| SECTION 01 |
Major Readings: Wesleyan RJ Julia Bookstore
TBA
|
Examinations and Assignments:
Students will produce a final project in addition to written assignments, in-class presentations, and practice-based activities. |
Additional Requirements and/or Comments:
Topic: The Sound Document: Performing Objects, Things, Material Culture, and Technologies
What can we learn about music cultures through sound documents? By listening across sound media-the many objects, materials, bodies, and technologies involved in music making and listening-serious attention is paid to media that is not clearly musical, and the aurality and materiality of sound documents is inscribed into the ecologies of performance and the narratives we craft about music cultures. This seminar concerns the objects, things, material culture, and technologies of musical performance, circulation, consumption, and perception. Listening to a music culture involves attending to media that are not always audibly musical. Sound documents are multimodal: audiotape, film, typed transcripts, handwritten posters, artist books, personal diaries, radio programs and transcripts, maps, album covers, instruments, hard drives, and more. Throughout the course we engage in readings and case studies that explore the many ways that musical sounds, practices, and meanings inform and are informed by relationships between musicking people and musicking things. This seminar is concerned with fostering an awareness of the materials, objects, and things used to create and experience music, where they come from, and where they end up in the ecology of performance. We examine how researchers have studied different types of musical objects as a means of understanding not only the objects themselves, but also music, musicians, music cultures, and more. Finally, we explore emergent directions and new possibilities for music research inspired by Actor-Network Theory, Thing Theory, Vital Materialism, Sensory Studies, Posthumanism, and the Digital Humanities. Throughout the semester we work hands-on with sound documents from various Wesleyan University collections, including manuscripts, letters, and ephemera in the Special Collections Library, visual art featuring musicians, performances, and instruments in the Davison Art Center Collections, the instruments and sound producing objects in the Archeology and Anthropology Collections, and the audiotapes, vinyl, digital files, and liner notes in the Wesleyan World Music Archives. |
| Instructor(s): Galloway,Kate Times: .M.W... 10:50AM-12:10PM; Location: OLIN327B; |
| Total Enrollment Limit: 15 | | SR major: 7 | JR major: 8 | | |
| Seats Available: 6 | GRAD: X | SR non-major: X | JR non-major: X | SO: X | FR: X |
| Drop/Add Enrollment Requests | | | | | |
| Total Submitted Requests: 0 | 1st Ranked: 0 | 2nd Ranked: 0 | 3rd Ranked: 0 | 4th Ranked: 0 | Unranked: 0 |
| SECTION 02 |
Major Readings: Wesleyan RJ Julia Bookstore
Main text: Christopher Palmer, Impressionism in Music
Those capable of reading French could be invited to make presentations from the better reference Michel Fleury, l¿Impressionism et la Musique.
Selected readings from Ronald Ebrecht Maurice Duruflé 1902-1986, the Last Impressionist, and again for French readers articles may be drawn from the annual Bulletin of the Duruflé association.
Also of interest for German readers for a class presentation, the thesis of Wolfgang Reisinger, and if by chance there should be someone fluent in Norwegian, the thesis of Harald Rise. |
Examinations and Assignments:
TBD |
Additional Requirements and/or Comments:
Topic: Meet Me at the Fair
In this seminar, we will examine the French-inspired and perfectioned Impressionist movement, and particularly how these techniques were expressed in keyboard compositions for the piano and organ. One catalyst for this movement was the Exposition Universelle of 1889, marking the centennial of the French revolution. The anchor for this world's fair was the iconic Eiffel Tower. The musical program included the first Gamelan brought to the west, which much influenced Claude Debussy and others who heard it.
The Impressionist movement included other composers: Ravel, Delius, de Falla, Resphigi, Albeniz, Dukas, Liszt, and Duruflé; among Americans Griffes and Ives. We will choose a short list of representative works to study in depth. For instance recent research shows that many Ives orchestral, piano, and chamber works were conceived at the organ. Among possible final projects, students could transcribe one of said works to the organ. Other projects both at mid-term and for the final can include analysis of scores, composition of a piece in the style, or a paper. |
| Instructor(s): Ebrecht,Ronald Times: ..T.R.. 10:20AM-11:40AM; Location: MST301; |
| Total Enrollment Limit: 12 | | SR major: 6 | JR major: 6 | | |
| Seats Available: 5 | GRAD: X | SR non-major: X | JR non-major: X | SO: X | FR: X |
| Drop/Add Enrollment Requests | | | | | |
| Total Submitted Requests: 0 | 1st Ranked: 0 | 2nd Ranked: 0 | 3rd Ranked: 0 | 4th Ranked: 0 | Unranked: 0 |
|