UNIVERSITY OF ALBERTA : DEPARTMENT OF MUSIC

MUS 480 Survey of Contemporary Repertoire since 1950 MUS 580 Advanced Contemporary Repertoire since 1950

FALL 2009

Co- or Prerequisite: MUSIC 256

Class time: Tuesdays & Thursdays, 11:00 a.m. – 12:20 p.m.

Location: Fine Arts Building, Room 2-28

Instructor: Dr. Scott Smallwood Office: Fine Arts Building, Room 3-53 Email: [email protected] Phone: 780-492-1510

Office hours: by appointment

Course Description: Contemporary Repertoire since 1950 intensively examines contemporary musical trends and movements from the Second World War to the present. Composers, performance artists, sound artists, aesthetics, trends, techniques, and cultural movements will be explored through lectures, in-class exercises/discussions on assigned readings and listening, and student presentations.

Evaluation:

Attendance/Participation: 20% Presentations: 20% Listening Exams (5): 25% Concert Reports (2): 10% Final Paper: 25% [due Friday, Dec. 11]

Attendance/Participation (20%):

Students are expected to attend class, and to come prepared for each class having done the readings and listening assignments. Students will be expected to contribute to class discussions, exercises, and activities when called upon to do so.

Presentations (20%):

Every student will be expected to prepare 2 short presentations (5 minutes for undergraduate students, 10 minutes for graduate students).

A detailed outline of the presentation must be submitted on the day of the presentation, either hardcopy or emailed.

Presentations will be staggered throughout the semester, and a schedule of presentations will be determined in the first two weeks. You will be asked to present on a particular piece of music relevant to that week’s topic.

Listening Exams (25%):

There will be five in-class listening exams, each worth 5%. These exams will each feature between 3-4 one to two-minute excerpts of music, followed by a 5-10 minute response period in which you will write about what you have heard. In some cases these excerpts will come directly from the listening list, but not always. Identification of the artist, composer, and/or piece is a bonus, but not the goal of these exams. Instead, you will be asked to write about the content of the music, such as details about the instrumentation, the construction and form, cultural and extramusical considerations, and other details based upon knowledge gained from previous readings, listening, and analysis.

Listening Exam dates: Thurs 9/3 (“freebee”) Tues 9/22 Tues 10/13 Tues 10/27 Tues 11/24

Concert Reports (10%):

All students are required to attend two musical events featuring contemporary music during the semester (hopefully you will attend many more events that that!) and turn in a 2-3 page report on the music. One of these events must be a departmental, on-campus event. The other event must be a non-departmental off-campus event. Both of these events should feature music that was written/made after 1950.

These reports should include a detailed description of the music, the instrumentation, style, cultural context, in as much detail and specificity as possible.

Final Paper (25%):

Each student is required to turn in a final paper, due at the end of the semester (Friday, Dec. 11). Undergraduate papers must be between 9-11 pages in length, including bibliography. Graduate papers should be 14-16 pages in length, including bibliography.

The topic of the paper will be the choice of the student, but must be approved by the instructor. A proposal from each student will be requested towards the end of the semester.

Papers will be evaluated based upon thoroughness and clarity of the subject matter, accuracy of detail, synthesis of viewpoints, and quality of writing. Graduate students, in particular, will be expected to contribute original insight and critical research.

The required style guide for this paper is The Chicago Manual of Style, 15th ed. Chicago: University of Chicago Press, 2003. See the online quickguide: http://www.chicagomanualofstyle.org/tools_citationguide.html

The University of Alberta is committed to the highest standards of academic integrity and honesty. Students are expected to be familiar with these standards regarding academic honesty and to uphold the policies of the University in this respect. Students are particularly urged to familiarize themselves with the provisions of the Code of Student Behaviour (online at www.ualberta.ca/secretariat/appeals.htm) and avoid any behaviour which could potentially result in suspicions of cheating, plagiarism, misrepresentation of facts and/or participation in an offence. Academic dishonesty is a serious offence and can result in suspension or expulsion from the University. Repertoire on reserve in the Music Library:

Composer Title Recording Score

Andriessen, Louis De Tijd M 1543.5 A63 T5 1993 M 1045 A565 T56 1981 Andriessen, Louis De Staat M 1528 A573 S73 1991 M 1528 A573 S73 1994 Aperghis, George Triangle Carré M 178 A676 F93 1994 N/A Ashley, Robert Perfect Lives M 1527.7 A826 P4 1991 ML 50 A84 P4 1991 Babbitt, Milton Philomel M 1473 E32 1990 N/A Babbitt, Milton Phonemena M 1473 E32 1990 M1621 B12 P57 1979 Babbitt, Milton Three Compositions for Piano M 22 B1 T222 1986 M 22 B1 T67 1957 Beach Boys Pet Sounds M 1630.18 B365 P477 1990 Beatles Sgt. Pepper’s Lonely M 1739.18 B369 S4 1987 Heart Club Band Berio, Luciano A-Ronne M 3.1 B5 B47 1998 M 1529.5 B5 A7 1975 Berio, Luciano Points on the Curve to Find M 3.1 B5 B763 1990 M 947 B5 P75 1974 Berio, Luciano Sequenza V M 91 L742 S687 1989 M 92 B52 S47 1968 Berio, Luciano Sinfonia (mvmts. II & III) M 3.1 B5 S56 1986 M 1613.3 B5 O112 1970 Berio, Luciano Thema (Ommagio a Joyce) M 3.1 B5 B47 1998 N/A Birtwistle, Harrison Carmen arcadiae... M 1000 B618 1987 M 1045 B585 S58 1979 Birtwistle, Harrison Silbury Air M 1000 B618 1987 M 1045 B585 C28 1981 Birtwistle, Harrison Triumph of Time on order M 1045 B585 T84 1974 Boulez, Pierre Éclat M 1 O64 M87 1995 M 985 B76 E19 1965 Boulez, Pierre Le Marteau sans Maître M 3.1 B763 L66 1996 M 1613.3 B76 M37 1957 Boulez, Pierre Pli selon Pli M 1613 B68 P53 1986 M 1613 B68 P53 1989 Boulez, Pierre Répons M 3.1 B763 E57 1998 M 1045 B76 R4 1981 Boulez, Pierre Structures I M 214 B76 S8 1992 M 214 B76 S9 1955 folio Cage, John 4 :33 M 5 C455 1993 M 1470 C13 A143 1960 Cage, John Atlas eclipticalis M 1000 C132 K87 1993 M 1470 C13 A75 1961 Cage, John String Quartet in Four Parts M 451 C744 A44 1995 M 452 C132 Q28 1960 Cardew, Cornelius Treatise M 547 C266 T7 1999 N/A Carter, Elliott String Quartet No.2 M 451 C323 A676 1988 v.2 M 452 C32 no.2 1981 Cowell, Henry Banshee M 22 C87 1993 N/A Crumb, George Black Angels M 450 K93 B49 1990 CD M 1 S42 1981 Donatoni, Franco Spiri M 3.1 D677 S6 1988 M 985 D677 S6 1977 Feldman, Morton Durations II M 3.1 F314 T8 2001 M 233 F32 D95 1961 folio Feldman, Morton For Samuel Beckett M 985 F32 F67 1999 M 1045 F32 F67 1987 Feldman, Morton Triadic Memories M 3.1 F314 W912 1991 M 25 F32 T7 1991 Ferneyhough, Brian Études Transcendentales M 3.1 F364 M68 1989 M 1613.3 F364 E8 1987 Ferneyhough, Brian Funerailles I M 5 D862 E593 1985 M 872 F364 F8 1980 Ferneyhough, Brian Unity Capsule M 3.1 F364 E4 1998 M 62 F364 U5 1975 Finnissy, Michael English Country Tunes M 25 F514 E54 1990 M 25 F514 E54 1986 Finnissy, Michael String Trio M 178 F514 U7 1991 M 351 F514 U5 1986 Glass, Philip Music in Contrary Motion M 3.1 G549 G549 1994 N/A Glass, Philip Einstein on the Beach M 1500 G549 E35 1979 M 1500 G549 E35 2003 Grisey, Gerard Modulations M 3.1 G857 C38 2005 M 1045 G86 M68 1987 Grisey, Gerard Vortex Temporum M 178 G857 E57 1997 M 622 G869 V67 1998 Kagel, Mauricio Der Tribun M 3.1 K118 1985 M 1247 K12 M36 1983 Computer World M 1735.18 K89 C66 1981 Lachenmann, Helmut Zwei Gefühle M 1500 L137 M3 2004 M 1625 L137 Z9 2002 Lansky, Paul Idle Chatter M 1473 N532 1987 N/A Ligeti, György Atmosphères M 3.1 L72 C414 1988 M 1045 L72 A88 1979 Ligeti, György Chamber Concerto M 3.1 L72 C414 1988 M 947 L72 K15 1974 Ligeti, György Lux Aeterna M 3.1 L72 C414 1988 M 2092.6 l72 1968 Ligeti, György Three Pieces for Two Pianos M 22 L723 U76 1987 M 214 L72 S93 1976 Lucier, Alvin I Am Sitting in a Room M 1473 L937 I114 1981 (CD on order) N/A Lutosławski, Witold Venetian Games M 3.1 L974 W58 1999 M 1045 L97 J59 1962 Lutosławski, Witold Cello Concerto M 1000 L974 L88 1987 M 1016 L97 C74 1971 Maxwell Davies, Peter 8 Songs for a Mad King M 1613.3 D25 D38 1987 M 1613.3 D25 S69 1971 Merzbow Animal Magnetism M 1813.18 A315 A5 2003 N/A Messiaen, Olivier Turangalila Symphony M 1001 M577 T87 1991 M 1010 M58 T92 1953 Messiaen, Olivier Oiseaux Exotiques M 3.1 M585 L4 1994 M 947 M48 O39 1959 Mumma, Gordon Hornpipe M 3.1 M963 L5 2002 N/A Murail, Tristan L’Esprit des Dunes M 985 M922 E57 1996 M 985 M922 E87 1994 Murail, Tristan Territoires de l’oubli M 3.1 M972 E57 1990 M 25 M97 T47 1978 Nono, Luigi Fragmente-Stille, an diotoma M 3.1 N814 A73 1994 M 452 N8 F79 1985 Nono, Luigi La Fabbrica Illuminata M 3.1 N814 H4 1992 N/A Oliveros, Pauline Bye Bye Butterfly M 1473 O38 2000 N/A Oliveros, Pauline Sonic Meditations N/A M 1470 O55 S6 1974 Partch, Harry The Rose M 1 P27 1978 (LP) N/A Penderecki, Krzysztof Threnody M 1000 P397 K22 1988 M 1145 P4 O5 1999 (A’tana) Pink Floyd Wish You Were Here On order Reed, Lou Metal Machine Music M 1630.18 R324 M4 2000 N/A Reich, Steve Electric Counterpoint M 178 R347 D569 1989 M 967 R367 E38 1987 Riley, Terry In C M 1045 R56 I5 1989 N/A Rzewski, Frederic Les Moutons de Panurge ? M 178 R99 M93 1980 Rzewski, Frederic The People United Will... M 22 R99 H36 1999 M 27 R99 P42 1979 Frederic Rzewski Attica / Coming Together / Les Moutons De Panurge in cataloguing Saariaho, Kaija Jardin Secret I M 1473 S635 S38 1990 N/A Scelsi, Giacinto PFHAT M 3.1 S289 W98 2003 N/A Scelsi, Giacinto String Quartet No.4 M 451 A73 F76 1995 M 452 S28 no.4 1983 Schaeffer, Pierre Etude aux Chemins de Fer M 1473 S294 O38 1990 N/A Schaeffer/Henry Symphonie four un homme seul M 1473 S294 O38 1990 N/A Schafer, R. Murray Requiems for the Party Girl M 3.1 S296 T794 1986 M 1500 S29 P32 1978 Schoenberg, Arnold A Survivor from Warsaw M 3.1 S37 C73 1995 M 1533.3 S365 S8 1990 Stockhausen, Karlheinz Gesang der Jünglinge M 1473 S86 E35 1991 Stockhausen, Karlheinz Gruppen M 1000 K96 A2 1996 M 1045 S86 G89 1963 Stockhausen, Karlheinz M 1473 S86 E35 1991 M 1473 S86 K82 1968 Stockhausen, Karlheinz Studie II M 1473 S86 E35 1991 M 1473 S86 E38 S332 1956 Stravinsky, Igor Symphonies of Wind Instr. M 3.1 S9123 1991 M957 S914 S98 1952 Stravinsky, Igor Canticum Sacrum M 3.1 S912 C58 1991 M 2020 S9 C23 1956 Tudor, David Rainforest M 1473 O38 2000 N/A Varèse, Edgard Déserts M 3.1 V29 N342 1996 M 1045 V296 D452 1959 Varèse, Edgard Poème électronique M 1473 O38 2000 N/A Vivier, Claude Lonely Child M 3.1 V862 1990 N/A Westerkamp, Hildegard Gently Penetrating M 1473 W47 I58 2002 N/A Xenakis, Iannis Jalons M 3.1 X46 P5 1992 M 982 X46 J3 1987 Xenakis, Iannis Metastaseis B M 3.1 X46 S5 2001 M 1045 X42 M58 1967 Xenakis, Iannis Mycenae-Alpha M 1473 E32 1990 CD N/A Xenakis, Iannis Nomos Alpha M 3.1 X46 A7 1994 M 52 X46 N6 1967 Xenakis, Iannis Persephassa M 3.1 X46 I99 1997 M 685 X4 P4 1970 Xenakis, Iannis Pithoprakta M 3.1 X46 S5 2001 M 1045 X42 P68 1967 folio Zorn, John Aporias M 1010 Z88 A6 1998 N/A Zorn, John The Bribe M 1510 Z88 B7 1998 N/A

Reserve DVDs: Ashley, Robert Perfect Lives M 1527.7 A826 P4 2005

Reserve Readings:

Adlington, Robert. De Staat. Aldershot, Hants, England; Burlington, VT: Ashgate, c2004. ML 410 A6326 A35 2004

Attali, Jacques. Noise, The Political Economy of Music. Minneapolis: University of Minnesota Press, 1985. ML 3795 A88 E5 1985

Babbit, Milton. “Who Cares if You Listen?” High Fidelity, Feb. 1958.

Boulez, Pierre. Orientations/ collected writings by Pierre Boulez. London: Faber, 1986. ML 60 B74 E5 1986

Boulez, Pierre. “Schönberg is Dead.” Score 6, 1952.

Cage, John. Silence: lectures and writings. Middletown: Wesleyan University Press, 1961. ML 60 C13 S58 1961

Cope, David H. New Directions in Music,7th edition. Prospect Heights, Ill.: Waveland Press, 2001. On order!!

Cox, Christoph & Warner, Daniel, eds. Audio culture: readings in modern music. New York : Continuum, 2004. ML 197 A85 2004

Dejans, Peter, ed. Order and Disorder: Music-Theoretical Strategies in 20th Century Music: proceedings of the International Orpheus Academy for Music Theory 2003. Leuven: Leuven University Press, 2004. ML 197 I615 2003

Feller, Ross. Resistant strains of postmodernism, the music of Helmut Lachenmann and Brian Ferneyhough. New York and London: Routledge, 2002. ML 3845 P84 2002

Ferneyhough, Brian. Collected Writings. Amsterdam: Harwood Academic Publishers, 1995. ML 410 F47 F47 1995

Fineberg, Joshua. Classical Music, Why Bother? New York: Rutledge, 2006 ML 3800 F444 2006

Gann, Kyle. American Music in the Twentieth Century. New York: Schirmer Books, 1997. ML 200.5 G36 1997

Griffiths, Paul. Modern Music and After. Oxford: Oxford University Press, 1995. ML 197 G76 1995

Hall, Patricia and Friedemann Sallis, eds. A Handbook to Twentieth-Century Musical Sketches. New York: Cambridge University Press, 2004. ML 93 H25 2004

Heintze, James R. Perspectives on American Music since 1950. New York: Garland, 1999. ML 200.5 P48 1999

Lochhead, Judy and Joseph Auner. Postmodern music/postomodern thought. New York: Routledge, 2002. ML 3845 P84 2002

Mahnkopf, Claus-Steffen, Cox, Frank, and Wolfram, Schurig. Polyphony & Complexity. Hofheim: Wolke, 2002. ML 446 P65 2002

Miller, Simon. Visible deeds of music: art and music from Wagner to Cage. New Haven: Yale University Press, 2002. ML 3849 S47 2002

Miranda, Eduardo R. Composing Music with Computers. Boston: Focal Press, 2001. MT 56 M573 2001

Moisala, Pirkko, and Beverly Diamond, eds. Music and Gender. Urbana: University of Illinois Press, 2000. ML 82 M74 2000

Morgan, Robert P. Anthology of Twentieth-Century Music. New York: Norton, 1992. MT 6.5 M849 1992

Osmond-Smith, David. Playing on Words: a guide to Luciano Berio’s Sinfonia. London: Royal Musical Association, 1985. ML 410 B498 O83 1985

Russolo, Luigi. The Art of Noises. New York: Pendragon Press, 1986. ML 197 R96 1986

Salzman, Eric. Twentieth-century Music: an Introduction. Upper Saddle River, NJ: Prentice Hall, 2001. ML 197 S18 2001

Schwartz, Elliott. Music Since 1945: Issues, Ideas, and Literature. New York: Schirmer Books, 1993. ML 197 S399 1993

Smalley, Denis. “Spectromorphology: Explaining Sound-shapes.” Organised Sound 2:2, 1997.

Taruskin, Richard. Oxford History of Western Music, Vol. 5. New York: Oxford University Press, 2005. ML 160 T18 2005 v.5

Tenney, James. Meta+hodos : a phenomenology of 20th century musical materials and an approach to the study of form ; and Meta meta+hodos . Oakland, CA: Frog Peak Music, 1986. ML 3877 T29 1986

Watkins, Glenn. Soundings: Music in the Twentieth Century. Belmont, California: Schirmer/Thomson, 1988. ML 197 W335 1988

Westerkamp, Hildegard. “Linking Soundscape Composition and Acoustic Ecology.” Organised Sound 7:1, 2002.

Course Outline & Schedule (Subject to change!)

Policy about course outlines can be found in Section 23.4(2) of the University Calendar

Introduction: Technology, Improvisation, and Sound — 9/3

*** Thurs 9/3: Listening Test #1

01: Modernism and Postwar — 9/8, 9/10

R: Glen Watkins, Soundings, Chapters 24-26 R: Pierre Boulez, “Schönberg is Dead”, Score #6, 1952. R: , “Who Cares if You Listen?”, High Fidelity, Feb. 1958.

L: Milton Babbitt: Three Compositions for Piano (1947-48) L: Pierre Boulez: Structures I (1952) L: Pierre Boulez: Le Marteau sans Maître (1953-55) L: Igor Stravinsky: Canticum Sacrum (1955) L: : Gruppen (1955-57) L: Milton Babbitt: Philomel (1964)

02: Beyond Pitch: New Sounds and Textures — 9/15, 9/17

R: David Cope, New Directions in Music, Chapters 3, 4 R: Luigi Rusolo, “The Art of Noises: Futurist Manifesto”, Audio Culture, pp 10- 14 R: Edgard Varèse, “The Liberation of Sound”, Audio Culture, pp. 17-21.

L: Edgard Varèse: Déserts (1950-54) L: . Pithoprakta. (1955-56) L: György Ligeti: Atmosphères (1961) L: Krzysztof Penderecki: Threnody for the Victims of Hiroshima. (1960) L: Harrison Birtwistle: The Triumph of Time (1971-72) L: Harry Partch: Delusion of the Fury (1969)

03: Musique Concrète and Elektronische Musik — 9/22, 9/24

*** Tues 9/22: Listening Test #2

R: Richard Taruskin, Oxford History of Western Music, Vol 5, Chapter 63 R: Pierre Schaeffer, “Acousmatics” in Audio Culture, pp 76-81 R: Karlheinz Stockhausen, “Electronic and Instrumental Music”, Audio Culture, pp 370-380

L: Pierre Schaeffer: Etude aux Chemins de Fer (1948) L: Pierre Schaeffer/Pierre Henry: Symphonie pour un homme seul. (1955) L: Karlheinz Stockhausen: Studie II (1951) L: Karlheinz Stockhausen: Gesang der Jünglinge (1957-8) L: Edgar Varèse: Poème électronique (1958) L: Luciano Berio: Thema (Ommagio a Joyce) (1958) L: Iannis Xenakis: Mycenae-Alpha (1978) L: Paul Lansky: Idle Chatter (1985)

04: Indeterminism and Deep Listening — 9/29, 10/01

R: : Silence, pp. 35-40 R: John Cage: “Introduction to Themes and Variations”, Audio Culture, pp. 221- 225 R: Pauline Oliveros: “Some Sound Observations”, Software for People, pp. 17-27

L: John Cage: 4:33 (1952) L: John Cage: Imaginary Landscapes #4 (1952) L: Earle Browne: December 1952 (1952) L: Morton Feldman: Durations II (1960) L: Cornelius Cardew: Treatise (1963-67) L: Pauline Oliveros: Bye Bye Butterfly (1965) L: Pauline Oliveros: Sonic Meditations (1974)

05: Experimentalism and Sound Art — 10/6, 10/8

R: Michael Nyman: Experimental Music, Chapters 3-6 R: John Cage: Silence, pp. 3-18 R: Morton Feldman: “A Compositional Problem”, Give My Regards to Eighth Street (pp. 109-111) R: Alan Licht, Sound Art (scan the book)

L: Morton Feldman: Triadic Memories (1981) L: Gordon Mumma: Hornpipe (1967) L: Alvin Lucier: I Am Sitting in a Room (1969) L: David Tudor: Rainforest (1968/73)

06: Modern/Free Jazz and Improvisation — 10/13, 10/15

*** Tues 10/13: Listening Test #3

R: Ornette Coleman, “Change of the Century” Audio Culture, pp. 253-254 R: Derek Bailey, “Free Improvisation”, Audio Culture, pp. 255-265 R: Frederic Rzewski, “Little Bands: A Nihilist Theory of Improvisation”, Audio Culture, pp. 266-271 R: George Lewis, “Improvised Music After 1950: Afrological and Eurological Perspectives”, Audio Culture, pp. 272-284

L: Ornette Coleman: Free Jazz (1960) L: Charles Mingus: Let My Children Hear Music (1971) L: Cecil Taylor: L: Anthony Braxton/George Lewis: L: Art Ensemble of Chicago:

07: Rock and Roll and the Recording Studio — 10/20, 10/22

R: Richard Taruskin, Oxford History of Western Music, Vol 5, Chapter 66

L: Beatles, “Lucy in the Sky with Diamonds,” from Sgt. Pepper's Lonely Hearts Club Band (1967) L: Beach Boys, “God Only Knows,” from Pet Sounds (1967) L: Pink Floyd, “Wish You Were Here” from Wish You Were Here (1974) L: Björk, Vespertine (2001) L: OOIOO, Gold and Green (2000)

08: Minimalism and Post-Minimalism — 10/27, 10/29

R: Kyle Gann, American Music in the 20th Century, Chapter 8 R: Steve Reich, “Music as a Gradual Process”, Audio Culture, pp. 304-306 R: Wim Mertens. “Basic Concepts of Minimal Music”, Audio Culture, pp. 307- 312

L: Phillip Glass: Music in Contrary Motion (1969) L: Steve Reich: Electric Counterpoint (1987) L: Terry Riley: In C (1964) L: Louis Andriessen: De Staat (1973-1976) L: Meredith Monk: L: Michael Gordon; David Lang; Julia Wolfe: Bang On A Can : Lost Objects L: Brian Eno: Music for Airports (1978)

09: New Complexity & Spatial Texture — 11/03, 11/05

*** Tues 10/27: Listening Test #4

R: Denis Smalley, “Spectromorphology: Explaining Sound-shapes,” Organised Sound 2:2 1997 R: James Tenney, Meta+Hodos (scan book)

L: Iannis Xenakis, Nomas Alpha (1966) L: Brian Ferneyhough, Unity Capsule (1975-76) L: Pierre Boulez, Répons (1981-84) L: Giacinto Scelsi: String Quartet #4 (1964) L: Giacinto Scelsi: Phfat (1974)

10: Spectralism — 11/12

R: Joshua Fineberg, Classical Music, Why Bother? Chapter 8 R: Igor Toronyi-Lalic, “Is Spectralism the Future of Classical Music?” New York Times, Oct. 10, 2008.

L: Gérard Grisey: Vortex Temporum (1995) L: Tristan Murail: Territoires de l’oubli (1977) L: Tristan Murail: L’esprit des dunes (1993-94)

11: Hip Hop/ — 11/17, 11/19

R: Ben Neill, “Breakthrough Beats: Rhythm and the Aesthetics of Contemporary ”, Audio Culture R: Philip Sherburne, “Digital Discipline: Minimalism in House and ”, Audio Culture

V: Doug Pray, Scratch

L: Afrika Bambaataa: TBA L: Public Enemy: "Black Steel in the Hour of Chaos" L: The Roots: “What they Do” L: Kraftwerk: Computer World (1981) L: The Orb: “Little Fluffy Clouds” L: Thomas Brinkmann: Klick L: Autechre: TBA L: Vladislav Delay: “Huone”, from Multila (2001)

12: Phonography and Acoustic Ecology — 11/24, 11/26

*** Tues 11/24: Listening Test #5

R: Francisco Lopez, “Profound Listening and Environmental Sound Matter”, Audio Culture R: R. Murray Schafer, “The Music of the Environment”, Audio Culture R: Hildegard Westerkamp, “Linking Soundscape Composition and Acoustic Ecology”, Organized Sound 7:1, 2002.

L: Francisco Lopez: La Selva (1998) L: Hildegard Westerkamp: Gently Penetrating (1997) L: David Dunn: Angels and Insects (1992) L: Janet Cardiff: A Large Slow River (2001)

13: Sonic Improvisation and Noise — 12/1, 12/3

R: TBA

L: Deep Listening Band L: John Butcher L: Trockeneis L: Lou Reed: Metal Machine Music (1975) L: Merzbow: Animal Magnetism (2003) L: My Bloody Valentine: Loveless (1992) L: Mouthus