十九世紀歐洲音樂專題
Topics in 19th-Century European Music
| 節 | 週一 |
|---|---|
5 13:20–14:10 | 十九世紀歐洲音樂專題 HC514 2 節連堂 |
6 14:20–15:10 |
* 根據陽明交大上課時間表所列
This course focuses on a number of the most significant and controversial issues in the recent scholarship of Romantic music, as well as various trends in 19th-century aesthetics and performance practice. We will complement our discussion of scholarly debates with issues in musicianship such as performance practice. This focus is intended to help students develop independent and critical judgment on these issues, to strengthen their research and academic writing skills, and to sustain these skills with the aid of their performance background. We will begin by examining critical concepts and issues related to weekly topics and prepare for more in-depth discussion of these issues. Between week 4 and week 16, students will then take turns leading the discussion. You will be assigned one of the required readings and provide the class with a handout, introducing, demonstrating, and evaluating the arguments included in the article in question. Each presenter will decide which repertory to focus on. He or she will also be in charge of selecting a recording of the relevant musical works and providing musical examples for the rest of the class. Presenters are strongly encouraged to demonstrate their points on their major instrument as an alternative to playing a recording. The required reading assignments are due at the beginning of each class meeting. You will be expected to raise questions about, and to provide criticism of, the presenter’s viewpoints.
The readings for each week are posted on the course website. Readings that provide some background information related to each week’s topic will come from the following sources: Carl Dahlhaus, Nineteenth-Century Music; Charles Rosen, The Romantic Generation; Jim Samson, ed., The Cambridge History of Nineteenth-Century Music; and Oliver Strunk, ed., Source Readings in Music History.
Attendance & participation: 35% Presentation: 30% Term project: 35%
| 週次 | 主題 |
|---|---|
| 第 1 週 | Introduction: Romanticism, the Romantic in music, and the “delayed 19th century” Optional readings: Samson, “Romanticism” from Grove Music Online Webster, “Between Enlightenment and Romanticism in Music History: ‘First Viennese Modernism’ and the Delayed Nineteenth Century” |
| 第 2 週 | Thick and thin analysis Required readings: Idem., “The Musical Work and Nineteenth-Century History” CH19C Dahlhaus, NCM, pp. 1-8 (“The Nineteenth Century as Past and Present”) |
| 第 3 週 | Beethoven, work concept, and genius in context Required Readings: DeNora, Beethoven and the Construction of Genius: Music Politics in Vienna 1792- 1803, ch. 1 (“Beethoven and Social Identity”) Goehr, excerpt from The Imaginary Museum of Musical Works |
| 第 4 週 | Beethoven: hero & entrepreneur Required Readings: E.T.A. Hoffmann, “Beethoven’s Instrumental Music” SRMH Burnham, “Musical Values: Presence and Engagement in the Heroic Style,” in Beethoven Hero (pp. 29-65) Cook, “The Other Beethoven” |
| 第 5 週 | Music and gender: German Lied & symphony with “feminine ending”(?) Required Readings: Agawu, “Schubert’s Sexuality: A Prescription for Analysis?” McClary, Feminine Endings: Music, Gender, and Sexuality, ch. 3 (“Sexual Politics in Classical Music”) Muxfeldt, “Frauenliebe und Leben Now and Then” |
| 第 6 週 | Early Romantic opera and reception history |
| 第 7 週 | Program music & the issue of genre Required Readings: Berlioz, program notes for Symphonie Fantastique in Music in the Western World (pp. 353-357) Jander, “Beethoven’s ‘Orpheus in Hades’: the ‘Andante con moto’ of the Fourth Piano Concerto” |
| 第 8 週 | Music, nationalism, and censorship Required Readings: Dvo??k, “Music in America” SRMH Gossett, “Becoming a Citizen: The Chorus in Risorgimento Opera” |
| 第 9 週 | Music and Other Required Readings: Locke, “Constructing the Oriental ‘Other’: Saint-Saens’s ‘Samson et Dalila’” Beckerman, “In Search of Czechness in Music” |
| 第 10 週 | Wagner: motive, technique, and form Required Readings: Newcomb, “The Birth of Music out of the Spirit of Drama” Bailey, “The Structure of the ‘Ring’ and Its Evolution” |
| 第 11 週 | Liszt and the construction of a virtuoso Required Readings: Gooley, “Warhorses: Liszt, Weber’s ‘Konzertst?ck,’ and the Cult of Napoleon” Kramer, “Franz Liszt and the Virtuoso Public Sphere: Sight and Sound in the Rise of Mass Entertainment” |
| 第 12 週 | Measuring the beautiful in music? Required Readings: Hanslick, excerpts from Vom Musikalisch-Sch?nen in SRMH |
| 第 13 週 | Conductor & idea of rehearsal Required Readings: Excerpts from Wagner, “On Conducting” Walker, Hans von B?low: A Life and Times |
| 第 14 週 | Culture of Listening Required Reading: Johnson, Listening in Paris (excerpts) |
| 第 15 週 | Trunk arias and the Making of the Diva Required Reading: Poriss, “Making Their Way through the World: Italian One-Hit Wonders,” in Changing the Score: Arias, Prima Donnas, and the Authority of Performance (ch. 3) |
| 第 16 週 | Conclusion: Romantic music and beyond Required Readings: Pople, “Styles and Languages around the Turn of the Century” CH19M Painter, “The Sensuality of Timbre: Responses to Mahler and Modernity at the Fin- de-si?cle” |
| 第 17 週 | presentation |
| 第 18 週 | presentation |
Carl Dahlhaus, Nineteenth-Century Music, trans. J. Bradford Robinson (Berkeley: University of California Press, 1989) Oliver Strunk, ed., Source Readings in Music History (New York: W. W. Norton & Company, 1998) Charles Rosen, The Romantic Generation (Cambridge, MA: Harvard University Press, 1995) Jim Samson. Ed. The Cambridge History of Nineteenth-Century Music (Cambridge: Cambridge University Press, 2001)
- 地點
- TBA
- 時間
- TBA
- 聯絡方式
- brynhild@thu.edu.tw