MUH 7938: Musicology Seminar Concepts and Problems in Twentieth-Century Music: Historical and Analytical Perspectives University of Florida, Spring 2015 Period: TBA, MUB 146 Dr. Silvio dos Santos Office: MUB 353 Office Hours: MW 10:40-11:30 am or by appointment Phone: (352) 273-3151 E-mail: sjdossantos@ufl.edu COURSE DESCRIPTION As an intermediary between the mind the world, concepts posit several epistemological problems, especially when considering the formation of the concepts in relation to the content they categorize. This problem is particularly acute in twentieth-century music, where concepts are often used as tools for value judgment of broad repertoires. In this light, this seminar will investigate the formation and possession of concepts related to twentieth-century music. We will begin with a case study examining Neoclassicism as a concept. This will serve as a model for other student-generated studies during this semester. The content of the course will be flexible, varying according to the individual interest of participating members. Students will nonetheless lead the seminar and share the product of their research, from the initial stages to the finished project. The goal is for each participant to write a substantial study dealing with one concept in relation to the musical content of a chosen topic. TEXTBOOK No textbook is required for this seminar. Books and articles used in the initial portion of the seminar are available in the Music Library, the various E-storages, or through interlibrary loan. REQUIREMENTS AND GRADING Attendance and participation in seminar discussion is expected. Seminar participants will lead discussion on assigned readings. As the semester progresses, student will share the processes and results of their research with the group. Case reports will consist of critical responses to articles or analytical problems presented in class. I will distribute handouts with detailed instructions as classes progress. Grades will be based on the following Class Participation 40% Final Paper and presentation 60% Grading scale A: 94-100 A-: 91-93 B+: 88-90 B: 84-87 B-: 81-83 C+: 78-80 C: 74-77 C-: 71-73 D+: 68-70 D: 64-67 D-: 61-63 E: 0-60 * Please keep in mind that C- is not a passing grade. Information on the conversion of grades to the University of Florida s grade point averages can be found at <http://www.isis.ufl.edu/minusgrades.html>.
dos Santos, MUH 7938 S15 p. 2 ACADEMIC HONESTY The theft of intellectual property is taken very seriously in this class. All student work must be original. Plagiarism or cheating will be dealt with according to the policies outlined in the university bulletin and student handbook (see www.dso.ufl.edu/judicial/procedures/studenthonorcode.php for more information). See the Chicago Manual of Style if you have any questions regarding proper citations in the humanities. All written work must be submitted to Turnitin through the E-Learning system to be graded. ADDITIONAL RESOURCES 1. If you have a documented disability and require accommodations to obtain equal access in this course, please contact me privately to discuss your specific needs. Please visit the Disability Resources Program office for more information. It is located at P202 Peabody Hall, E-mail accessuf@dso.ufl.edu; Phone 392-1261; TDD 392-3008. 2. Students are encouraged to use the Campus Writing Center for extra help with the writing assignments. Students who use the Writing Center must submit all drafts of the paper, including the suggestions and revisions from the center. If you are asked to use the writing center, you will be expected to do so and to submit all drafts of your paper. Information about the center is available at www.at.ufl.edu/r&w/. 3. Resources are available on campus for students having personal problems that affect academic performance or difficulty defining career and academic goals: University Counseling Center for personal and career counseling; 301 Peabody Hall, 392-1575. Student Mental Health for personal counseling; Student Mental Health Care Center, 392-1171. Center for Sexual Assault/Abuse Recovery Services, Student Health Care Center, 392-1161. Career Resource Center, career development assistance and counseling; Reitz Union, 392-1601. 4. Please do not hesitate to come by during office hours or contact me to schedule appointments. I am interested in your success and hope you will feel free to express any questions, ideas, or concerns you might have. Syllabus Given the nature of this seminar, the schedule of topics will be flexible to accommodate research interests of participants. We will explore topics and bibliographies in the initial weeks, then organize discussions and presentations for the semester: Unit I. On Concepts (3 weeks) Unit II. Neo-Classicism as a Concept (4 weeks) Unit III. Conceptualizing Minimalism and Post-Minimalism (4 weeks) Unit IV. Narrative Identity (4 weeks) My Case Study: Berg s Ideal Identities Other Possible Topics Include: New Music, New Objectivity, New Complexity, New Accessibility, Postmodernism, Multiculturalism
dos Santos, MUH 7938 S15 p. 3 I. Concepts Selected Bibliography (Students will expand this introductory bibliography in the course of the semester) Barrett, Cyril. "Concepts and Concept Formation." Proceedings of the Aristotelian Society 63 (1962-1963): 127-44. Bealer, George. "Concept Possession." Philosophical Issues 9 (1998): 331-38. Ezcurdia, Maite. "The Concept-Conception Distinction." Philosophical Issues 9 (1998):187-92. Fodor, Jerry. "What is Universally Quantified and Necessary and a Posteriori and It Flies South in the Winter?" Proceedings and Addresses of the American Philosophical Association 80, no. 2 (2006): 11-24. Frege, Gottlob, P. T. Geach, and Max Black. "On Concept and Object." Mind, New Series 60, no. 238 (1951) 168-80. Geach, Peter. "Class and Concept." The Philosophical Review 64, no. 4 (1955): 561-70. Horwich, Paul. "Concept Constitution." Philosophical Issues 9 (1998): 15-19. Margolis, Eric and Stephen Lawrence. Concepts and Cognitive Science. In Concepts. Edited by Eric Margolis and Stephen Lawrence. Cambridge: The MIT Press, 1999. Nersessian, Nancy. "Reasoning from Imagery and Analogy in Scientific Concept Formation." PSA: Proceedings of the Biennial Meeting of the Philosophy of Science Association Vol. 1 (1988): 41-47. Prinz, Jesse. "Concepts." Encyclopedia of Philosophy. Ed. Donald M. Borchert. 2nd ed. Vol. 2. Detroit: Macmillan Reference, 2006. 414-420. Gale Virtual Reference Library. Web. 6 Jan. 2013. Sosa, David. "Getting Clear on the Concept." Philosophical Issues 9 (1998): 317-22. Sutton, Jonathan. "Are Concepts Mental Representation or Abstracta?" Philosophical and Phenomenological Research 68, no. 1 (2004): 89-108. Wittgenstein, Ludwig. Philosophical Investigations, sections 65-78. In Concepts. Edited by Eric Margolis and Stephen Lawrence. Cambridge: The MIT Press, 1999. II. Neoclassicism Adorno, Theodor. The Philosophy of Modern Music (available in several editions) Carter, Chandler. The Rake s (and Stravinsky s) Progress. The American Journal of Semiotics 13, nos. 1-4 (1996 [1998]): 183-225.. Stravinsky s Special Sense : The Rhetorical use of Tonality in The Rake s Progress. Music Theory Spectrum 19, no. 1 (1997): 55-80.
dos Santos, MUH 7938 S15 p. 4 Chew, Geoffrey. Pastoral and Neoclassicism: A Reinterpretation of Auden s and Stravinsky s Rake s Progress. Cambridge Opera Journal 5, no. 3 (1993): 239-63. Graybill, Roger. Intervallic Transformation and Closure in the Music of Stravinsky. Theory and Practice 14/15 (1989/1990): 13-34. Hyde, Martha M. Stravinsky s Neo-classicism. In The Cambridge Companion to Stravinsky, 98-136. Paddison, Max. Stravinsky as Devil: Adorno s Three Critiques. In The Cambridge Companion to Stravinsky, 192-202. Edited by Jonathan Cross. Cambridge: Cambridge University Press, 2003. Straus, Joseph. The Progress of a Motive in Stravinsky s The Rake s Progress. The Journal of Musicology 9, no. 2 (1991): 165-85. Taruskin, Richard. Review: Back to Whom? Neoclassicism as Ideology. 19th-Century Music 16, no. 3 (1993): 286-302. III. Minimalism Bernard, Jonathan. Minimalism, Postminimalism, and the Resurgence of Tonality in Recent American Music. American Music 21, no. 1 (2003): 112-33.. The Minimalist Aesthetic in the Plastic Arts and in Music. Perspectives of New Music 31, no. 1 (1993): 86-132. Boretz, Benjamin. On Thinking about Various Issues. Perspectives of New Music 27, no. 2 (1989): 38-42. Bowie, Andrew. Philosophy of Music, III, 8: Aesthetics, 1750-2000: The Rise of aesthetics, Grove Music Online (Accessed 26 October 2006). Carl, Robert. The Politics of Definition in New Music. College Music Symposium, vol. 29 (1989): 101-14. Goehr, Lydia. Philosophy of Music, III, 1: Aesthetics, 1750-2000: The Rise of aesthetics, Grove Music Online (Accessed 26 October 2006). Johnson, Tim. Minimalism: Aesthetic, Style, or Technique? The Musical Quarterly 78, no. 4 (1994): 742-73. Leydon, Rebecca. Towards a Typology of Minimalist Tropes. Music Theory Online 8, no. 4 (2002): n.p. Quinn, Ian. Minimal Challenges: Process Music and the Uses of Formalist Analysis. Contemporary Music Review 25, No. 3 (2006): 283-294.
dos Santos, MUH 7938 S15 p. 5 IV. Narrative Identity (Berg) Adorno, Theodor. Sound Figures. Translated by Rodney Livingstone. Stanford: Stanford University Press, 1999. Bekker, Paul. Impotenz Oder Potenz?: Eine Antwort an Herrn Professor Dr. Hans Pfitzner. Musikblätter des Anbruch 2, No.4 (February 1920): 133-41. dos Santos, Silvio. Narratives of Identity in Alban Berg s Lulu. University of Rochester Press, 2014.. Ascription of Identity: The Bild Motif and the Character of Lulu. Journal of Musicology 21, no. 2 (2004): 267-308. Flanagan, Owen J. and Amélie Oksenberg Rorty, eds. Identity, Character, and Morality: Essays in Moral Psychology. Cambridge: MIT Press, 1993. Floros, Constantin. Alban Berg: Musik als Autobiographie. Wiesbaden: Breitkopf & Härtel, 1992. Haney, Joel. Slaying the Wagnerian Monster: Hindemith, Das Nusch-Nuschi, and Musical Germanness after the Great War. Journal of Musicology 25, No. 4 (2008): 339 393. Karnes, Kevin. Wagner, Klimt, and the Metaphysics of Creativity in fin-de-siècle Vienna. Journal of the American Musicological Society 62, no. 3 (Fall 2009): 647-97. Knaus, Herwig and Wilhelm Sinkovicz. Alban Berg: Zeitumstände Lebenslinien. St. Pölten and Salzburg: Residenz Verlag, 2008. Le Rider, Jacques. Modernity and Crises of Identity: Culture and Society in Fin-de Siècle Vienna. Translated by Rosemary Morris. New York: Continuum, 1993. Morgenstern, Soma. Alban Berg und seine Idole: Erinnerungen und Briefe. Edited by Ingolf Schulte. Lüneburg: zu Klampen, 1995. Nattiez, Jean Jacques. Wagner Androgyne: A Study in Interpretation. Translated by Stewart Spencer. Princeton: Princeton University Press, 1993. Parfit, Derek. Personal Identity. The Philosophical Review 80, No. 1 (Jan. 1971): 3-27. Ricoeur, Paul. Oneself as Another. Translated by Kathleen Blamey. Chicago: The University of Chicago Press, 1992.. Time and Narrative, 3 vols. Translated by Kathleen Blamey and David Pallauer. Chicago: The University of Chicago Press, 1984-88.. Narrative Time, Critical Inquiry 7, no. 1 (1980): 169-90. Somers, Margaret R. The Narrative Constitution of Identity: A Relational and Network Approach. Theory and Society 23, no. 5 (1994): 605-649.