Music23

20thCenturyMusic
Fall2015
SeminarRoominUnderhillLibrary,Langmusicbuilding
TuesdaysandThursdays2:403:55
Instructor: BarbaraMilewski
Office:Langmusicbuilding,Room402
Officehours:Tues.4:005:00,Thurs.4:005:00,orbyappt.
OfficeTel:ext.8238
Email:bmilews1@swarthmore.edu
CourseDescription:ThissurveywillconsiderEuropeanandAmericanartandpopularmusicagainstthedark,
bloody,tragicbackgroundofthe20thcentury.Topicsofdiscussionandanalysiswillincludesmallandlargescale
genresoftheperiod,20thcenturyaestheticpreoccupationsandmusicsrelationshiptoshiftingsociopolitical
realities.
RequiredTexts:RobertP.Morgan,TwentiethCenturyMusic(W.W.Norton&Co.,1991);RobertP.Morgan,
AnthologyofTwentiethCenturyMusic(W.W.Norton&Co.,1992),SourceReadingsin20thCenturyMusic,
RopbertP.Morgan,ed..YoumaypurchasethesebooksattheSwarthmorebookstore,oryoumaygetthemonline
eitherusedornew.
Coursework:
Listening,ViewingandReading
Therearenotwowaysaboutit:Thisisasurveycourse,andastheprimaryaimofthiscourseistogiveyouagood
senseofthecomposers,genres,andmusicalissuesofthe20thcentury,wearegoingtodoalotoflisteningand
reading.Youshouldexpecttoreadabout100pagesperweek,withspecificpageassignmentsforeachclass
meeting,anddoabout13hoursoflisteningforeachclass.Youareexpectedtodoallofyourlisteningwithascore
(andlibrettowhennecessary)inhand.Itisimperativethatyoucometoclasswiththelisteningandreadingforthat
daycompleted;otherwiseIwillbeverydisappointed.
Discussion
Theclasswillbeconductedasahybridlectureseminarclass,withshort,introductorylecturestoframecomposers
andthegenresinwhichtheyworked,followedbyclassdiscussionoftextsandlistening.Iexpectyoutoparticipate
intheclassdiscussionsinaninformedmanner.Thismeansthatyouhavedonetheassignedreadingforthedayand
areeagertotalkaboutit.Itisperfectlyacceptabletocometoclasswithquestionsratherthanreadymadebrilliant
observationindeed,Iencourageyoutocometoclasswithasmanyquestionsaspossible,solongastheyareon
topic!
AlllisteningassignmentswillbeavailabletoyouonMoodle.Scoresnotincludedintheanthologywillbeavailable
onreserveinUnderhill.ReadingsotherthanfromtheMorgantextswillbemadeavailabletoyouinacourse
readingpacket.Alllistening,viewingandreadingassignmentsarealsoonreserveattheUnderhillMusicLibraryin
Lang.
Writingassignments
Weeklyresponsepapers.Formostweeks,youwillhandina2pageinformalessayontopicssuppliedbyme.The
purposeoftheresponsepapersis:
1) togetyouthinkingabouttheweeklylistening/readingbeforecomingtoclass;specificallythese
responsesareintendedtohelpyouidentifykeyissues,debates,assumptionsand/orbiasesinyour
readingsandtohelpyouengagewithyourlisteninginamoreactivemanner.
2) tostimulateclassdiscussion;and
3) toexplorepotentialtopicsforthelongerpapers.
Informalmeansthattheseessaysareexploratory,concernedwithidentifying(orcomplicating)potential
questions,approachesandresponsestothetopicathandratherthanwithprovidingdefinitiveanswers.They
willbegradedona+(A),(B),(C),0(F)basis.
**Responsepapersaredueby7pmeachMonday,unlessIinstructyouotherwise.Theyshouldbesubmitted
viaourMoodlesitesothatyoumayreadeachothersresponsesandbebetterpreparedtodiscussyourviews
inclass.**

NolaterresponseswillbeacceptedwithoutaDeansexcuse.
Finalpaper
Yourfinalpaperissomethingyoushouldbeginworkingonduringthefirstweekofclasses.BythisImeanyou
shouldengagewiththematerialswearecoveringaspossibletopicsforfurtherexploration.Shortlyafteryour
midterm,youwillbeaskedtopresenttotheclassasummaryofyourtopicandaprogressreport.DRAFTSofyour
paperswillbedueDECEMBER1.NolaterpaperswillbeacceptedwithoutaDeansexcuse.Thefinalpaperis
intendedtoteachyouto:identifyaresearchquestion;reviewallrelevantliteraturepertainingtoyourtopic;
demonstrateyourresearchmethod;developathesis;andlearntociteproperlywithinthediscipline.Ifthewriting
processforthiscourseseemsdauntingtoyou,IstronglyencourageyoutogetintouchwiththeWritingAssociates
Programhttp://www.swarthmore.edu/x9298.xml.
Evaluation:Therewillbealisteningmidterm,afinallisteningexam,andafinalresearchpaper.Thefinalpaper
(1012pages)willbedueattheendofthesemester,thetopictobedeterminedbystudentinconferencewith
instructor.Gradeswillbebasedon:classparticipationandresponsepapers(30%);midterm(20%);finalexam
(20%)andfinalpaper(30%).Themidtermandfinalexamswillincludealisteningcomponentandashortanswer
section.
TentativeSequenceoftheTopicsandReadings

BEFOREWWI
WEEK1
Jan20:Introduction
StrausssSalome(1905)andElektra(1908)
Jan22:ViennaUnraveling
Listening:
Mahler, Das Lied von der Erde (1909)
Schoenberg, Five Orchestral Pieces, Op. 16 (Nos. 1 and 5 only) (1907-1909)
Erwartung (1909)
Pierrot lunaire (1912)
Berg, String Quartet, Op. 3 (1910)
Strauss, Rosenkavalier (1910)
Webern, Five Pieces for Orchestra, Op. 10 (1913)
Reading:
Morgan, pp. 11-40, 62-88.
CarlE.Schorske,PoliticsandthePsycheinfindesiecleVienna:SchnitzlerandHofmannsthal,
TheAmericanHistoricalReview,Vol.66,No.4.(Jul.,1961),pp.930946.(FindthroughJStor)
Source readings:
ArnoldSchoenberg,TwoLetterstoFerruccioBusoni,p.1319.
WEEK2
Jan27:Meantime,inParis,musicasplay
Listening:
Debussy,LaMer(1905)
PianopreludeLeVentdanslaplaine(TheWindinthePlain)
Voiles(Veils/Sails)(1909)
LaCathedraleengloutie(TheSunkenCathedral)(1910)
ChildrensCorner(190608)
Jeux(191213)
Satie, TroisSarabande(1887,publ.1911)

Troisgymnopedies(1888,publ.laterwithorchbyDebussy
Sportsetdivertissements(1914)
Ravel,Rapsodie,espagnole(190708)
StringQuartet(190203)
Valsenoblesetsentimentales(1911)
Reading:
Morgan,pp.4054,124127.
MaryE.Davis,ClassicChic:Music,Fashion,andModernism,pp.4892.
SourceReading:
ClaudeDebussy,ThreeArticlesforMusicJournals,pp161166
ErikSatie,FromMemoirsofanAmnesiac,pp.215217
Response Question:

Characterize the cultural-aesthetic impulses motivating musical composition

in Paris at the beginning of the 20th, as described by Davis? How do these
compare with the cultural-aesthetic preoccupations of the Viennese
composers we considered last week?
Jan29:andoutofRussiacomeexperimentsthatstretchharmony(andfantasyandritual)innewsways
Listening:
RimskyKorsakov,Sadko(1897)
ActI,scene2
Scriabin,Prometheus(190810)
PianoSonataNo.7(firstmvtonly)
PianoPreludes,op.74(1914)
Stravinsky,TheFirebird(1910)
Petrushka(1911)
Rite of Spring (1913)
Reading:
Morgan,pp.5461,89103
RichardTaruskin,TheOxfordHistoryofWesternMusic,Vol4,pp.151190.
Sourcereadings:
Weiss/Taruskin,TheRiteofSpringpp.438443.
WEEK3
Feb 3: Other Folks
Listening/Viewing:
Bartok, Fourteen Bagatelles Op. 6 (1908)
First String Quartet Op. 7 (1908-09)
Bluebeards Castle Op. 11 (1911)
Sibelius, Fourth Symphony (1911)
Vaughan Williams, Fantasia on a Theme by Thomas Tallis (1910)
Reading:
Morgan,pp.103124,128137
LeonBotstein,OutofHungary:Bartok,Modernism,andtheCulturalPoliticsofTwentiethCenturyMusicinBartok
andhisWorld,ed.byPeterLaki(PUP,1995),pp.1663.
CarlLeafstedt,Thestageworks:portraitsoflonelinessinTheCambridgeCompaniontoBartok,ed.byAmanda
Bayley(CUP,2001),pp.6277.

Sourcereadings:
BelaBartok,fromTwoArticlesontheInfluenceofFolkMusic,pp.166172.
ResponseQuestion:

Inhisarticle"OutofHungary,"BotsteinseemstosuggestthatBartok'smusicalmodernismtooka
differentformthanthatofcomposer'sworkinginViennaandParisonethatplaced"authentic"
folkmusicattheheartofhisaestheticprojecttherebyallowingBartoktomakeaunique
contributiontoEuropeanmodernism.Botsteinalsosuggeststhattheintegrationofpoliticsand
aestheticsinBudapestledtoanartisticorientationthatdifferedfromthemodernistagendasof
artistsworkingelsewhereinEurope.ButwasBartok'smusicalaestheticallthatdifferentfromthat
whichmotivatedcomposersworkinginotherEuropeanculturalcentersintheyearsleadingupthe
GreatWar?HowdoesBartok'sBluebeard'sCastlecomparetoothermusicalworkswehave
encounteredinthisclass?
Feb.5:AmericaHighandLow
Listening/Viewing:
Ives,ThreePlacesinNewEngland(190314)
AttheRiver(1916)
TheFourthSymphony(1916)
TheUnansweredQuestion(1908)
GeneralWilliamBoothEntersintoHeaven(1914)
TheThingsOurFatherLoved(1917)
HenryCowell,TheTidesofManaunaun(1917)
DynamicMotion(1916)
LeoOrnstein,SuicideinanAirplane(1913)
EudayBowman,TwelfthStreetRag(1916)
IrvingBerlin,AlexandersRagtimeBand(1911)
ThatMysteriousRag
W.C.Handy,St.LouisBlues(1914)
AmericanDances(GV1779.A432003)CakewalkandComedyCakewalk
Reading:
Morgan,pp.137148
J.PeterBurkholder,AllMadeofTunes:CharlesIvesandtheUseofMusicalBorrowing,(YUP.1995),pp.111,
41225.
CarolOja,MakingMusicModern,TheArrivalofEuropeanModernisnpp.4558.(Onlineelectronicresource)
SourceReadings:
Weiss/Taruskin,FromtheWritingsofCharlesIves,pp.4236.
____________________________________________________________________________________

DURINGTHEGREATWAR(ANDJUSTAFTER)

WEEK4
Feb10:Frenchiness,oraNewSpirit?
Listening:
Satie,Parade(1917)
Stravinsky,LHistoiredesoldat(1918)
LesNoces(191723)
Pulcinella(1920ballet,and1965revisededition)
Milhaud,LeBoeufsurletoit(1919)
LaCreationdumonde(1923)
Reading:

Morgan,pp.15979
JosephN.Straus,RemakingthePast,pp.120.
JorgeLuisBorges,PierreMenard,AuthoroftheQuixoteinLabyrinths(NewYork:ModernLibrary,1983),pp.36
44.
SourceReadings:
JeanCocteau,FromCockandHarlequin
IgorStravinsky,FromPoeticsofMusic
DariusMilhaud,FromNoteswithoutMusic
WandaLandowska,TheReturntotheMusicofthePast
ResponseQuestion:

Inlightofthisweek'sreadingsandlastThursday'sdiscussionofIvesandquotation,Iwouldlike
forustoconsiderfurthertheissueoforiginality.WhatdowemakeofBorges'sstatementthat
Menard'schaptersofDonQuixoteare"moresubtle"thanthoseofCervantes,eventhoughthey
areidentical?Whatisthemeaningofthisparadox?Howdoesthequestionof"originality"as
BorgespresentsitcompareorrelatetoStraus's"anxietyofinfluence"theory(asinheritedfrom
HaroldBloom)?
Feb12:ANewSpiritfloatingelsewhere
Listening:
Janacek,TheCunningLittleVixen(1923)
Prokofiev,TheClassicalSymphony(1917)
Szymanowski,Mazurkasop.50(19245)
TheNightengaleandTheGardenDanceinSongsofaFairyPrincess(1915)(optional)
Mandragora(1920)
ManueldeFalla,ElRetablodemaesePedro(1922)
Reading:
Morgan,pp.1179,23544,2634,2669
JamesPorter,BartokandJanacek:IdeologicalconvergenceandcriticalvalueTheMusicalQuarterly,vol.84,no.
3Fall2000,pp426451.(AvailableonlinethroughJStor)
BarbaraMilewski,SzymanowskisHighlandMazurkas:ReFormingPolishMusicfortheTwentiethCentury,
Ph.D.dissertationPrincetonUniversity,2002,pp.111165

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BETWEENTHEWORLDWARS
WEEK5
Feb17:TheJazzAge
Listening:
Original Dixieland Jazz Band Dixie Jass Band One Step (1917)
Barnyard Blues (1917)
King Oliver's Creole Jazz Band, Dippermouth Blues (1923)
Jelly Roll Morton, "Black Bottom Stomp" (1926)
Bessie Smith, Back Water Blues (1927)
Louis Armstrong, "Hotter Than That " (1927)

West End Blues" (1928)

Paul Whiteman, "Changes (1927)
"Lonely Melody (1928)
I Got Rhythm from Girl Crazy, George and Ira Gershwin (1930)
Duke Ellington, East St. Louis Toddle-O (1926)
Mood Indigo (1930)
Concerto For Cootie (1940)
Ko-Ko (1940)
Reading:
DavidMetzer,ed.ReadingJazz,(SanFarncisco:MercuryHouse,1993),pp.73139.
F.ScottFitzgerald,JazzAgeStories,MayDay(NewYork:PenguinBooks,1998),pp.221269.
FrankTirro,Jazz:AHistory,2ndedition,(NewYork:W.W.Norton&Co.,1993),selectedpages.
Feb19:AmericanComposersFindTheirGroove
Listening:
AaronCopland,Jazzy
MusicfortheTheatre(1925)
ElsalonMexico(1936)
FanfarefortheCommanMan(1942)
AppalacianSpring(1944)
GeorgeGershwinRhapsodyinBlue(1924)
HarryPartchTwostudiesonancientGreekScales(1920s_
TheLetter(1943)
EdgardVareseHyperprism(1923)
Ionisation(1931)
Reading:
Morgan,pp.283314.
RichardTaruskin,TheOxfordHistoryofWesternMusic,Vol4,pp.61373.
Sourcereadings:
EdgardVarese,TheLiberationofSound
MarianAnderson,FromMyLord,WhataMorning
WilliamGrantStillFromHorizonsUnlimited
HarryPartch,PatternsofMusic
NadiaBoulanderFromTwoInterviews
ResponseQuestion:

As best you can in a 2-page paper, give me your sense of the various
responses (composerly, performerly or otherwise) to jazz in America between
the two World Wars. What types of associationsmoral, social, or otherwise
does jazz have for Fitzgerald in "May Day?" Does jazz, as it appears in the
fabric of Fitzgerlad's story, align with your source readings on jazz in any
way?
WEEK6
Feb24:FormalIntroductionsPartI:Neoclassicism
Listening:
Stravinsky,OctetforWinds(1923)
Serenadeenla(1925)
SymphonyofPsalms(1930)
Jeudecartes(1936)

Reading:
RichardTaruskin,TheOxfordHistoryofWesternMusic,Vol4,pp.447493.
SourceReadings:
REVIEWIgorStravinsky,FromPoeticsofMusic
ResponseQuestion:

How does Taruskin explain Stravinsky's obsession in the 1920's with "the
classics," especially their quality of pattern and precision that was in striking
contrast to the spontaneity, transcendence and formlessness that
characterized music for a century before? How does he distinguish
Stravinsky's neoclassicism from the sorts of stylistic retrospectivism that can
be found at earlier moments in music history?
Feb26:WWIandOperetta
MATERIALSTOBEANNOUNCED
WEEK7
Mar.3:FormalIntroductionsPartII:Dodecaphony
Listening:
Schoenberg,Fivepiecesforpiano,Op.23(1923)
Suiteforpiano,Op.25(1923)
Webern,StringTrio,Op.20(1927)
Symphony,Op.21(1928)
Berg,Wozzeck,ActIII(19141922)
LyricSuite(1926)
Reading:
JosephAuner,ProclaimingtheMainstream,inTheCambridgeHistoryofTwentiethCenturyMusic,(CUP,2004),
pp.22859.
Morgan,pp.187219.
SourceReadings:
ArnoldSchoenberg,FROMCompositionwithTwelveTones
AlbanBerg,FROMSocietyforPrivateMusicPerformanceinVienna
ResponseQuestion:
Ina1931essaytitled"NationalMusic"Schoenbergevenargued"Iventuretocreditmyselfwithhavingwritten
trulynewmusic,whichbeingbasedontradition,isdestinedtobecometradition."Onanotheroccasionhewrote,"If
itisart,itisnotforall,andifitisforall,itisnotart."Howdowereconcilethesetwostatements?Howcanmusic
bedestinedtobecometraditionifitisn'tsupposedtohavefollowers,amainstreamaudience?Howcananartist
washhishandsofhisaudienceandstillhopetoberelevanttohistory?
Mar.5:NeueSachlichkeit

,Zeitoper,Gebrauchmusik,Gesundheit!
ListeningandViewing:
Hindemith,Suite1922(1922)
Hinundzuruck(ThereandBack,1927)
WirbaueneineStadt(LetsBuildaCity,1930)
MathisderMaler(1935)
ErnstKrenek,Jonnyspieltauf(JohnnyGoestoTown,1927)
PartOne,scene3,Lebwohl,meinSchatz

PartTwo,scene7fromAlsichdamalsamStranddesMeeresstand
Weill,Dreigroschenoper(ThreePennyOpera,1928)
MoritatvonMackieMesser
Kanonensong
ZuhalterBallade
ZweitesFinaleWovonlebtderMensch
LiedvonderUnzulanglichkeitmenschlichenStrebens
Reading:
Morgan,pp.220235onHindemithandWeill;pp.262263onKrenek.
Michael Kater, Composers of the Nazi Era: Eight Portraits, pp. 31-85. (Available in e-book
format on-line)
Alan Lareau, Jonnys Jazz: From Kabarett to Krenek in Jazz and the German: Essays on the
Influence of Hot American Idioms on 20th-Century German Music (Hillsdale, NY: Pendragon
Press, 2002) pp. 19-60.
Source Reading:
Kurt Weill Shifts in Musical Production
Joseph Goebbels Speech for the Dusseldorf Music Festival
WEEK8
SPRINGBREAK

AROUNDANDDURINGWWII
WEEK9
***IndividualconferenceswithDonnaFournierconcerningresearchmethods***
Mar.17:CartoonstakeontheClassics
ViewingandListening:
OnMakeMineMusic(Disney):
TheBandConcert(1935)
MusicLand(1935)
TheWhaleWhoWantedtoSingattheMet(1946)(optional)
OnLooneyTunesGoldenCollectionDisc1(WarnerBros.):
LongHairedHare(1949)
RabbitofSeville(1949)(optional)
OnLooneyTunesGoldenCollectionDisc3:
BatonBunny(1959)
OnLooneyTunesGoldenCollectionVol.2Disc4(WarnerBros.):
RhapsodyRabbit(1946)
OneFroggyEvening(1955)(optional)
WhatsOpera,Doc?(1957)
OnTexAverysScrewballClassicsPartOne(MGM):
MagicalMaestro(1952)
RhapsodyinRivets(1941)
BackAlleyOproar(1948)(optional)
PigsinaPolka(1943)(optional)
Readings;
DanielGoldmark,TunesforToons:MusicandtheHollywoodCartoon(Berkeley:UCPress,2005)pp.107159.
Mar.19:SovietSocialistRealisminMusic

ListeningandViewing:
Shostakovich, The Lady Macbeth of the Mtsensk District (1932):
Act II, scene 3, Katerina, Zherebyonok k koblke toropitsa
Katerinas number, Sergey and Boris, Kto eto, kto, kto
stuchit?
Act II, scene 4, from Boriss number, Shto znachit starost through the scene
4 Interlude
Act II, scene 5, Second Murder Scene (the murder of Zinovy)
Symphony No. 5 (1937)
Symphony No. 7 (first mvt only) (1942-43)
Prokofiev, Piano Sonata No. 7
Romeo and Juliet (excerpts conducted by Eas Pekka-Salonen)
Alexander Nevsky Suite (1938)
Symphony No. 5
Reading:
Morgan,pp.235250.
R.Taruskin,DefiningRussiaMusically,pp.498544.
HarlowRobinson,ComposingforVictory,inCultureandEntertainmentinWartimeRussia,RichardStites,ed..
(Bloomington:IndianaUP,1995),pp.6276.
SourceReading:
PravdaChaosInsteadofMusic
SergeyProkofievThreeCommentaries
WEEK10
Mar. 24:
ListeningandViewing:
Reading:
Michael Kater, ComposersoftheNaziEra:EightPortraits(Oxford;OxfordUniversity

Press,2000),(Availableinebookformatonline)
Mar.26:SomeMusicfromtheNaziConcentrationCamps
Listening:
HansKrasa,Brundibar
ViktorUllmann,TheEmperorofAtlantis
AleksanderKulisiewiczssongsfromSachsenhausenperformedbyKulisiewicz:
MuzulmanKippensammler(MuselmannButtCollector)
Piosenkaniezapomniana(UnforgettableSong)
Erika
Germania!
CzarnyBohm(BlackBohm)
Maminsynekwkoncentraku(MamasBoyinaConcentrationCamp)
Heil,Sachsenhausen!
PozegnanieAdolfazeswiatem(AdolfsFarewelltotheWorld)
Tangotruponoszow(CorpsecarriersTango)
SenoPokoju(DreamofPeace)
Wielkawygrana!(BigWin!)
Reading:
AaronKramer,CreationinaDeathCamp;LibrettoofTheEmperorofAtlantistrans,byAaronKramer;Joza
Karas,OperaticPerformancesinTerezin:KrasasBrundibarinTheatricalPerformanceduringthe

Holocaust,RebeccaRovitandAlvinGoldfarb,eds.,pp.179189;190200;250264.
B.WerbandB.Milewski,FromMadagaskartoSachsenhausen:SingingaboutRaceinaNaziCampin
Polin:StudiesinPolishJewryVol.16,(Oxford:LittmanLibraryofJewishCivilization,2003),pp.269
278.
B.MilewskiandB.Werb,CDbookletcommentary

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AFTERWORLDWARII
WEEK 11
Mar31:BuildingOutoftheVoid,andOtherResponses:SerialismandIndeterminacy
Listening:
Schoenberg,SurvivorfromWarsaw(1947)
Boulez,StructuresI(1952)
Lemarteausansmaitre(19524)
Stockhausen,PianoPieceI
GesangderJunglinge(19556)
MiltonBabbitt,ThreeCompositionsforPiano((1947)
JohnCage,MusicofChanges(1951)
4'33'(1952)
Stravinsky,excerptsfromTheRakesProgress
Reading:
Morgan,pp.32578.
"Darmstadt,PostwarExperimentationandtheWestGermansearchformusicalidentity"
SourceReadings:
JohnCage,"ExperimentalMusic"
MiltonBabbitt,"WhoCaresifYouListen?"
PierreBoulez,"TendenciesinRecentMusic"
KarlheinzStockhausen,From"TheConceptofUnityinElectronicMusic"
Apr. 2: Post WWII Jazz
MaterialsonMoodleunder"Readings"and"Listening/Viewing"
WEEK 12
Apr.7:TomWhitmanonBritten
Listening:
Britten,WarRequiem
RejoiceintheLamb
Ligeti,Atmospheres(1961)
PendereckiThrenodyfortheVictimsofHiroshima(1960)
Reading:
Apr9:Whennocommontruthsexist

Listening:
JohnCage,VariationsIV(1964)
Stockhausen,Hymnen(19667)Firstregion
LucianoBerio,sinfonia(1968)3rdmvtonly
GeorgeRochberg,MusicfortheMagicTheater(1965)(mvts1and2)
ThirdQuartet(19723)(mvts2and3)
WitoldLutoslawski,ThirdSymphony(19811983)

Reading:
Morgan,pp.407453
SourceReadings:
Rochberg,FROMOntheThirdStringQuartet
EvanZiporyn,WhoListensifYouCare?
LeonardB.Meyer,FROMMusic,theArts,andIdeas
WEEK13
Apr.14:
Apr.16:
WEEK14
DRAFTSOFFINALRESEARCHPAPERSDUEINCLASS
Apr. 21: Mostly Minimalism and Music Theater
Listening:
Part,Fratres(for12cellos)(1983version)(originallycomposedforSQ1977)
Gorecki,SymphonyNo.3(1976)
TerryRiley,InC(1964)
Reich,DifferentTrains(1988)
ClappingMusic(1972)
LaurieAnderson,OSuperman(1981)
GeorgeCrumb,Voxbalaenae(1971)
Berio,SequenzaIIIforsolovoice(1966)
Cage,Aria(1958)
Apr.23:WhyDisco?
WEEK15
Apr.28:
Apr.30:
FINALRESEARCHPAPERSDUEDURINGFINALSWEEK.