Explorations in Musicology
MUSC 520
Spring 2020
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01
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What is Musicology? How and why do scholars write about music? This course will address the issues involved in making music a scholarly object of inquiry. It examines the methodologies through which scholarship has been constructed (e.g., archival research, reception history, historiography, practice-led research) and assesses their broader application. The course will be structured around a central point of reference--the musical work, music and the cosmos, notation, ontologies of sound, or performance studies. The chosen topic will serve as a prism through which musicological debate can be understood, and contrasted with ethnomusicological and other approaches. |
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| Credit: 1 |
Gen Ed Area Dept:
None |
| Course Format: Seminar | Grading Mode: Graded |
| Level: GRAD |
Prerequisites: None |
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Fulfills a Requirement for: None |
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Past Enrollment Probability: Not Available |
| SECTION 01 |
Major Readings: Wesleyan RJ Julia Bookstore
David Beard and Kenneth Gloag, MUSICOLOGY: THE KEY CONCEPTS (London; New York: Routledge, 2005)
Katherine Bergeron and Philip Bohlman, eds., DISCIPLINING MUSIC: MUSICOLOGY AND ITS CANONS (1992)
Nicholas Cook, BEYOND THE SCORE: MUSIC AS PERFORMANCE (Oxford University Press, 2013)
Andrew J. Hicks, COMPOSING THE WORLD: HARMONY IN THE MEDIEVAL PLATONIC COSMOS (2017)
Joseph Kerman, CONTEMPLATING MUSIC: CHALLENGES TO MUSICOLOGY (Cambridge, Mass.: Harvard University Press, 1985); Review by Leo Treitler, "The Power of Positivist Thinking" , JAMS 42 (1989): 375-402
Susan McClary, FEMININE ENDINGS (Minneapolis: University of Minnesota Press, 1991)
Derek B. Scott, ed. MUSIC, CULTURE, AND SOCIETY: A READER (Oxford; New York: Oxford University Press, 2000)
Ruth Solie, ed. MUSICOLOGY AND DIFFERENCE: GENDER AND SEXUALITY IN MUSIC SCHOLARSHIP (Berkeley: University of California Press, 1993)
Richard Taruskin, TEXT AND ACT: ESSAYS ON MUSIC AND PERFORMANCE (New York: Oxford University Press, 1995)
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Examinations and Assignments:
Research exercises; weekly presentations on assigned topics; two synthesis papers; one creative project; and a 4,000-word final research paper. |
Additional Requirements and/or Comments:
Ethnomusicologists, theorists, and composers: all are welcome. Projects can be designed to suit the interests and skills of students across music disciplines.
Assessable learning outcomes:
By the end of this course students should be able to:
-critically discuss various contemporary and historical discourses in the field of musicology
-assess and synthesize source readings (e.g., composers' writings, historical treatises) and scholarly literature
-describe how notation and sound recordings mediate musical experience
-show evidence of independent research skills
-communicate clearly and efficiently using oral and written communication skills |
| Instructor(s): Alden,Jane Times: ...W... 08:50AM-11:40AM; Location: OLIN327B; |
| Total Enrollment Limit: 10 | | SR major: X | JR major: X | | |
| Seats Available: 4 | GRAD: 10 | 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 |
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