September 21

What is classical music?

(class discussion)

When classical music functioned like pop

Handel

listening:

Handel, Rinaldo, Act 1, scenes 3 through 8; from Argantes’ entrance through Rinaldo’s aria "Cara sposa." (Carolyn Watkinson, et al, Jean-Claude Malgoire, cond.; LP on reserve, side 2 and the start of side 3)

September 28

Rossini and bel canto

reading:

Stendahl, Life of Rossini, chapter 6: "The Impresario and His Theater," pp. 110-119

listening:

Rossini, L’Italiana in Algerí: Overture; Act 1, scene 1; ends with the duet for tenor and bass. (London recording with Fernando Corena, Luigi Alva; Silvio Varviso, cond., LP on reserve)

Donizetti, Lucrezia Borgia, end of Act 1 (side 4 of the LP set. The opera is in three acts, but the first one is called "Prologue." So what I’m calling Act 1 here is really Act 2. Clear? The scene I have in mind begins with a duet for Alfonso and Lucrezia, and ends with a scene for those two, joined by the tenor, Gennaro. The RCA recording stars Montserrat Caballe and Alfredo Kraus, and is conducted by Jonel Perlea.) (cassette or CD on reserve)

October 5

Mozart

reading:

Hans Mersmann, ed., Letters of Wolfgang Amdeus Mozart, pp. 105-108. (Mozart’s letter to his father, July 3, 1778) (on reserve)

listening:

Mozart, Symphony No. 31, "Paris," K. 297/300a (Wolfgang Amadeus Mozart, The Symphonies, Vol. 6, side 1; The Academy of Ancient Music, Jaap Schróder and Christopher Hogwood, cond. LP on reserve.)

class discussion:

In the letter we’ll read, Mozart wrote:

"In the midst of the first allegro [the first movement] came a passage I had known would please. The audience was quite carried away—there was a great outburst of applause. But, since I knew when I wrote it that it would make a sensation, I had brought it in again in the last—and then it came again, da capo!"

Which passage is it? What music made the audience break into cheers, right in the middle of the symphony?

(optional background reading: Neil Zaslaw, Mozart’s Symphonies, pp. 311-314; in reference section)

October 12–November 2

Pop music in the rock & roll era

reading:

The Rolling Stone Illustrated History of Rock & Roll (in the reference section):

Robert Christgau , "Chuck Berry," pp. 60-68

Greil Marcus, "The Beatles," pp. 209-221

Ellen Willis, "Janis Joplin," pp. 382-387

J.D. Considine, "Madonna," pp. 656-662

Lester Bangs: "Where Were You When Elvis Died?" (on reserve)

listening:

50 to 60 songs, covering the entire era. Details to come. We’ll be spending four weeks on rock, so you can pace your listening by dividing the songs into four groups: ‘50s, ‘60s, ‘70s, and ‘80s/’90s. (special CDs on reserve)

November 9 to the end of the semester

The crisis in classical music, and our response as musicians

reading:

articles and other materials on reserve in the library (details to come)

listening (alternatives to mainstream contemporary music):

Gavin Bryars, Jesus Blood Never Failed Me Yet (track 1, more if you like)

David Lang, Cheating, Lying, Stealing

Meredith Monk, Volcano Songs (tracks 1-4, more if you like)

Arvo Pärt, Trisagion

Edgar Meyer, Bela Fleck, Mike Marshall, Uncommon Ritual (track 1, more if you like)

Joe Jackson, Heaven and Hell (tracks 1 and 8, more if you like)

Todd Levin, De Luxe (track 3 of the CD)

(cassettes/CDs on reserve)

extensive class discussion

guests