Listening playlists will be made available on Spotify, though students are free to seek out recordings on their own. Students may download and use Spotify for free: www. Participation and Attendance This class depends upon the participation of each of its members. Therefore, your presence affects the entire class and attendance is mandatory. I believe that the classroom is a community, and that we all rely upon one another for our collective education.
An excused absence is one that a has been cleared via email at least 24 hours in advance, or b has been verified with appropriate documentation in the case of an emergency e.
You should ask a classmate for notes, and all assignments will be available on the class CCLE. Reading questions are available on weekly schedule to help guide responses; students may respond directly to any of the reading questions in their weekly post or respond to any parts of the text that captured their interest. There is no minimum length for weekly posts paragraphs suggested , but students must respond to at least one reading and at least one item on the listening playlist.
Online discussions comprise the bulk of your graded material related to course content; the instructor and teaching assistant expect you to take these discussions seriously. Students may be asked to redo incomplete assignments. For each unit in this course, students will complete a short page paper that further investigates one specific topic from that unit.
Students will select one class topic and respond to two of the texts listed as Additional Readings for that class. Each paper should briefly summarize each of these texts approximately one paragraph per text and offer a critical response in which the student connects these additional readings to the assigned course readings, listening lists, and class discussions when possible.
Generally, explain what further insights these additional readings offer to the unit. How do these texts shed new light on the listening assignments?
What further points of inquiry do these texts open? Term Project and Final Presentation presentations during Week 10, final paper due Finals Week Student groups will teach the final unit of the term on music in the 21st century.
Groups are also responsible for compiling a hour playlist of relevant music and should play some selections during their presentation. Classmates will also be assessed on their level of engagement and inquiry with group presentations. Students will also complete individual final papers pages in which they write a close reading analysis of one piece from their playlist and connect this analysis to themes from their monograph.
Complete instructions for this assignment are available on Week 10 of the course schedule. Grade Changes Any petitions for grade changes must be made in the form of a two-page essay detailing a reasonable argument for a change of grade, submitted to the instructor no earlier than 24 hours after you receive your grade. Paper Formatting All papers should be double spaced, in point Times New Roman, with one-inch margins.
Hard copy papers should be turned in at the beginning of class. All sources must be properly cited according to the Chicago Manual of Style. We cannot monitor your computer usage during class, but please respect your classmates and yourself by avoiding distractions.
Combining intellectual history, music studies, philosophy and cognitive psychology, it unfolds a history of musical emotion across a thousand years of Western art music, from chant to pop. It affords a new way of analysing music, revealing the relationship between emotion and musical structure. The book also provides an introduction to the latest approaches to emotion research, as well as an original theory of how musical emotion works. The book is disposed in two parts.
Part 1 chapters comprises the theoretical foundation of the book. Part 2 chapters provides an historical narrative from medieval to contemporary music.
Chapter 1 summarizes contemporary theories of emotion in general, and of musical emotion in particular, bringing together seminal philosophers and psychologists. Chapter 2 contains the core of the book's original thesis: that five basic emotions happiness, sadness, anger, tenderness, and fear constitute five categories of musical emotion throughout the common-practice period. Chapter 3 outlines a variety of complex musical emotions, such as wonder, nostalgia, envy, and disgust.
Chapter 4 explores the historiography of emotion, including the seminal writings of Elias, Rosenwein, and Reddy.
Part 2 of the book chapters explores a millennium of Western music in terms of shifting categories of emotion: from affections and passions through sentiments, emotions proper, to modern affect" After surveying anticipations of the operatic form in the lyric theater of the Greeks, medieval dramatic music, and other forerunners, the book reveals the genre's beginnings in the seventeenth century and follows its progress to the present day.
The majority of books covering the birth and development of electroacoustic and electronic music do seem to only give us a partial overview of this peculiar aspect of contemporary cultural production; essays and monographs provide an androcentric view on the subject, rarely mentioning the contribution of inventresses, female composers and theorists. This book aims to open a new perspective on electronic music history; If we want to write a new, more inclusive and equitable future, we will have to look at the facts by training a curious gaze, stripped of mechanically reiterated certainties.
From the birth of the Theremin to the first commercial software intended for the production of computer music, from Japan to Russia passing through Europe and the American Continent, each chapter of this book deals with a specific moment of the history of electronic music narrated through the compositions and experiences of women composers. Addressed to lovers of electronic music, scholars and non-experts, A Short History of Electronic Music and its Women Protagonists discloses a new and vibrating universe of untold stories.
Traces the evolution of Western musical forms, styles, and instruments and identifies social and political factors that have affected the lives of musicians over the centuries. By the end of the nineteenth century, Chinese culture had fallen into a stasis, and intellectuals began to go abroad for new ideas. The Classical era gives us the understated, formal power associated with such composers as C.
Romanticism, in the musical imaginations of Franz Schubert, Ludwig von Beethoven, Claude Debussy and Richard Wagner, then transforms the rigid styles and forms of the Classical era into more individualistic stylizations. Tonality was at its peak during this period, then Impressionist music paved the way to the total breakdown of harmonic structure in favor of the tone, aleatoric, and mechanically produced music of the Modern era.
This process continues, morphs, and returns to tonality in the current Contemporary period of music. There is no clear line when the Renaissance began and the Middle Ages ended. The Renaissance in music happened, as the Renaissance in all the other arts did, at different times in different places. So for convenience, we will use A.
This vagueness is the same for every period, there is no specific beginning or ending date. For example, the Classical era was ongoing both with its influences and its music.
Where shall we place the dividing point between it and Romanticism? However, for the sake of pinning down when the style was most popular and the people who produced its music were alive, these dates were chosen, and are, by and large, agreed upon by scholars.
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