MUS 524

Fall 2016 All Classes

All Classes

Sem in Wrks of Select Composer

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Credit: 2 OR 4 hours.

Intensive historical and analytical study of the works of important composers; each term devoted to one composer.

May be repeated to a maximum of 16. (Summer session, 2 or 4 graduate 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 524 class schedule data for fall 2016
	CRN	Type	Section	Time	Day	Location	Instructor	Section Details
	30725	Lecture-Discussion	A	10:00AM -12:50PM	W	0359 Music Building	Wilson, S	Part of Term: 1 Date Range: 08/22/16-12/07/16 Credit: 4 hours Section Title: E. Asia in Western Art Music Section Info: TOPIC: "Eastern Asia in Western Art Music: Cage, Sheng, Takemitsu, Yun, and More." Through a combination of biography, history, analysis, and cultural studies, this seminar examines the works of Toru Takemitsu, John Cage, Isang Yun, Bright Sheng, and others to explore the mutual influence of East Asian and Western ideas and musical practices in 20th- and 21st-century composition. Repertory addressed may include Takemitsu’s Rain Spell, Sheng’s String Quartet no. 3, Cage’s Ryoanji, and Yun’s Klaviertrio. Additional study of works by Debussy or other pertinent composers may be incorporated as time allows. Restriction(s): Restricted to Music or Musicology major(s). Restricted to Graduate - Urbana-Champaign.
	47162	Lecture-Discussion	B	4:00PM -6:50PM	M	0360 Music Building	Praeger, U	Part of Term: 1 Date Range: 08/22/16-12/07/16 Credit: 4 hours Section Info: TOPIC: "Revolutions: Composers, Works, Movements." Music in revolution, revolutionary music, musical revolts, composers as revolutionaries, and revolutionary compositions. In this course, we will explore multi-faceted notions of revolution and music. We will study the music of mass political revolutions, such as those of the French, Russians, Chinese, and Cubans. We will also discuss predominately social revolutions, such as the 1960s counter-culture movement, the civil rights movement, and the technological-digital revolution (from the phonograph to online social networks). We will also focus on revolutionary musicians like Richard Wagner, Edgard Varese, and Pussy Riot. We will consider how music plays out inside revolution, as with Jiang Qing's Model Operas, the American broadside parodies, and Stalin’s approval of Shostakovich's Fifth Symphony, while also considering music outside revolution, such as the preservation of Peking Opera by the exiled Chinese in Taiwan, Beethoven's music inspired by the First Republic, and American settings in Italian operas of the late eighteenth century. Ultimately, our aim in this course is to build a framework for theoretically and practically understanding the role of music as a possible agent of revolution and, conversely, to understand revolution's role as a proponent of music. Restriction(s): Restricted to Music or Musicology major(s). Restricted to Graduate - Urbana-Champaign.