UNIVERSITY OF ALBERTA : DEPARTMENT OF MUSIC FALL 2009

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1 UNIVERSITY OF ALBERTA : DEPARTMENT OF MUSIC MUS 480 Survey of Contemporary Repertoire since 1950 MUS 580 Advanced Contemporary Repertoire since 1950 Co- or Prerequisite: MUSIC 256 FALL 2009 Class time: Tuesdays & Thursdays, 11:00 a.m. 12:20 p.m. Location: Fine Arts Building, Room 2-28 Instructor: Office hours: Dr. Scott Smallwood Office: Fine Arts Building, Room scott.smallwood@ualberta.ca Phone: by appointment Course Description: Contemporary Repertoire since 1950 intensively examines contemporary musical trends and movements from the Second World War to the present. Composers, performance artists, sound artists, aesthetics, trends, techniques, and cultural movements will be explored through lectures, in-class exercises/discussions on assigned readings and listening, and student presentations. Evaluation: Attendance/Participation: 20% Presentations: 20% Listening Exams (5): 25% Concert Reports (2): 10% Final Paper: 25% [due Friday, Dec. 11] Attendance/Participation (20%): Students are expected to attend class, and to come prepared for each class having done the readings and listening assignments. Students will be expected to contribute to class discussions, exercises, and activities when called upon to do so. Presentations (20%): Every student will be expected to prepare 2 short presentations (5 minutes for undergraduate students, 10 minutes for graduate students).

2 A detailed outline of the presentation must be submitted on the day of the presentation, either hardcopy or ed. Presentations will be staggered throughout the semester, and a schedule of presentations will be determined in the first two weeks. You will be asked to present on a particular piece of music relevant to that week s topic. Listening Exams (25%): There will be five in-class listening exams, each worth 5%. These exams will each feature between 3-4 one to two-minute excerpts of music, followed by a 5-10 minute response period in which you will write about what you have heard. In some cases these excerpts will come directly from the listening list, but not always. Identification of the artist, composer, and/or piece is a bonus, but not the goal of these exams. Instead, you will be asked to write about the content of the music, such as details about the instrumentation, the construction and form, cultural and extramusical considerations, and other details based upon knowledge gained from previous readings, listening, and analysis. Listening Exam dates: Thurs 9/3 ( freebee ) Tues 9/22 Tues 10/13 Tues 10/27 Tues 11/24 Concert Reports (10%): All students are required to attend two musical events featuring contemporary music during the semester (hopefully you will attend many more events that that!) and turn in a 2-3 page report on the music. One of these events must be a departmental, on-campus event. The other event must be a non-departmental off-campus event. Both of these events should feature music that was written/made after These reports should include a detailed description of the music, the instrumentation, style, cultural context, in as much detail and specificity as possible. Final Paper (25%): Each student is required to turn in a final paper, due at the end of the semester (Friday, Dec. 11). Undergraduate papers must be between 9-11 pages in length, including bibliography. Graduate papers should be pages in length, including bibliography.

3 The topic of the paper will be the choice of the student, but must be approved by the instructor. A proposal from each student will be requested towards the end of the semester. Papers will be evaluated based upon thoroughness and clarity of the subject matter, accuracy of detail, synthesis of viewpoints, and quality of writing. Graduate students, in particular, will be expected to contribute original insight and critical research. The required style guide for this paper is The Chicago Manual of Style, 15 th ed. Chicago: University of Chicago Press, See the online quickguide: The University of Alberta is committed to the highest standards of academic integrity and honesty. Students are expected to be familiar with these standards regarding academic honesty and to uphold the policies of the University in this respect. Students are particularly urged to familiarize themselves with the provisions of the Code of Student Behaviour (online at and avoid any behaviour which could potentially result in suspicions of cheating, plagiarism, misrepresentation of facts and/or participation in an offence. Academic dishonesty is a serious offence and can result in suspension or expulsion from the University.

4 Repertoire on reserve in the Music Library: Composer Title Recording Score Andriessen, Louis De Tijd M A63 T M 1045 A565 T Andriessen, Louis De Staat M 1528 A573 S M 1528 A573 S Aperghis, George Triangle Carré M 178 A676 F N/A Ashley, Robert Perfect Lives M A826 P ML 50 A84 P Babbitt, Milton Philomel M 1473 E N/A Babbitt, Milton Phonemena M 1473 E M1621 B12 P Babbitt, Milton Three Compositions for Piano M 22 B1 T M 22 B1 T Beach Boys Pet Sounds M B365 P Beatles Sgt. Pepper s Lonely M B369 S Heart Club Band Berio, Luciano A-Ronne M 3.1 B5 B M B5 A Berio, Luciano Points on the Curve to Find M 3.1 B5 B M 947 B5 P Berio, Luciano Sequenza V M 91 L742 S M 92 B52 S Berio, Luciano Sinfonia (mvmts. II & III) M 3.1 B5 S M B5 O Berio, Luciano Thema (Ommagio a Joyce) M 3.1 B5 B N/A Birtwistle, Harrison Carmen arcadiae... M 1000 B M 1045 B585 S Birtwistle, Harrison Silbury Air M 1000 B M 1045 B585 C Birtwistle, Harrison Triumph of Time on order M 1045 B585 T Boulez, Pierre Éclat M 1 O64 M M 985 B76 E Boulez, Pierre Le Marteau sans Maître M 3.1 B763 L M B76 M Boulez, Pierre Pli selon Pli M 1613 B68 P M 1613 B68 P Boulez, Pierre Répons M 3.1 B763 E M 1045 B76 R Boulez, Pierre Structures I M 214 B76 S M 214 B76 S folio Cage, John 4 :33 M 5 C M 1470 C13 A Cage, John Atlas eclipticalis M 1000 C132 K M 1470 C13 A Cage, John String Quartet in Four Parts M 451 C744 A M 452 C132 Q Cardew, Cornelius Treatise M 547 C266 T N/A Carter, Elliott String Quartet No.2 M 451 C323 A v.2 M 452 C32 no Cowell, Henry Banshee M 22 C N/A Crumb, George Black Angels M 450 K93 B CD M 1 S Donatoni, Franco Spiri M 3.1 D677 S M 985 D677 S Feldman, Morton Durations II M 3.1 F314 T M 233 F32 D folio Feldman, Morton For Samuel Beckett M 985 F32 F M 1045 F32 F Feldman, Morton Triadic Memories M 3.1 F314 W M 25 F32 T Ferneyhough, Brian Études Transcendentales M 3.1 F364 M M F364 E Ferneyhough, Brian Funerailles I M 5 D862 E M 872 F364 F Ferneyhough, Brian Unity Capsule M 3.1 F364 E M 62 F364 U Finnissy, Michael English Country Tunes M 25 F514 E M 25 F514 E Finnissy, Michael String Trio M 178 F514 U M 351 F514 U Glass, Philip Music in Contrary Motion M 3.1 G549 G N/A Glass, Philip Einstein on the Beach M 1500 G549 E M 1500 G549 E Grisey, Gerard Modulations M 3.1 G857 C M 1045 G86 M Grisey, Gerard Vortex Temporum M 178 G857 E M 622 G869 V Kagel, Mauricio Der Tribun M 3.1 K M 1247 K12 M Kraftwerk Computer World M K89 C Lachenmann, Helmut Zwei Gefühle M 1500 L137 M M 1625 L137 Z Lansky, Paul Idle Chatter M 1473 N N/A Ligeti, György Atmosphères M 3.1 L72 C M 1045 L72 A Ligeti, György Chamber Concerto M 3.1 L72 C M 947 L72 K Ligeti, György Lux Aeterna M 3.1 L72 C M l Ligeti, György Three Pieces for Two Pianos M 22 L723 U M 214 L72 S Lucier, Alvin I Am Sitting in a Room M 1473 L937 I (CD on order) N/A Lutosławski, Witold Venetian Games M 3.1 L974 W M 1045 L97 J Lutosławski, Witold Cello Concerto M 1000 L974 L M 1016 L97 C Maxwell Davies, Peter 8 Songs for a Mad King M D25 D M D25 S Merzbow Animal Magnetism M A315 A N/A Messiaen, Olivier Turangalila Symphony M 1001 M577 T M 1010 M58 T

5 Messiaen, Olivier Oiseaux Exotiques M 3.1 M585 L M 947 M48 O Mumma, Gordon Hornpipe M 3.1 M963 L N/A Murail, Tristan L Esprit des Dunes M 985 M922 E M 985 M922 E Murail, Tristan Territoires de l oubli M 3.1 M972 E M 25 M97 T Nono, Luigi Fragmente-Stille, an diotoma M 3.1 N814 A M 452 N8 F Nono, Luigi La Fabbrica Illuminata M 3.1 N814 H N/A Oliveros, Pauline Bye Bye Butterfly M 1473 O N/A Oliveros, Pauline Sonic Meditations N/A M 1470 O55 S Partch, Harry The Rose M 1 P (LP) N/A Penderecki, Krzysztof Threnody M 1000 P397 K M 1145 P4 O (A tana) Pink Floyd Wish You Were Here On order Reed, Lou Metal Machine Music M R324 M N/A Reich, Steve Electric Counterpoint M 178 R347 D M 967 R367 E Riley, Terry In C M 1045 R56 I N/A Rzewski, Frederic Les Moutons de Panurge? M 178 R99 M Rzewski, Frederic The People United Will... M 22 R99 H M 27 R99 P Frederic Rzewski Attica / Coming Together / Les Moutons De Panurge in cataloguing Saariaho, Kaija Jardin Secret I M 1473 S635 S N/A Scelsi, Giacinto PFHAT M 3.1 S289 W N/A Scelsi, Giacinto String Quartet No.4 M 451 A73 F M 452 S28 no Schaeffer, Pierre Etude aux Chemins de Fer M 1473 S294 O N/A Schaeffer/Henry Symphonie four un homme seul M 1473 S294 O N/A Schafer, R. Murray Requiems for the Party Girl M 3.1 S296 T M 1500 S29 P Schoenberg, Arnold A Survivor from Warsaw M 3.1 S37 C M S365 S Stockhausen, Karlheinz Gesang der Jünglinge M 1473 S86 E Stockhausen, Karlheinz Gruppen M 1000 K96 A M 1045 S86 G Stockhausen, Karlheinz Kontakte M 1473 S86 E M 1473 S86 K Stockhausen, Karlheinz Studie II M 1473 S86 E M 1473 S86 E38 S Stravinsky, Igor Symphonies of Wind Instr. M 3.1 S M957 S914 S Stravinsky, Igor Canticum Sacrum M 3.1 S912 C M 2020 S9 C Tudor, David Rainforest M 1473 O N/A Varèse, Edgard Déserts M 3.1 V29 N M 1045 V296 D Varèse, Edgard Poème électronique M 1473 O N/A Vivier, Claude Lonely Child M 3.1 V N/A Westerkamp, Hildegard Gently Penetrating M 1473 W47 I N/A Xenakis, Iannis Jalons M 3.1 X46 P M 982 X46 J Xenakis, Iannis Metastaseis B M 3.1 X46 S M 1045 X42 M Xenakis, Iannis Mycenae-Alpha M 1473 E CD N/A Xenakis, Iannis Nomos Alpha M 3.1 X46 A M 52 X46 N Xenakis, Iannis Persephassa M 3.1 X46 I M 685 X4 P Xenakis, Iannis Pithoprakta M 3.1 X46 S M 1045 X42 P folio Zorn, John Aporias M 1010 Z88 A N/A Zorn, John The Bribe M 1510 Z88 B N/A Reserve DVDs: Ashley, Robert Perfect Lives M A826 P Reserve Readings: Adlington, Robert. De Staat. Aldershot, Hants, England; Burlington, VT: Ashgate, c2004. ML 410 A6326 A Attali, Jacques. Noise, The Political Economy of Music. Minneapolis: University of Minnesota Press, ML 3795 A88 E Babbit, Milton. Who Cares if You Listen? High Fidelity, Feb Boulez, Pierre. Orientations/ collected writings by Pierre Boulez. London: Faber, 1986.

6 ML 60 B74 E Boulez, Pierre. Schönberg is Dead. Score 6, Cage, John. Silence: lectures and writings. Middletown: Wesleyan University Press, ML 60 C13 S Cope, David H. New Directions in Music,7 th edition. Prospect Heights, Ill.: Waveland Press, On order!! Cox, Christoph & Warner, Daniel, eds. Audio culture: readings in modern music. New York : Continuum, ML 197 A Dejans, Peter, ed. Order and Disorder: Music-Theoretical Strategies in 20 th Century Music: proceedings of the International Orpheus Academy for Music Theory Leuven: Leuven University Press, ML 197 I Feller, Ross. Resistant strains of postmodernism, the music of Helmut Lachenmann and Brian Ferneyhough. New York and London: Routledge, ML 3845 P Ferneyhough, Brian. Collected Writings. Amsterdam: Harwood Academic Publishers, ML 410 F47 F Fineberg, Joshua. Classical Music, Why Bother? New York: Rutledge, 2006 ML 3800 F Gann, Kyle. American Music in the Twentieth Century. New York: Schirmer Books, ML G Griffiths, Paul. Modern Music and After. Oxford: Oxford University Press, ML 197 G Hall, Patricia and Friedemann Sallis, eds. A Handbook to Twentieth-Century Musical Sketches. New York: Cambridge University Press, ML 93 H Heintze, James R. Perspectives on American Music since New York: Garland, ML P Lochhead, Judy and Joseph Auner. Postmodern music/postomodern thought. New York: Routledge, ML 3845 P Mahnkopf, Claus-Steffen, Cox, Frank, and Wolfram, Schurig. Polyphony & Complexity. Hofheim: Wolke, ML 446 P Miller, Simon. Visible deeds of music: art and music from Wagner to Cage. New Haven: Yale University Press, ML 3849 S Miranda, Eduardo R. Composing Music with Computers. Boston: Focal Press, MT 56 M Moisala, Pirkko, and Beverly Diamond, eds. Music and Gender. Urbana: University of Illinois Press, ML 82 M Morgan, Robert P. Anthology of Twentieth-Century Music. New York: Norton, MT 6.5 M Osmond-Smith, David. Playing on Words: a guide to Luciano Berio s Sinfonia. London: Royal Musical Association, ML 410 B498 O

7 Russolo, Luigi. The Art of Noises. New York: Pendragon Press, ML 197 R Salzman, Eric. Twentieth-century Music: an Introduction. Upper Saddle River, NJ: Prentice Hall, ML 197 S Schwartz, Elliott. Music Since 1945: Issues, Ideas, and Literature. New York: Schirmer Books, ML 197 S Smalley, Denis. Spectromorphology: Explaining Sound-shapes. Organised Sound 2:2, Taruskin, Richard. Oxford History of Western Music, Vol. 5. New York: Oxford University Press, ML 160 T v.5 Tenney, James. Meta+hodos : a phenomenology of 20th century musical materials and an approach to the study of form ; and Meta meta+hodos. Oakland, CA: Frog Peak Music, ML 3877 T Watkins, Glenn. Soundings: Music in the Twentieth Century. Belmont, California: Schirmer/Thomson, ML 197 W Westerkamp, Hildegard. Linking Soundscape Composition and Acoustic Ecology. Organised Sound 7:1, 2002.

8 Course Outline & Schedule (Subject to change!) Policy about course outlines can be found in Section 23.4(2) of the University Calendar Introduction: Technology, Improvisation, and Sound 9/3 *** Thurs 9/3: Listening Test #1 01: Modernism and Postwar Serialism 9/8, 9/10 R: Glen Watkins, Soundings, Chapters R: Pierre Boulez, Schönberg is Dead, Score #6, R: Milton Babbitt, Who Cares if You Listen?, High Fidelity, Feb L: Milton Babbitt: Three Compositions for Piano ( ) L: Pierre Boulez: Structures I (1952) L: Pierre Boulez: Le Marteau sans Maître ( ) L: Igor Stravinsky: Canticum Sacrum (1955) L: Karlheinz Stockhausen: Gruppen ( ) L: Milton Babbitt: Philomel (1964) 02: Beyond Pitch: New Sounds and Textures 9/15, 9/17 R: David Cope, New Directions in Music, Chapters 3, 4 R: Luigi Rusolo, The Art of Noises: Futurist Manifesto, Audio Culture, pp R: Edgard Varèse, The Liberation of Sound, Audio Culture, pp L: Edgard Varèse: Déserts ( ) L: Iannis Xenakis. Pithoprakta. ( ) L: György Ligeti: Atmosphères (1961) L: Krzysztof Penderecki: Threnody for the Victims of Hiroshima. (1960) L: Harrison Birtwistle: The Triumph of Time ( ) L: Harry Partch: Delusion of the Fury (1969) 03: Musique Concrète and Elektronische Musik 9/22, 9/24 *** Tues 9/22: Listening Test #2 R: Richard Taruskin, Oxford History of Western Music, Vol 5, Chapter 63 R: Pierre Schaeffer, Acousmatics in Audio Culture, pp 76-81

9 R: Karlheinz Stockhausen, Electronic and Instrumental Music, Audio Culture, pp L: Pierre Schaeffer: Etude aux Chemins de Fer (1948) L: Pierre Schaeffer/Pierre Henry: Symphonie pour un homme seul. (1955) L: Karlheinz Stockhausen: Studie II (1951) L: Karlheinz Stockhausen: Gesang der Jünglinge (1957-8) L: Edgar Varèse: Poème électronique (1958) L: Luciano Berio: Thema (Ommagio a Joyce) (1958) L: Iannis Xenakis: Mycenae-Alpha (1978) L: Paul Lansky: Idle Chatter (1985) 04: Indeterminism and Deep Listening 9/29, 10/01 R: John Cage: Silence, pp R: John Cage: Introduction to Themes and Variations, Audio Culture, pp R: Pauline Oliveros: Some Sound Observations, Software for People, pp L: John Cage: 4:33 (1952) L: John Cage: Imaginary Landscapes #4 (1952) L: Earle Browne: December 1952 (1952) L: Morton Feldman: Durations II (1960) L: Cornelius Cardew: Treatise ( ) L: Pauline Oliveros: Bye Bye Butterfly (1965) L: Pauline Oliveros: Sonic Meditations (1974) 05: Experimentalism and Sound Art 10/6, 10/8 R: Michael Nyman: Experimental Music, Chapters 3-6 R: John Cage: Silence, pp R: Morton Feldman: A Compositional Problem, Give My Regards to Eighth Street (pp ) R: Alan Licht, Sound Art (scan the book) L: Morton Feldman: Triadic Memories (1981) L: Gordon Mumma: Hornpipe (1967) L: Alvin Lucier: I Am Sitting in a Room (1969) L: David Tudor: Rainforest (1968/73) 06: Modern/Free Jazz and Improvisation 10/13, 10/15 *** Tues 10/13: Listening Test #3

10 R: Ornette Coleman, Change of the Century Audio Culture, pp R: Derek Bailey, Free Improvisation, Audio Culture, pp R: Frederic Rzewski, Little Bands: A Nihilist Theory of Improvisation, Audio Culture, pp R: George Lewis, Improvised Music After 1950: Afrological and Eurological Perspectives, Audio Culture, pp L: Ornette Coleman: Free Jazz (1960) L: Charles Mingus: Let My Children Hear Music (1971) L: Cecil Taylor: L: Anthony Braxton/George Lewis: L: Art Ensemble of Chicago: 07: Rock and Roll and the Recording Studio 10/20, 10/22 R: Richard Taruskin, Oxford History of Western Music, Vol 5, Chapter 66 L: Beatles, Lucy in the Sky with Diamonds, from Sgt. Pepper's Lonely Hearts Club Band (1967) L: Beach Boys, God Only Knows, from Pet Sounds (1967) L: Pink Floyd, Wish You Were Here from Wish You Were Here (1974) L: Björk, Vespertine (2001) L: OOIOO, Gold and Green (2000) 08: Minimalism and Post-Minimalism 10/27, 10/29 R: Kyle Gann, American Music in the 20 th Century, Chapter 8 R: Steve Reich, Music as a Gradual Process, Audio Culture, pp R: Wim Mertens. Basic Concepts of Minimal Music, Audio Culture, pp L: Phillip Glass: Music in Contrary Motion (1969) L: Steve Reich: Electric Counterpoint (1987) L: Terry Riley: In C (1964) L: Louis Andriessen: De Staat ( ) L: Meredith Monk: L: Michael Gordon; David Lang; Julia Wolfe: Bang On A Can : Lost Objects L: Brian Eno: Music for Airports (1978) 09: New Complexity & Spatial Texture 11/03, 11/05

11 *** Tues 10/27: Listening Test #4 R: Denis Smalley, Spectromorphology: Explaining Sound-shapes, Organised Sound 2: R: James Tenney, Meta+Hodos (scan book) L: Iannis Xenakis, Nomas Alpha (1966) L: Brian Ferneyhough, Unity Capsule ( ) L: Pierre Boulez, Répons ( ) L: Giacinto Scelsi: String Quartet #4 (1964) L: Giacinto Scelsi: Phfat (1974) 10: Spectralism 11/12 R: Joshua Fineberg, Classical Music, Why Bother? Chapter 8 R: Igor Toronyi-Lalic, Is Spectralism the Future of Classical Music? New York Times, Oct. 10, L: Gérard Grisey: Vortex Temporum (1995) L: Tristan Murail: Territoires de l oubli (1977) L: Tristan Murail: L esprit des dunes ( ) 11: Hip Hop/Electronica 11/17, 11/19 R: Ben Neill, Breakthrough Beats: Rhythm and the Aesthetics of Contemporary Electronic Music, Audio Culture R: Philip Sherburne, Digital Discipline: Minimalism in House and Techno, Audio Culture V: Doug Pray, Scratch L: Afrika Bambaataa: TBA L: Public Enemy: "Black Steel in the Hour of Chaos" L: The Roots: What they Do L: Kraftwerk: Computer World (1981) L: The Orb: Little Fluffy Clouds L: Thomas Brinkmann: Klick L: Autechre: TBA L: Vladislav Delay: Huone, from Multila (2001) 12: Phonography and Acoustic Ecology 11/24, 11/26

12 *** Tues 11/24: Listening Test #5 R: Francisco Lopez, Profound Listening and Environmental Sound Matter, Audio Culture R: R. Murray Schafer, The Music of the Environment, Audio Culture R: Hildegard Westerkamp, Linking Soundscape Composition and Acoustic Ecology, Organized Sound 7:1, L: Francisco Lopez: La Selva (1998) L: Hildegard Westerkamp: Gently Penetrating (1997) L: David Dunn: Angels and Insects (1992) L: Janet Cardiff: A Large Slow River (2001) 13: Sonic Improvisation and Noise 12/1, 12/3 R: TBA L: Deep Listening Band L: John Butcher L: Trockeneis L: Lou Reed: Metal Machine Music (1975) L: Merzbow: Animal Magnetism (2003) L: My Bloody Valentine: Loveless (1992) L: Mouthus

Compositional Practices Spring Term Robert Morris, Instructor. Class Times: Tues. Thur., 8:30 10:00 am

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