferred control of the company to its employees, and today—with a staff of four hundred and a comparable number of trade, college, and professional titles published each year—W. W. Norton & Company stands as the largest and oldest publishing house owned wholly by its employees. Copyright © 2013 by W. W. Norton & Company, Inc. All rights reserved Printed in the United States of America Editor: Maribeth Payne Associate Editor: Justin Hoffman Assistant Editor: Ariella Foss Developmental Editor: Harry Haskell Manuscript Editor: Bonnie Blackburn Project Editor: Jack Borrebach Electronic Media Editor: Steve Hoge Marketing Manager, Music: Amy Parkin Production Manager: Ashley Horna Photo Editor: Stephanie Romeo Permissions Manager: Megan Jackson Text Design: Jillian Burr Composition: CM Preparé Manufacturing: Quad/Graphics-Fairfield, PA A catalogue record is available from the Library of Congress ISBN 978-0-393-92916-4 W. -
San José State University School of Music and Dance Department MUSC 201, Studies in Music History—Monteverdi, Section 2, Spring, 2012
San José State University School of Music and Dance Department MUSC 201, Studies in Music History—Monteverdi, Section 2, Spring, 2012 Instructor: Gordon Haramaki Office Location: MUS 107 Telephone: (408) 924-4634 Email: [email protected] Please include “201” in the subject line of your email. Office Hours: Monday/Wednesday/Thursday, 10:00-12:00 Class Days/Time: Thursday 4:00-6:30 PM Classroom: MUS 272 Prerequisites: Graduate Classified standing, or consent of instructor http://www.sjsu.edu/people/gordon.haramaki/courses/monteverdi/ Copies of the course materials such as the syllabus, major assignment handouts, etc. may be found on my faculty web page accessible through the Quick Links>Faculty Web Page links on the SJSU home page. You are responsible for regularly checking with the messaging system through MySJSU (or other communication system as indicated by the instructor). Course Description Course Description Often called the “Father of Modern Music,” composer Claudio Monteverdi (1567-1643) lived from the last stages of the Renaissance Humanism in the late sixteenth-century princely courts of Northern Italy to the beginnings of both absolutist monarchies and of the Baroque aesthetic in the seventeenth century that mark the beginning of the modern era. Over the course of his long life, Monteverdi explored the Renaissance musical constructions of selfhood in the madrigal, and well as championing the free treatment of dissonance for the musical expression (affect) of a text, and helped contribute to the newly formed genre of opera and the development of the Baroque style. Seminar discussions and presentations by course members will be held weekly, and will cover a selection of various aspects of Monteverdi’s work, from his Mantuan madrigals to his Venetian operas. -
American Musicological Society Records Ms
American Musicological Society records Ms. Coll. 221 Finding aid prepared by Rebecca C. Smith, Leah Germer. Last updated on May 12, 2020. University of Pennsylvania, Kislak Center for Special Collections, Rare Books and Manuscripts 2009 American Musicological Society records Table of Contents Summary Information....................................................................................................................................3 Biography/History..........................................................................................................................................4 Scope and Contents....................................................................................................................................... 8 Administrative Information......................................................................................................................... 19 Controlled Access Headings........................................................................................................................19 Other Finding Aids......................................................................................................................................20 Collection Inventory.................................................................................................................................... 21 Correspondence......................................................................................................................................21 Minutes [Files are restricted for fifty -
AMS Newsletter February 2013
AMS NEWSLETTER THE AMERICAN MUSICOLOGICAL SOCIETY CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES VOLUME XLIII, NUMBER 1 February 2013 ISSN 0402-012X AMS Pittsburgh 2013: Music n’at 2012 Annual Meeting: in the Steel City New Orleans AMS Pittsburgh 2013 when lights outline these features and sparkle The seventy-eighth Annual Meeting of the off the water. American Musicological Society in New Or- 7–10 November A century ago, the night would have been leans, 1–4 November, fell just days after Hur- www.ams-net.org/pittsburgh lit by the flames of massive steel furnaces. The ricane Sandy struck. Some members were thick smoke from coal-burning plants had badly affected by the storm, while many others suffered indirectly with flight delays Those of us who grew up watching Mister long hung over the city; an Atlantic writer and cancellations. Absent friends were never Rogers’ Neighborhood likely recall the pleasure dubbed it “Hell with the Lid Off ” in 1868. far from the thoughts of those who made it, of seeing the trolley emerge from the tun- In the 1940s streetlights came on during the while tales of the travel-worn were a theme nel into the Neighborhood of Make Believe. day, and businessmen took two white shirts of many lobby reunions. What more under- According to Deane Root, Rogers acknowl- to work, because the first would be smudged standing and gracious host for the assembled edged that the trolley’s journey was inspired by noon. For years Pittsburghers didn’t com- than New Orleans? In the days that followed, by the city in which he produced his show for plain; the smoke signaled employment and the city was a generous backdrop to the con- thirty-five years. -
ARTICLES DON GILLER 7 the Naples L'homme Arme Masses And
ARTICLES , DON GILLER 7 The Naples L'Homme Arme Masses and Caron: A Study in Musical Relationships CLYDE W. BROCKETT,JR. 29 A Comparison of the Five Guido of Arezzo KENNETH G. CHAPMAN' 43 Siegfried and Briinnhilde and the Passage of Time in Wagner's Ring STEPHEN 59 Observations on a Cabaletta from Verdi's If Corsaro REVIEWS MARIA RIKA MANIATES 76 in Art, Literature, and Music: A Bibliography, Richard Studing and Elizabeth Kruz, eds. DENNIS LIBBY 83 La scenografia dalle origini al1936 (Storia del Teatro Regio di Torino, vol. 2), Mercedes Viale Ferrero REPORTS FROM: EMMA Lbu DIEMER 87 The University of California, Santa Barbara LYNDA L. REDD 88 Brigham Young University \ DEBORAH CRISP 89 The University of New England, Australia 92 ANNOUNCEMENTS Editor-in-Chief: J eanne Ryder Editorial Board: Thomas W. Baker, Asya Berger, * Charlotte Cross, Laura Damuth, Timothy Gaylard, Susan Hellauer, Cook Kimball, Peter M. Lefferts, Ellen Lerner, Dale. E. Monson, Rena Mueller, * Judith E. Olson,* Richard Stiefel Reports, Domestic: Timothy'Gaylard Reports, Foreign: Judith E. Olson* Advertising: Richard Stiefel Subscriptions: Clovis'Lark Faculty Advisor: Joel Newman *New York Univ!,:rsity Copyright © 1981, The Trustees of Columbia University in the Cjty of New York Printed in the U.S.A. dnll Typesettipg, Inc., CafllPridge, Massachusetts ISSN 0011-3735 CORRESPONDING EDITORS Domestic Michael Milici Boston University, Boston, MA Lewis Porter Brandeis University, Waltham, MA Lynda L. Weygandt Redd Brigham Young University, Provo, UT Janice Bryson Bryn,Mawr College, Bryn Mawr, PA Linda Thomas Carnegie-Mellon University, Pittsburgh, PA Gerald Rich Catholic University of America, Washington, DC Kenneth L. -
Graduate Seminars in Musicology University of North Carolina at Chapel Hill Department of Music 1999 – 2017
Graduate Seminars in Musicology University of North Carolina at Chapel Hill Department of Music 1999 – 2017 i Academic Year 1999-00 2005-06 2011-12 2000-01 2006-07 2012-13 2001-02 2007-08 2013-14 2002-03 2008-09 2014-15 2003-04 2009-10 2015-16 2004-05 2010-11 2016-17 ii Fall 1999 MUSC 243 -- Proseminar in Classical Music: "Beethoven's Later Symphonies" Mark Evan 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. MUSC 244 -- Proseminar in Romantic Music: "The Lieder of Franz Schubert" Jon 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. MUSC 245 -- Proseminar in Modern Music Severine Neff This course has a dual purpose. On the one hand, it will investigate the writings of composers about their own music. -
The American Musicological Society 1934-1984
The American Musicological Society 1934-1984 An Anniversary Essay by Richard Crawford with Lists of Officers, Winners of Awards, Editors of the Journal, and Honorary and Corresponding Members The American Musicological Society Philadelphia, Pennsylvania I984 Note In 1981 the Board of Directors of the American Musicological Soci- ety voted to commission a history of the Society to celebrate its fiftieth anniversary in 1984. When plans for a full-scale history hit a snag, the Society's Publications Committee asked me, as current president, to write a brief essay commemorating the occasion. I wish to thank Clay- ton Henderson, Alvin H. Johnson, James Webster, and James Haar for their assistance. R. C. September 1984 © 1984 by the American Musicological Society, Inc. All rights reserved. American Musicology Comes of Age: The Founding of the AMS Richard Crawford On June 5, 1934, Gustave Reese, a young faculty member at New York University, wrote to Professor Otto Kinkeldey of Cornell: A meeting was held on June 3rd by certain members of the former New York Musicological Society and other persons interested in musicology. Those present were: Miss Helen Heffron Roberts, Messrs. George Dickin- son, Carl Engel, Joseph Schillinger, Charles Louis Seeger, Harold Spivacke, W. Oliver Strunk, Joseph Yasser, Gustave Reese. The New York Musico- logical Society having disbanded, those attending constituted themselves the American Musicological Association. Dr. Spivacke then nominated you as President and, upon motion duly made, seconded, and carried, you were unanimously elected President.1 Expressing gratification but no surprise, Kinkeldey promptly accepted, and the work of organization began.2 By December 1, when a meeting was held at the Beethoven Association, 30 West 56th Street in New York City, to adopt a constitution and by-laws, the membership of the new society—it had been renamed the American Musicological Society for fear that some might call it "AMUSA"—stood at fifty-one. -
The Musicological Elite
The Musicological Elite Tamara Levitz Musicologists have been gripped by the desire to democratize, diversify, decolonize, and popularize their discipline. Driven by a growing moral demand to challenge the Eurocentric, heteronormative, exclusionary, colonial, settler colonial, non-diverse, and white supremacist legacies of a discipline plagued by its rootedness in European classical musical tradi- tions, they have recently accelerated their efforts to expand the traditional canon, reform curriculum, and explore new mediums for the dissemina- tion of ideas (for example, “popular” internet blogs over expensive aca- demic monographs). In spring 2017, the Department of Music at Harvard University symbolically led the charge in this effort by announcing they would no longer require music theory and other courses, but rather ask students to pick “no more than two” of each type of course in their pro- gram, design their study plan with the Director of Undergraduate Studies, and include a rationale that outlines their path through the major. The only requirements left are the “Concentration Tutorials” that include courses on “Thinking about Music” and “Critical Listening.”1 Harvard Professors stressed that this change would create more “flexible pathways” through their program, eliminate the class-based implicit requirements to enter it, and, most importantly, allow for a greater diversity of students and student interests.2 Reactions to these plans on social media have been vehement and fiercely divided.3 That the standard curriculum in musicology programs has become an open wound or festering reminder of the labor injustice, class division, exclusions, structures of white supremacy, and inequality in the discipline became apparent again in October 2017, when an acrimonious debate, this time about eliminating the language requirements in musicology programs, erupted on the listserv of the American Musicological Society. -
University of California
UNIVERSITY OF CALIFORNIA Los Angeles Performed Embodiment, Sacred Eroticism, and Voice in Devotions by Early Seventeenth-Century Italian Nuns A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Musicology by Lindsay Maureen Johnson 2013 © Copyright by Lindsay Maureen Johnson 2013 ABSTRACT OF THE DISSERTATION Performed Embodiment, Sacred Eroticism, and Voice in Devotions by Early Seventeenth-Century Italian Nuns by Lindsay Maureen Johnson Doctor of Philosophy in Musicology University of California, Los Angeles, 2013 Professor Elisabeth Le Guin, Chair This dissertation comprises a series of close readings of music written and performed in intimate devotional contexts by nun composers Sulpitia Cesis, Alba Tressina, and Lucrezia Vizzana in seventeenth-century convents in Modena, Vicenza, and Bologna, respectively. I argue that in singing music written by their sisters, nuns were able to use their voices to mediate a space between their own corporeal bodies and an ephemeral Divine presence. In so doing, these nuns were able to engage in practices conducive to the experience of ecstasy for both singers and listeners, cultivate an outlet for creativity and entertainment, and strengthen their relationships with one another and with the Divine. This mediation also functioned as an act of self-empowerment, as nuns derived agency through composing, performing, and listening to this music. Nuns’ voices therefore occupied a queer and transgressive space that threatened patriarchal control over women’s sexualities, allowing for more autonomous nurturing of their own ii identities and spiritualities. Through musicking, nuns were able to communicate with each other, with God, and with the outside world through choice of text, musical setting thereof, manipulation of performance space, and subtle relational cues between singers and audience members.