ARH 366P (20280)/MUS 376G (21795) Spring 2016 Modernism in Art and Music Drs. Linda Henderson and Elliott Antokoletz GUIDE TO PRACTICAL ISSUES COURSE OBJECTIVE: To acquaint students with a selection of key styles and movements in art and in music that are considered modern. By looking across the two disciplines, the course seeks to illuminate more fully key characteristics of the period we know as modernism. OFFICE HOURS: Dr. Antokoletz: Music Recital Hall (MRH), Rm. 3.714, MWF 10:15-10:45 A.M. Dr. Henderson: Fine Arts Building (DFA), Rm. 2.122, W 1:00-3:00 P.M. DAILY ASSIGNMENTS: 1) Reading assignments are in the two packets (No. 1 Art, No. 2 Music) available from Canopy Course Notes (to be delivered to class; phone 512-497-6662). These readings should be done before class the day they are listed on the Syllabus. For students in need of a more basic background in the history of 20th-century music, read the corresponding chapters in Elliott Antokoletz, Twentieth-Century Music (on Reserve at the Fine Arts Library listed under Antokoletz, MUS 376G) and Joseph Machlis, Introduction to Contemporary Music (listed under MUS 376G). A few additional sources in Art History (with images) are available on Reserve for Henderson ARH 366P, including a copy of the Hamilton textbook from which basic readings are drawn. 2) Listening assignments from the list on Canvas (and handed out in class). CDs are at the Fine Arts Library (on reserve under Antokoletz: MUS 380); works are also available through the library s Music Online streaming service and You Tube. This listening is best done after the lecture on the musical composition in question. Music scores are also on Reserve (under Antokoletz: MUS 380) for those who want to use them to accompany the listening. 3) For each exam there will be a Slide List of the selected works for which students are responsible. These images will be available online through DASE, the University s digital image service. Go to https://dase.laits.utexas.edu and choose Public/Shared Sets. Search Henderson 366P and the three sets for the class will come up. CANVAS PAGE FOR COURSE: All handouts for the class will also be posted on Canvas; we are not using the Canvas gradebook function. DISCUSSION SESSIONS: One group of students (Groups A, B, C 1/3 of the class) will serve as discussion leaders for each of the three Discussion sessions (Feb. 18, Mar. 31, May 3). Specific readings will be the focus of these discussion/review sessions, as arranged in advance. Evaluative Summary Sheets (1+ page of notes) will be the tools to facilitate discussion preparation, including for the full class on Feb. 4 (Aurier text). GRADING: 90% 3 exams (30% each) 10% class participation, including contributions on Discussion session days and completion of Evaluative Summary Sheets (graded Check/Check Plus). There is no final exam in the exam period; the third test consists of two parts (an in-class segment given on the last day of class, May 5) and a take-home essay portion due Monday, May 9, at 12:00 noon. The third test s essay will include a retrospective look back over the course. Each exam will include listening and slide identification, some short answer, and discussion questions (more information forthcoming). Any exam missed without prior notice in writing of a valid excuse or without a doctor s note as soon as possible afterwards cannot be made up and will receive a 0 as the grade. The following are the numerical and letter grade equivalents: A=92; A-=90; B+=87; B=83; B-=80; C+= 77; C=73; C-=70; D+=67; D=63; D-=60; F=59.
ATTENDANCE: Although we will not be taking attendance at class sessions, we do ask that students choose a regular seat at the beginning of the term and record this on a seating chart. This chart functions mainly to help us get to know who you are. Four or more unexcused absences can result in lowering of the final grade by up to a full letter grade. If spot checks of attendance reveal that a student is not coming to class, this policy may be invoked. ADDITIONAL UNIVERSITY POLICY NOTES: Religious holidays: Students who must miss a class with an exam or Discussion group reports for the observance of a religious holiday should inform us well in advance of the absence, so that alternative arrangements can be made. STUDENTS WITH DISABILITIES: The University of Texas provides upon request appropriate academic accommodations for qualified students with disabilities. For more information, contact the Office of the Dean of Students at 471-6259, 471-4641 TTY. SCHOLASTIC DISHONESTY: You define who you are by your integrity and that cultivation of intergrity as an adult begins with your activity as a college student. Scholastic dishonesty is a serious violation of university policy, and it is harmful to both you and the University. Thus, students who violate University rules on scholastic dishonesty are subject to disciplinary penalties, including the possibility of failure in the course and/or dismissal from the University. The web page of the Dean of Students office has an excellent discussion of what constitutes scholastic dishonesty and how to avoid it: http://deanofstudents.utexas.edu/sjs/acadint_plagiarism.php IMPORTANT NOTE ON COPYRIGHT AND COURSE MATERIALS The materials used in this class, including, but not limited to, exams, quizzes, and homework assignments are copyright protected works. Any unauthorized copying of the class materials is a violation of federal law and may result in disciplinary actions being taken against the student. Additionally, the sharing of class materials without the specific, express approval of the instructor may be a violation of the University's Student Honor Code and an act of academic dishonesty, which could result in further disciplinary action. This includes, among other things, uploading class materials to websites for the purpose of sharing those materials with other current or future students. *********************************************************************************** SCHEDULE OF LECTURES AND READINGS Section I: Impressionism Through Neo-Nationalism and Primitivism 1) January 19: General Introduction: 1) Practical Course Issues; 2) Preliminary Discussion of Late-Nineteenth-Century Political and Cultural Conditions and the Rise of Nationalism; 3) Issues in Modern Painting. Tim Armstrong, Modernism: A Cultural History, pp. 115-22. 2) January 21: Nineteenth-Century Background in Music: Romanticism and Wagner's Tristan und Isolde (E.A.) Richard Wagner, "From Das Kunstwerk der Zukunft," in Source Readings in Music History: The Romantic Era, selected and annotated by Oliver Strunk, pp. 134-140; pp. 152-153. Carl Dahlhaus, Between Romanticism and Modernism, pp. 14-18 (from the Chapter, Neo-romanticism ); pp. 32-39 (from the Chapter, "The Twofold Truth in Wagner's Aesthetics: Nietzsche's Fragment On Music and Words ). 3) January 26: French Impressionism and Post-Impressionism (L.D.H.) Paul Smith, Impressionism: Beneath the Surface (1995), 3-page segment Jules Laforgue, Impressionism (ca. 1883), in Impressionism and Post-Impressionism 1874-1904: Sources and Documents (1966), pp. 14-20. George Hamilton, Painting and Sculpture in Europe 1880-1940 (1966), pp. 35-41 (Monet), 49-55 (Seurat). Richard Thomson, Seurat (1985), pp. 148-53.
4 and 5) January 28 and February 2: Sources of Debussy's Modernism: Impressionism, Symbolism, and his opera Pelléas et Mélisande (E.A.) Edward Lockspeiser, Debussy, pp. 209-228 (from Chap. XVI, "The Choral and Dramatic Works). Jann Pasler, Pelléas and Power: Forces Behind the Reception of Debussy's Opera, 19th Century Music X/3 (Spring 1987): 243-244; 252-264. Elliott Antokoletz, Musical Symbolism in the Operas of Debussy and Bartók: Trauma, Gender, and the Unfolding of the Unconscious, pp, 3-13. Roy Howat, Debussy in Proportion, pp. 1-11 ( Proportional Structure and the Golden Section ). 6) February 4: Symbolism and Gauguin/Munch; Brief comments on Fauvism Hamilton, Painting and Sculpture 1880-1940, pp. 75-77 (general), 83-94 (Gauguin). Theories of Modern Art, ed. Herschel Chipp (1968), pp. 58-65 (selection of Gauguin s writings), 89-93 (Albert Aurier, Symbolism in Painting: Paul Gauguin ). ***Everyone should prepare an Evaluative Summary Sheet of notes on the Aurier text for class discussion this day. 7) February 9: Neonationalism: Primitivism and Stravinsky's The Rite of Spring (E.A.) Igor Stravinsky, Poetics of Music, pp. 8-13 (Personal perspective on his position as a revolutionary ) Pasler, Jann. Music and Spectacle in Petrushka and The Rite of Spring, in Confronting Stravinsky, Man, Modernist, and Musician, ed. Jann Pasler, pp. 53-81 (Toward The Rite and Abstraction) Taruskin, Richard. From Subject to Style: Stravinsky and the Painters, in Confronting Stravinsky, Man, Modernist, and Musician, ed. Jann Pasler, pp.16-38 (On the emergence of Stravinsky's modernism in the Russian ballets) 8) February 11: French Artists Discover African Art Neonationalism and Primitivism in Russia: Russian Neo-Primitivism (Larionov, Goncharova, Malevich) (L.H.) Patricia Leighten and Mark Antliff, Primitivism, in Critical Terms for Art History (2003), pp. 170-73; 180-83 (entire essay on Canvas under Section I not in packet). John Bowlt, Neo-Primitivism and Russian Painting, Burlington Magazine, 116 (March 1974), 133-140. 9) February 16: Neonationalism: Folklore and Impressionism/Symbolism to Modernist Abstraction (Bartók's Eight Hungarian Folksongs, opera Bluebeard's Castle, Fourth String Quartet (E.A.) Béla Bartók Essays, ed Benjamin Suchoff, pp. 340-344 ( The Influence of Peasant Music on Modern Music ); p. 518 ( The Influence of Debussy and Ravel in Hungary ) Antokoletz, The Music of Béla Bartók, pp. 1-4; 26-28; optional 32-36 (Bartók's search for a new musical language in Eastern-European folk music) Antokoletz and Perle, Bluebeard and Erwartung, Program Note in Stagebill, for the performance by the New York Metropolitan Opera (1989). OPTIONAL ADDITIONAL READING on Canvas: Antokoletz, Béla Bartók: A Guide to Research (2 nd ed, 1997), pp. xxiii-xxxvii (Backgrounds). Antokoletz, Middle-Period String Quartets, in The Bartók Companion, pp. 257-259 (optional to 277).
10) February 18: Discussion of Selected Readings (GROUP A) and Review 11) February 23: One-Hour Exam Section II: Expressionism Through Futurism 12 and 13) February 25 and March 1: Expressionism in Music: Strauss's opera Elektra and Schoenberg's early atonal pieces including the monodrama Erwartung (E.A.) Strauss-Hofmannsthal Correspondences, pp. 2-29 passim (letters from 1906 to 1909, dealing with Elektra). Norman Del Mar, Richard Strauss, pp. 293-296; 331-333. Arnold Schoenberg, Style and Idea, pp. 113-124. Arnold Schoenberg-Wassily Kandinsky: Letters, Pictures and Documents, ed. Jelena Hahl-Koch, trans. John C. Crawford, pp. 21-28 ( Schoenberg-Kandinsky Correspondences ); pp. 140-147 ( Parallels in Their Artistic Development ); pp. 152-164 ( The Stage Works ). 14) March 3: Expressionism in Painting and the Goal of Direct Psychological Expression Germany and Austria: Kirchner (Die Brücke, Dresden and Berlin) and Kokoschka (Vienna) (L.D.H.) Hamilton, Painting and Sculpture, pp. 197-201 (Kirchner); 490-494 (Kokoschka) Kokoschka, On the Nature of Visions, in Theories of Modern Art, ed. Chipp, pp. 170-174. Carl Schorske, Fin-de-Siècle Vienna: Politics and Culture (1981), pp. 335-45 15) March 8: Expressionism and the Rise of Abstraction: Kandinsky and Der Blaue Reiter (Munich) (L.D.H.) R.C. Washton-Long, Kandinsky and Abstraction: The Role of the Hidden Image, in Major European Art Movements 1900-1945, ed. Kaplan and Manso, pp. 275-298. Kandinsky-Schoenberg correspondence, 1911, in Arnold Schoenberg-Wassily Kandinsky:Letters, Pictures, Documents, ed. Jelena Hahl-Koch (1980), pp. 21-27. Peter Vergo, Music and Abstract Painting: Kandinsky, Goethe, Schoenberg, in Towards a New Art (Tate Gallery, 1980), pp. 41-63. 16) March 10: Picasso and Cubism (L.D.H.) Hamilton, Painting and Sculpture in Europe, pp. 235-50. L. D. Henderson, Editor s Introduction, II: Cubism, Futurism, and Ether Physics in the Early Twentieth Century, Science in Context, 17 (Winter 2004), pp. 448-58. Lewis Katchur, Picasso, Popular Music, and Collage Cubism (1911-12), The Burlington Magazine, 135 (April 1993), pp. 252-60. SPRING BREAK 17) March 22: Satie and Parade (E.A.)
Roger Shattuck, The Banquet Years, pp. 3-7 ( The Good Old Days ); pp. 145-155 ( Scandal, Boredom, and Closet Music ). Rollo H. Myers, Erik Satie, pp. 60-66 ( Musique d'ameublement ); pp. 102-105 ( Parade ). Kenneth Silver, excerpt on Parade from Esprit de Corps, pp. 108-127. [in Packet #1] Antokoletz, Twentieth-Century Music, pp. 242-47 (on The Cocteau-Satie Era and Les Six ) 18) March 24: Italian Futurism, Occultism, and the Machine (L.D.H.) "Introduction to Futurism and Manifestos," in Theories of Modern Art, p. 281-289; 294-298. Luciano Chessa, Painting the Invisible: Boccioni s Sixth Sense, in Luigi Russolo, Futurist: Noise, Visual Arts, and the Occult, pp. 24-33. K.G.P. Hulten, "Introduction" to The Machine as Seen at the End of the Mechanical Age (Museum of Modern Art, 1968), pp. 11-13. 19) March 29: Italian Futurists (Russolo, Pratella), Varèse (percussion work Ionization), Honegger (Pacific 231), Prokofiev (ballet The Steel Step) (E.A.) Apollonio, ed., Futurist Manifestos, pp. 31-38 ( Pratella's Manifesto of Futurist Musicians, 1910 ); pp. 74-88, passim ( Art of Noises ). Chou Wen-chung, Ionization: The Function of Timbre in Its Formal and Temporal Organization, in The New Worlds of Edgard Varèse, A Symposium, pp. 27-34. Malcolm H. Brown, Stravinsky and Prokofiev: Sizing Up the Competition, in Confronting Stravinsky, Man, Modernist, and Musician, ed. Jann Pasler, pp. 39-50 (Prokofiev viewed as modernist by his contemporary critics) 20) March 31: Discussion of Readings (GROUP B) and Review 21) April 5: One-Hour Exam Section III: Duchamp/Dada Through Mid-Century Music and Art 22) April 7: Dada, Duchamp, Chance, and the Fourth Dimension (L.D.H.) Hamilton, Painting and Sculpture in Europe, pp. 365-69 (Dada), 372-77 (Duchamp). Gavin Bryars, Notes on Marcel Duchamp s Music, Studio International, 192 (Nov. 1976); reprinted in Anthony Hill, Marcel Duchamp: Passim (1994), pp. 145-51. L. D. Henderson, The Image and Imagination of the Fourth Dimension in Twentieth-Century Art and Culture, Configurations, 17 (Winter 2009), pp. 131-36, 151-56 (selected pages from pp.131-60). OPTIONAL: Excerpt on Varèse from L. D. Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art (1983 ed., pp. 223-37; 2013 ed., pp. 353-57. 23) April 12: Paris in the 1920s: Neoclassicism (Picasso, Purism, Léger), and Surrealism; The New World of Relativity Theory and Space-Time (L.D.H.) C. Green, Léger and Purist Paris (Tate Gallery, 1970-1971), pp. 48-51; 64-67. Hamilton, Painting and Sculpture in Europe, pp. 388-91 (Surrealism).
24) April 14: Stravinsky and Neoclassicism: Histoire du Soldat, Symphony of Psalms (E.A.) Pieter C. van den Toorn, The Music of Igor Stravinsky, pp. 252-261 ( The Neoclassical Initiative ). Theodor W. Adorno, Philosophy of Modern Music, pp. 171-192 (Objectivity, depersonalization, simplification, dissociation, etc., with a focus on Histoire du Soldat) 25) April 19: Les Six: Milhaud (jazz and popular elements in the ballet La création du monde and Le Boeuf sur le Toit) (E.A.) Milhaud, Notes Without Music, pp. 94-104 ("Paris"); pp. 116-121 ( My First Encounter With Jazz ). L. Rosenstock, Léger: The Creation of the World, Primitivism in 20th-Century Art (Museum of Modern Art, 1984), pp. 475-484. [in Packet #1] 26) April 21: Jazz and Modern Art: Mondrian, Stuart Davis, and Jackson Pollock Readings to be posted on Canvas. 27) April 26: The New York School: John Cage, Concert for Piano and Orchestra, Earle Brown, December 1952, Morton Feldman, Intersection I for Orchestra; musical notations from Pollock, Mondrian, and other artists Ernst Krenek, Fibonacci Mobile Darmstadt: Pierre Boulez, Structure IA based on a Klee painting Antokoletz, Twentieth-Century Music, pp, 474-501 (on Chance, Improvisation, Open Form, and Minimalism ); pp. 369-379 (on Total Serialization in Europe ) 28) April 28: Artists Respond to Mid-Century Music Readings to be posted on Canvas 29) May 3: Discussion of Readings (GROUP C) and Review 30) May 5: In-Class Portion of Last Exam (Take-Home Section of Exam Due Monday, May 9, 12:00)