Course Schedule

• Listening assignments are coded with numbers; readings with letters.
• Listening tests and due dates for papers are in bold.
• Listening tests and exams are cumulative and include music assigned for the day they are given.

M 1/26	Introduction to the course; defining the 20th century musically
W 1/28	Claude Debussy, musicien français - the first mature works [1] [A]
F 1/30	Debussy's later works
M 2/2	Cultural nostalgia and the threat of the machine: French music at the turn of the century [2]
W 2/4	Opera and symphony in fin-de-sičcle Vienna: Richard Strauss and Gustav Mahler [3, 4] [B]
F 2/6	The atonal revolution: Arnold Schoenberg's works to ca. 1913 [5]
M 2/9	Exoticism and primitivism in Paris: Igor Stravinsky and Serge Diaghilev's Ballets Russes [6] [C]
W 2/11	National voices I: concertos by Edward Elgar and Jean Sibelius [7, 8] [D]
F 2/13	National voices II: piano works by Rachmaninov, Albeniz, and Janácek [9, 10]
M 2/16	The triumph of the absurd: Erik Satie and Les Six; listening test #1 [11]
W 2/18	Igor Stravinsky and the turn toward "neoclassicism" [12]
F 2/20	Guest: Claudia Chen (University of Manitoba): dueling pianos (a special treat!)
M 2/23	Music and culture in the Weimar Republic; first response paper due [13, 14] [E]
W 2/25	Listening to 12-tone music, and liking it!
F 2/27	No class (attending CMS Board meetings, San Francisco)
M 3/1	The Second Viennese School: Arnold Schoenberg, Anton Webern, Alban Berg [15, 16]
W 3/3	Opera and expressionism: Alban Berg's Wozzeck [17] [F]
F 3/5	Modernism and politics in Eastern Europe: Béla Bartók and the challenge of synthesis [18] [G]
M 3/8	A figurehead for American music: the strange world of Charles Ives [19] [H]
W 3/10	The American experimental tradition [20, 21]
F 3/12	The American populist tradition, part I; listening test #2 [22, 23]
Spring break
M 3/22	The American populist tradition, part II [24]
W 3/24	A brief history of music for film, part I [25]
F 3/26	A brief history of music for film, part II
M 3/29	Introduction to music in the Soviet Union [26]
W 3/31	"The secret diary of a nation": the absolute art of Dmitri Shostakovich [27] [I]
F 4/2	Music, war, and otherness: Benjamin Britten [28] [J]
M 4/5	New trends in Western Europe: Olivier Messiaen; second response paper due [29]
W 4/7	Darmstadt and the rise of serialism: Pierre Boulez and Karlheinz Stockhausen [30] [K]
F 4/9	No class (Good Friday holiday)
M 4/12	Music, silence, chance: John Cage and company; listening test #3 [31]
W 4/14	Art music and electronic media [32, 33, 34]
F 4/16	The idea of sound-mass music [35, 36]
M 4/19	1968: Luciano Berio and the Beatles [37, 38] [L]
W 4/21	Warsaw Autumns: Gubaidulina, Pärt, Górecki [39, 40, 41]
F 4/23	Minimalism: the early years [42, 43] [M]
M 4/26	Two American voices: George Crumb and Meredith Monk [44, 45]
W 4/28	Beyond minimalism: John Adams [46]
F 4/30	Music, religion, and idea of the global: Osvaldo Golijov's Pasion Segun San Marcos [47]
M 5/3	Electronic music revisited: Aphex Twin [48]

Final listening exam: Thursday, May 7, 2004, 1:30-2:00 p.m.

Final course paper due at final listening exam (above)

Final oral exam: you will sign up for individual ten-minute times during the exam period (Thursday and Friday, May 6 and 7)