Spring 2013 Grid

Monday

Tuesday

Wednesday

Thursday

Friday

10am-1pm
(unless otherwise noted)
Seminar in Ethnomusicology: Musical Relations of African Americans and Euro-Americans in the U.S., 1865-1965
Professor Stephen Blum
MUS 83400 (3 Credits)
ROOM 3491
Seminar in Theory/Analysis: Intermediate Schenkerian Analysis
Professor Norman Carey
MUS 85400 (3 Credits)
ROOM 3491

Advanced Writing Workshop: From Paper to Article
Professor Emily Wilbourne
MUS 86400 (3 Credits)
ROOM 3389

Seminar in Musicology: Music of Charles Ives
Professor Stephen Blum
MUS 86000 (3 Credits)
ROOM 3491

Seminar in Ethnomusicology, Politics, and Society in Southeast Europe
Professor Jane Sugarman
MUS 88400 (3 Credits)
ROOM 3389

Seminar in Music History: Beethoven, Schubert and the Consequences of Enlightenment
Professor Richard Kramer
MUS 86600 (3 Credits)
ROOM 3491
Research Seminar in Theory/Analysis: “Syncopated Pandemonium”: Pink Floyd 1967-1979
Professor Shaugn O’Donnell
MUS 84100 (3 Credits)
ROOM 3491
2pm-5pm
(unless otherwise noted)
Performance Practice: Baroque
Professor Raymond Erickson
MUS 81502 (3 Credits)
ROOM 3491

Seminar in Ethnomusicology: Popular music in cross-cultural perspectives
Professor Peter Manuel
MUS 83000  (3 Credits)
ROOM 3389

20th-21st Century Performance Practice
Professors Oppens & Eckardt
MUS 81504  (3 Credits)
ROOM 3491
4:00-7:00pm
History of Theory II
Professor William Rothstein
MUS 82502 (3 Credits)
ROOM 3389

DMA Topics
Professor Anne Stone
MUS 71500  (1 Credit)
ROOM 3491
2:00-3:30PM 

Introduction to Disability Studies in the Humanities
Professor Joseph Straus
MUS 84000 (3 Credits)
[cross-listed with IDS81670]
ROOM 3491
Evening
Composers’ Forum
Professor David Olan
MUS 89200 (1 Credit)
ROOM 3491
5:30-7:00pm
Proseminar: Teaching Music
Professor Norman Carey
MUS 71000 CRN20175  (1 Credit)
ROOM 3491
5:30-7:30pm

Course Descriptions:

Professors Oppens & Eckardt
MUS 81504: 20th- and 21st-Century Performance Practice, Spring 2013
CRN20178 / ROOM 3491

Designed for both composers and performers, the course explores the performance of 20th- and 21stcentury music. Weekly meetings will be devoted to the coaching and critique of both student composition assignments and representative works. The class will culminate with a mandatory public concert on May 14 in Elebash Hall featuring important repertoire works and music composed by the students.

Professor William Rothstein
MUS 82502: History of Theory II
CRN20179 / ROOM 3389

This seminar covers the history of Western music theory from ca. 1600 to ca. 1940. Intensive readings in primary and secondary sources (all in English) are supplemented by lectures. Students write a term paper on a theorist not covered extensively in class. There is a midterm translation exercise (German, French, and Italian) and a final exam.

Professor Peter Manuel
Music 83000: Popular Music in Cross-Cultural Perspectives [10364]
CRN20180 / ROOM 3389

This course combines conceptual and analytic approaches to the study of popular music with explorations of diverse selected genres, emphasizing music cultures outside the Euro-American mainstream and distinct from those (such as Hispanic Caribbean music) that are covered in other seminars. While not attempting to provide a comprehensive survey of world popular musics, the course also aims to generate some familiarity with a representative spectrum of non-Euro-American genres diverse in style, historical era, and locale. We are interested both in socio-musical aspects as well as formal analytical approaches to the music genres  studied. Thematic focuses include: Frankfurt School critiques in global perspectives, gender issues, urbanization, music and socio-political movements, media studies perspectives, globalization and diasporic dynamics, and the power dynamics of musical interactions between the West and “the rest.” Music cultures covered will include Africa, the Middle East, Greece, India, East and Southeast Asia, Mexico, and South America. A term paper and one or two short written assignments will be required.

Professor Stephen Blum
Music 83400: Musical relations between African Americans and Euro-Americans in the U.S., 1865-1965
CRN20181 / ROOM 3491

The seminar interrogates prominent (and less prominent) interpretations of the musical relations between African Americans and European Americans in the first century after the Civil War. The “interrogation” is “enhanced” through analysis of both the theoretical presuppositions and the practical consequences of the various approaches. The seminar in not intended as a chronological survey, and some familiarity with the music history of the U.S. in this period is highly desirable. The workload includes weekly reading and
listening assignments (to be discussed in class by each participant), small exercises, and a final paper on an approved topic. Open only to doctoral students (in any program). Not open to auditors.

Prof. Joseph N. Straus
MUS 84000: Introduction to Disability Studies in the Humanities.
CRN20182 /  ROOM 3491
(Note: This course is listed under both Music and IDS)

An introduction to the emerging, interdisciplinary field of Disability Studies in the Humanities. Topics will include “Nineteenth-Century Networks of Care,” “Narratives of Disability,” “Intellectual Disability,” Performing Disability,” “Disability and Sexuality,” “Autism as Disability Culture,” “‘Mental Illness’ and Post-Psychiatry,” and “The Work of Disability Memoir.” Guest lecturers include CUNY faculty (Sarah Chinn and Talia Schafer) and three of the leading figures in Disability Studies (Lennard Davis, Rachel Adams, and Thomas Couser). The topics, instructors, and students in this course will represent a variety of fields within the humanities. Enrollment by permission of the instructor: jstraus@gc.cuny.edu.

Professor Shaugn O’Donnell
MUS 84100: “Syncopated Pandemonium”: Pink Floyd 1967-1979
CRN20612 /  ROOM 3491

An exploration of Pink Floyd’s catalog from The Piper at the Gates of Dawn (1967) through The Wall (1979), tracing their musical path from psychedelic house band of the late 60s London Underground to theatrical performers of late 70s arena rock. We will focus on close readings of the band’s studio albums, but we will also examine their live performances and solo projects. Coursework will involve weekly listening, reading, and brief response papers, and culminate in a substantial conference-style final paper. Limited to doctoral students in music, or with special permission of the instructor.

Professor Stephen Blum
MUS 86000: Seminar in Musicology: Music of Charles Ives
CRN20185 / ROOM 3491

The seminar considers issues raised through (1) each seminar participant’s engagement with specific works by Ives, and (2) studies of the reception history of Ives’s music over the past century, with attention to changes in performance practice as well as to critical, analytic, and biographical writing. With respect to (1), students are encouraged to write on their experiences of Ives’s music in whatever styles they find appropriate. With respect to (2), attention to the history of performance practice casts light on shortcomings of the critics and historians. The seminar also explores ways in which efforts toward understanding Ives’s career and accomplishments can benefit from reflection on the careers of some of his contemporaries in the cultural and political life of the United States.
Proficiency in reading musical notation is expected. Open to doctoral students only; not open to auditors; cross listed in American StudiesCertificate Program.

Professor Richard Kramer
MUS 86600: Beethoven, Schubert and the Consequences of Enlightenment
CRN201873 / ROOM 3491

In the political environment of Europe after the Revolution, the esprit of Enlightenment in literature and the arts transmogrified into something very different. Conceived in this fraught environment “between Revolution and Restoration” (in the title of a recent collection of essays), the music of Beethoven found its voice. Composing against the grain of this magisterial music, Schubert sought expression in a renewal of the poetic and in what Adorno would problematize as Lyrik. Placing the works of these two composers alongside one another, we’ll investigate issues of genre, voice (and agency), compositional process (and sketch and fragment); of “late style”and Romantik; and probe the encounters with Goethe. We’ll read the classic studies, from E. T. A. Hoffmann and A. B. Marx through Adorno and Dahlhaus, and engage more recent critical controversies. Among the works to be studied are: [Beethoven:] Piano Sonata in D minor,
Opus 31, no. 2; Leonore/Fidelio; String Quartet in F minor, Opus 95; An die ferne Geliebte; Missa solemnis; String Quartet in B-flat major, Opus 130 [with the grosse Fuge]; 33 Veränderungen über einen Walzer, Opus 120. [Schubert:] Fantasy in C major, Opus 15 (“Wanderer”); String Quartet in D minor, D 810 and Der Tod und das Mädchen (Claudius), D 531; Piano Sonata in G major, Opus 78, D 894; String Quintet in C, Opus 163, D 956; settings of Heine and Rellstab in the so-called Schwanengesang (1828); Der Graf von Gleichen (unfinished opera of 1827/28).

Professor Jane Sugarman
MUS 88400: Music, Politics, and Society in Southeastern Europe
CRN20188 / ROOM 3389

This seminar examines relationships between music, politics, and issues of social identity in southeastern Europe over the past century. It is designed to provide an overview both of prominent musical genres of the region and of theoretical approaches to studying the politics of culture. We will address major historic genres of urban and rural music, official and unofficial socialist genres, and recent commercial musics in both folk and popular styles, with a focus on Romania, Bulgaria, former Yugoslavia, Albania, Greece, and Turkey. Class units will focus on the role of music in the construction and negotiation of gendered, ethnic, religious, and class identity; its place in modernization projects, socialist policy, and European Union integration; its status in the postsocialist transition; its use during the Yugoslav wars; and its circulation within the transnational “world music” market. Assignments will include weekly response papers, a book report, and a final term project.

Professor Emily Wilbourne
MUS86400: Advanced Writing Workshop: From Paper to Article
CRN20186 / ROOM 3389

Professor Raymond Erickson
MUS81502: Performance Practice: Baroque
CRN20177 / ROOM 3491

Professor David Olan
MUS89200: Composers’ Forum
CRN20190 / ROOM 3491
5:30-7:00pm

Professor Norman Carey
MUS 71000: Proseminar: Teaching Music
CRN20175 / ROOM 3491
5:30-7:30pm

Professor Norman Carey
MUS 85400: Seminar in Theory/Analysis: Intermediate Schenkerian Analysis (Schenker II)
CRN20184 / ROOM 3491

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