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Class Code MPATC-UE 9078 Instructor Details Matěj Kratochvíl [email protected]

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Class Code MPATC-UE 9078 Instructor Details Matěj Kratochvíl Mk4586@Nyu.Edu Class code MPATC-UE 9078 Instructor Details Matěj Kratochvíl [email protected] Class Details Music history IV Wednesday 10:15-11:50 Location to be confirmed. Prerequisites Music History III Class Description The course provides an overview of the major trends in classical music of the last 100 years in the West. Special attention will be paid to the musical culture of Central Europe and particularly the Czech lands. Central compositional and aesthetic issues of 20th century music will be discussed on the basis of source texts as well as academic writings. Music, politics and nationalism, atonality and serialism, experimental and electronic music, the musical minimalism, and other topics will be covered. lecture Desired Students are supposed to gain a good aural knowledge of the music discussed, understand main trends th Outcomes of its development and should become familiar with important names and styles of the 20 century music. Assessment There will be four listening quizzes, two writing assignments and a final exam. Components In one writing assignment (approx. 3 pages), you will review a concert we shall visit together, in the second (approx. 5 pages) you shall present selected 20th century composer, including brief biography, stylistic features and important works as well as your own thought on his music. Grading: 25% Attendance, Participation, Listening Quizzes, 45% Writing Assignments 30% Final Exam Assessment Grade A: Grade A: Excellent work in class, outstanding understanding of the subject, excellent Expectations papers and impeccable results in test Grade B: Grade B: Very good work in class and at home, excellent papers and good test results Grade C: Grade C: Good papers and sufficient results in tests, no missing assignments. Grade D: Grade D: Good effort during class and homework, passable papers Grade F: Grade F: Very poor results, lack of effort Grade conversion Attendance Policy Late Submission of Work Plagiarism Policy According to the Liberal Studies Program Student Handbook, plagiarism is defined as follows: 1 Plagiarism is presenting someone else’s work as though it were one’s own. More specifically plagiarism is to present as one’s own a sequence of words quoted without quotation marks from another writer, a paraphrased passage from another writer’s work; facts or ideas gathered, organized and reported by someone else, orally and/or in writing. Since plagiarism is a matter of fact, not of the student’s intention, it is crucial that acknowledgment of the sources be accurate and complete. Even where there is no conscious intention to deceive, the failure to make appropriate acknowledgment constitutes plagiarism. The College of Arts and Science’s Academic Handbook defines plagiarism similarly and also specifies the following: “presenting an oral report drawn without attribution from other sources (oral or written), writing a paragraph which, despite being in different words, expresses someone else’s idea without a reference to the source of the idea, or submitting essentially the same paper in two different courses (unless both teachers have given their permission in advance). Receiving help on a take-home examination or quiz is also cheating – and so is giving that help – unless expressly permitted by the teacher (as in collaborative projects). While all this looks like a lot to remember, all you need to do is give credit where it is due, take credit only for original ideas, and ask your teacher or advisor when in doubt.” “Penalties for plagiarism range from failure for a paper, failure for the course or dismissal from the university.” (Liberal Studies Program Student Handbook) th Required Text(s) Topics in 20 Century Music I + II, Reader compiled by Tereza Havelková, available at the library in several copies. Includes all texts referred to in the syllabus. Supplemental Texts(s) (not required to purchase as copies are in NYU-P Library) Internet Research Guidelines Additional Required Equipment Session 1 Overview of the Course; European Music before WWI Wednesday, Strauss: Salome Feb 4 Mahler: Symphony No. 7 Debussy: Sirenes Session 2 Folkloric and popular inspirations Reading: Wednesday, Frigyesi, Judit. “Bela Bartok and the Concept of Nation and ‘Volk’ in Modern Hungary.” The Musical Feb 11 Quarterly, Vol. 78, No. 2 (Summer, 1994), pp. 255-287. Anthology of Czech Music (5 CDs + booklet). Divadelní ústav, 2004. pp. 71-103 (“The Period after 1860,” “The Turn of the Century and the First Decades of the 20th Century”). Stravinsky: Rite of Spring Janáček: Glagolitic Mass Bartók: Dance Suite, 5th String Quartet Charles Ives: Three Places in New England Session 3 The Second Viennese School 2 Wednesday, Reading: Feb 18 Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and America: pp. 62-88 and pp. 187-219 (Chapter III: The Atonal Revolution and Chapter IX: The Twelve-Tone System). Busoni, Ferruccio. From “Sketch of a New Esthetic of Music.” In Source Readings in Music History, ed. Oliver Strunk. New York and London: W. W. Norton & Co. 1998, pp. 1321-1328. Schönberg: Funf Klavierstucke op 23, No 5, Pierrot Lunaire Berg: Wozzek Webern: Symphony op. 21 Session 4 Europe Between the Wars Wednesday, Reading: Feb 25 Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and America: pp. 151-186 (Chapter VII: The Historical Context: Europe After World War I & Chapter VIII: Neo-Classicism) Satie: Vexations, Parade Kurt Weill: Die Dreigroschenoper Prokofiev: Symphony No. 1, Alexander Nevsky Shostakovich: Symphony No. 2 Session 5 Czech Music between the Wars Wednesday, Martinů, Hába, Janáček March 4 Session 6 American Music Between the Wars Wednesday, Henry Cowel, George Gershwin, Ruth Crawford Seeger, Aaron Copland March 11 Session 7 Avant-garde after WWII Messiaen: Turangalîla-Symphonie Wednesday, Boulez: Le marteau sans maître March 18 Stockhausen: Kreuzspiel Cage: Music of Changes Overview: Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and America: pp. 325-378 (Chapters XV: The World after WWII, XVI: Integral Serialism and XVII: Indeterminacy) Session 8 Music and New Technologies Luigi Russolo Wednesday, Varese: Ionisation March 25 Schaeffer: Etude aux chemins de fer Stockhausen: Gesang der Junglinge Reading Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and America: pp. 461-480 (Chapter XXII: Developments in Technology –Electronic Music) Russolo, Luigi. “The Art fo Noises: Futurist Manifesto.” In Audio Culture: Readings in Modern Music, Ed. Christoph Cox and Daniel Warner. London and New York: Continuum 2005, pp. 10-14. Session 9 Composing with Timbre and Texture; 3 Wednesday, Ligeti: Atmospheres, Requiem April 1 Penderecki: Threnody Lachenmann: Dal niente George Crumb: Black Angels Readings: Ligeti, György. “States, Events, Transformations,” Trans. Jonathan W. Bernard. Perspectives of New Music, Vol. 31, No. 1 (Winter, 1993), pp. 164-171. Spring Break April 6-10 Session 10 Postmodernism in Classical and Popular Music Berio: Sinfonia Wednesday, Stockhausen: Stimmung April 15 John Oswald: Plunderphonics Reading: Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and America: pp. 407-440 (Chapter XIX: The New Pluralism) Eco, Umberto: “The Poetics of the Open Work.” In. Audio Culture, pp. 167-175 Session 11 Minimalism, New Simplicity Reich: Come out Wednesday, Glass: Einstein on the Beach April 22 Feldman: Rothko Chapell Cage: Ryoanji Reading: Morgan, Robert P. Twentieth-Century Music: A History of Musical Style in Modern Europe and America: pp. 407-440 (Chapter XX: A Return to Simplicity) Reich, Steve. “Writings about Music.” In: Source Readings in Music History, ed. Oliver Strunk. New York and London: W. W. Norton & Co. 1998, pp. 1385-1390. Session 12 Music Since 1970 Wednesday, Arvo Pärt: Cantus in Memoriam Benjamin Britten April 29 Alfred Schnittke, Concerto Grosso No. 1 Tan Dun: On Taoism Session 13 Music at the Turn of the Century Wednesday, May 6 Session 14 Czech Music after WWII Kabeláč, Eben, Kopelent, Fišer Wednesday, May 13 (last Reading: day of classes) Anthology of Czech Music (5 CDs + booklet). Divadelní ústav, 2004. pp. 103-119 (“Czech Music 1945- 1989“) Slavický, Milan. “Some Innovative Impulses in Czech Music of the Past Quarter of Century.” Session 15 4 Wednesday, Final exam will include question concerning key terms and names of the 20th century music: e.g. short May 20 explanation of twelve-tone method, three composers using flokloric inspirations in their work etc... Final exam Classroom Etiquette Required Co- curricular During the semester, we shall visit at least two concerts with music from the 20th century. Activities Suggested Co- curricular Activities 5 .
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