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Course Criteria
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0.00 - 4.00 Credits
An examination of the technical and expressive characteristics of the individual instruments of the orchestra and approaches to combining them. Participants will compose and arrange for guest instrumentalists and small ensembles, culminating in a short work for full orchestra. If possible, the Princeton University Orchestra will read/rehearse some or all of these final projects.
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0.00 - 4.00 Credits
A survey of Beethoven's works in historical context. Questions of biography and influence will also be explored.
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0.00 - 4.00 Credits
Examines the issues involved when popular musics interact with the global media industry, the global flow of people, and the formation of local identities. We examine structures of power, as exemplified by the media industry and a country's geopolitical position. We consider how musical cultures form and how musical scenes are translated in various locales. Topics discussed include cultural imperialism, hybridism, exoticism, politics, subcultures, diaspora, and gender. Each topic is paired with case studies drawn from around the world, including Graceland, Yellow Magic Orchestra, Cuban nueva trova, punk, the Asian Underground.
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0.00 - 4.00 Credits
Seminar provides an introduction to medieval Western chant and liturgy and a practical introduction to the study of medieval liturgical manuscripts. Course familiarizes students with major research questions, tools and methods that are useful for the study of history, religion, and art history as well as for musicology. Course focuses on the abbey of Cluny and its influence in the central Middle Ages, as an example of the liturgical implications of monastic reform.
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0.00 - 4.00 Credits
Explores the musical culture of the Troubadours and Trouvères (12th-13th Centuries).
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0.00 - 4.00 Credits
A study of the music composed for (or set to) dance and pantomime by Claude Debussy, Charles Ives, Sergey Prokofiev, Erik Satie, Igor Stravinsky, and Francis Poulenc. Course includes stylistic and syntactical analysis of the music on its own terms as well as discussion of the challenges that it poses to choreographers. Discussion is led by Prof. Morrison together with eminent choreographer and director Mark Morris, who has performed some of the works under discussion.
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0.00 - 4.00 Credits
Source studies, palaeography, textual criticism, mensual notation in music from the 14th to 16th centuries.
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0.00 - 4.00 Credits
Examines currents of musical modernism in Vienna, including those outside the traditional canon of the "Second Viennese School". Course surveys the broad spectrum of musical innovations and analyzes their relationship to important challenges of modernity, including revolutions in recording, film, and communications technology, new conceptions of time, rising ethnic and religious tensions, and gender and sexual politics, and how these momentous transformations affected notions of form, phrase structure, orchestration, performance practice, and genre.
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0.00 - 4.00 Credits
Emphasis will be placed upon the individual student's original work and upon the study and discussion of pieces pertinent to that work.
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0.00 - 4.00 Credits
The topic is composing for String Quartet and involves study of quartet literature from the 19th, 20th and 21st centuries, as well as the creation of new work by seminar participants. The Brentano Quartet will visit the seminar several times throughout the semester to perform and discuss music they are working on. Works in progress by seminar participants will be read near the end of the course and some of these works, if completed, will be performed in concert by Brentano during the spring term.
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