| source Northwestern (X) |
level |
department MUSICOL Musicology Program (X) |
TBA
Score: 13.171594 Details | Listing | Web page
Topic: Verdi. TBA
Score: 13.171594 Details | Listing | Web page
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Score: 13.171594 Details | Listing | Web page
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Score: 13.171594 Details | Listing | Web page
This course covers key historical events, repertoires, and intellectual debates in the history of Western European music between the ninth and fourteenth centuries. Focusing largely on music of the medieval church, but also on the practices of minstrels, this class will look in depth at the music and contexts of plainchant, early polyphony and secular song. We will study art and architecture of the period to understand both the performance spaces and the allegorical modes of representation common at the time. We will also learn fundamental aspects of liturgy that will be indispensable to students who will continue to study music of later periods. The class will be organized as a pro-seminar in which lectures are balanced by student discussion of repertoire and scholarship. Students  whether or not they have a music background  will learn how to understand medieval music notation, learn to navigate medieval music manuscripts, learn how to chant, and learn about academic debates in performance practice. The final project will be a critical book review of a recent work about music in European culture c800-c1400. Students interested in medieval studies from outside the School of Music are encouraged to enroll in the course.
Score: 13.171594 Details | Listing | Web page
ÂHow does music mean? has always been a central question in the study of music as culture. The theoretical perspectives and methodological tools needed to approach this question are essentially semiotic (Âsemiotics being the study of signs and sign systems). Thus, while relatively few ethnomusicologists have discussed semiotics in explicit terms or adopted a rigorous semiotic metalanguage, semiotics is in no way a Âfringe direction in ethnomusicology. On the contrary, it holds a central place within the discipline. This seminar will cover semiotic theory and method as it has been developed within the field of ethnomusicology, from the Âsoft semiotics that has seeped in along with Geertzian interpretive ethnography to the more explicitly Peircian approaches adopted by John Blacking, Judith and Alton Becker, Steven Feld, Louise Meintjes, Thomas Turino, and others. Readings in ethnomusicology will be balanced by general theoretical readings (including primary materials by philosopher and semiotician Charles Sanders Peirce) and readings from anthropology, critical theory, and other areas of musicology.
Score: 13.171594 Details | Listing | Web page
TBA
Score: 13.171594 Details | Listing | Web page
The Orient: mysterious, sensuous, hypnotic, and dangerous. Non-existent on any map, the Orient is an image of the east invented by West - by writers Gustave Flaubert and Alexandre Dumas, painters Jean Auguste Ingres and Henry Matisse, composers Wolfgang Mozart, Nicolas Puccini, Georges Bizet, and Alexander Borodin. It is the Others, created and needed by Us! Students will discuss the long-(ever)-existing 'representation' of culturally and politically distant Others. Does the artistic Orient reflect the ethnic and cultural diversity of East? And what is East? Is the Orient a place for artists to escape from the boundaries of their own cultures or the domain against which Europeans could define their own ideals? The course introduce students with vast Orientalist repertoire (primarily operas), theory of Orientalism, and gender study. Much thinking is required!
Score: 13.171594 Details | Listing | Web page
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Score: 13.171594 Details | Listing | Web page
TBA
Score: 13.171594 Details | Listing | Web page