MUS 523

Spring 2015 Part of Term 1

Part of Term 1
Jan 20-May 6

Seminar in Musicology

Credit: 4 hours.

Problems in historical and systematic musicology or ethnomusicology; discussions of special problems and reports on individual research.

May be repeated to a maximum of 8 hours. Prerequisite: Graduate standing in musicology or consent of instructor. Graduate students in music will be considered if they passed MUS 528A (consult Class Schedule for specific section information).

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MUS 523 class schedule data for spring 2015
	CRN	Type	Section	Time	Day	Location	Instructor	Section Details
	34782	Lecture-Discussion	A	3:00PM -5:50PM	M	Music Building	Silvers, M	Part of Term: 1 Date Range: 01/20/15-05/06/15 Special Approval: Departmental Approval Required Section Title: Music and Ecology Section Info: In this course, we examine scholarly approaches to the study of music and the natural environment. How can musical representations of landscapes and soundscapes convey nostalgic memories of threatened or lost environments? Are the sounds of nature musical, and can non-human animal sounds be affected by human sounds? Can music raise awareness about ecological crises? How is traditional ecological knowledge intertwined with musical practices for some indigenous and rural peoples? Is rock music?and touring stage shows that emphasize spectacle?an environmentally sustainable enterprise? Restriction(s): Restricted to Graduate - Urbana-Champaign. Restricted to students in the Music department.
	34785	Lecture-Discussion	B	2:00PM -4:50PM	R	Music Building	Solis, G	Part of Term: 1 Date Range: 01/20/15-05/06/15 Special Approval: Departmental Approval Required Section Title: Jazz Avant-Gardism Section Info: This course looks at the history of avant gardism in jazz with a focus primarily on the practice, and aesthetics of the jazz avant garde in the U.S. and Europe in the 1960s, 70s, and 80s. Central importance will be accorded not only to who and what, but to questions of how and why. What makes avant garde jazz "avant garde"? How did free improvisation come to be a central hallmark of the jazz avant garde? Why did artist collectives play such an important role in the avant garde movement in the mid-to-late 20th century? How does avant garde jazz fit in the larger history of modern art movements of the late-19th and 20th centuries? To what extent were jazz movements before the 1960s avant garde, and how does that color our perception of later avant gardism? Restriction(s): Restricted to Graduate - Urbana-Champaign. Restricted to students in the Music department.