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Course Criteria
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3.00 Credits
Prerequisites: MUSI W2515-W2516 or the equivalent, and the instructor's permission. 1-2 points.
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2.00 Credits
Prerequisites: MUSI W2515-W2516 or the equivalent, and the instructor's permission. 2 points
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3.00 Credits
Explores the wealth of music theatre produced in France from 1660s to 1760s. Our focus will be the analysis of interaction of music, text, dance and staging in opera, but we will also consider spoken dramas and literary texts referenced in the operas, and situate them in the social and political context of absolutist France. Some of issues addressed will be Why the Opéra became the prime arena of sovereign representation; Why the role of adversary was conventionally played by a woman; Correspondences between social organization and theatrical representation; and Why these works have been revived in recent years. Prof. Burgess is renowned both for his research in this area and as a performer with the Paris-based company Les Arts Florissants. - G. Burgess Prerequisites: W1123 (Music Humanities); Music Majors need V2138/9 Not offered in 2009-2010. 3 points
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3.00 Credits
Study of the principal musical trends and aesthetic debates of the Cold War. Hoe did music respond to and reinforce the political divisions of the Cold War We will move through a series of chronological units that integrate primary source readings from Adorno to Zhdanov, musical case studies (including works by Shostakovich, Eisler, Lutoslawski, Babbitt, Boulez, Kagel, Schnittke, Rochberg, Copland, Nono, Henze) and recent scholarly writings. Themes will include socialist realism, American influence in Western Europe, nationalism, postmodernism, and historiography. - L. Silverberg Prerequisites: Previous coursework in Music (including W1123) or permission of the instructor.
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3.00 Credits
Composition for larger ensembles, supported by study of contemporary repertoire. - T. Murail Prerequisites: Grades obtained in V3241-3242; compositions written in V3242; instructor's permission. 3 points
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3.00 Credits
Selected introduction to major topics, debates and fields of study in the growing musicological and philosophical literature on listening. What are our various modes of listening, and how are they organized To what degree is our listening shaped by metaphor and intentionality How is listening tied to subjectivity How does musical listening differ from everyday listening and what does this imply for the future of music These and other questions will be addressed through close readings of the major literature (and supplementary texts) including Adorno, Barthes, Calvino, Cavarero, Derrida, Forster, Freud, Kafka, Lacoue-Labarthe, Levinson, Nancy, Scruton, Schaeffer, and others. Intensive reading and sustained critical responses are required weekly for all participants; a final research paper will be required. - B. Kane Prerequisites: W1123 (Music Humanities) or the instructor's permission. Not offered in 2009-2010. 3 points
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3.00 Credits
An introduction to popular music traditions and styles in 20th century Latin America, including Argentina, Brazil, Chile, Colombia, and Uruguay. General Education Requirement: Cultures in Comparison (CUL). Not offered in 2009-2010. 3 points
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3.00 Credits
Survey of 20th-century literatures on the music/language relationship. Emphasizes semiotic and social-scientific paradigms. - A. Fox Prerequisites: Priority given to music majors. Prerequisite for non-music majors: the instructor's permission. General Education Requirement: The Visual and Performing Arts (ART). Not offered in 2009-2010. 3 points
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3.00 Credits
A comparative and topical examination of Gagaku, Okinawan music, and modern Japanese electronic music. Not offered in 2009-2010. 3 points
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3.00 Credits
This courses raises the questions 1) What does it mean to "own" music 1) In what senses can music be conceptualized as "property " How do divergent understandings of music's status as "property" shape contemporary debates and discourses in the particular areas of disputes over "illegal downloading" of copyrighted music and the "repatriation" of Native American musical recordings as "cultural property " Several relevant major recent statements will be considered and responses discussed. Case studies from ethnomusicological, anthropological, media studies and legal literatures engage issues of appropriation, the role of new technologies in shifting the terrain of musical ownership will be studied. Hands-on look at the Columbia Center for Ethnomusicology's ongoing projects to repatriate historic recordings of Native American music (currently 'owned' by Columbia University) to the Navajo and I upiat tribes. - A. Fox Prerequisites: Approval of the instructor.
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