ROSE BRUFORD COLLEGE OF THEATRE & … · -develop your understanding of musical notation and enable you to read and follow musical scores -develop your understanding of basic concepts

ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification

* ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT.

** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

1. GENERAL INFORMATION

Title Mastering the Basics of Music

Module code MS402

Credit rating 20

Level 4

Indicative Contact hours n/a

Pre-requisite modules none

Co-requisite modules none

School responsible School of Performance

Member of staff responsible Dr F Jane Schopf

ECT* 10

Notional hours of Learning** 200

2. AIMS

The module aims to: -develop your understanding of musical notation and enable you to read and follow musical scores -develop your understanding of basic concepts such as keys, tonality, tonic and dominant function and to apply them in the study of music scores -acquaint you with the rationale behind traditional western harmonic thought -enable you to distinguish between major and minor modes

3. BRIEF DESCRIPTION OF THE MODULE

The module explores the “nuts and bolts” of musical notation, developing both aural and visual skills. Note names, clefs, scales, keys, rhythm, time signatures, tonic-dominant relationship, chords, cadences, modulations, layout are all discussed and explored in relation to chamber, orchestral, instrumental music and opera.

4. INTENDED LEARNING OUTCOMES

Category of outcome You will be able to:

Knowledge and understanding

-explain basic musical concepts such as keys and tonality -apply such concepts in the study of vocal, piano and orchestral scores -read simple lines of musical text


2

Intellectual skills -identify and practise primary study skills and scholarly research methods -identify specific models of theory and analysis appropriate for the study of music, and begin to apply these in critical assessments

Practical skills -utilise specialist skills in music analysis -utilise specialist skills in score reading

Transferable skills and personal qualities

-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -undertake a range of formal assessments to a range of specified briefings (assignments) -engage in critical self-assessment -read and follow musical notation -respond to the precise terms of a designated assignment -develop and apply skills of analysis in research, critical writing performance and music

5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)

You will receive the written module material via our E-learning platform. The material has staged exercises and tasks throughout, most being interactive. All exercises have full explanatory responses. There are listening files within the material to aid understanding.

6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)

Assessment task Length Weighting within module (if relevant)

A multiple choice question A series of short answers

2000 words equivalent 3000 words +/- 10%

40% 60%

7. FURTHER INFORMATION

Semester 1 or 2

Available on which programme(s)?

Music Studies

Available as Free Choice (UG) or to other programmes (PG)?

No


3

Content Weeks 1 and 2 Melody Staves, clefs, note names, tones and semitones, C major & A natural minor scales, intervals. Pitch. Weeks 3 and 4 Scales and Keys Scales based on different notes (G, F, E, D), sharps, flats and naturals, key signatures. Weeks 5 and 6 Rhythm Note heads and durations, bar lines and simple time signatures, strong and weak beats. Compound time signatures and anacruses. Weeks 7 and 8 Triads Triads, arpeggios. Weeks 9 and 10 Cadences The importance of the dominant- tonic relationship, cadences. Weeks 11 and 12 Chords Chords and their layout, sevenths Weeks 13 and 14 Modulation Modulation to near and related keys. Weeks 15 and 16 Chromatic notes

Further wider modulations and chromatic colouring.

Teaching Method You will receive distributed written material via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses. You will also receive written Tutor feedback on submitted work and during online tutorials and online support.

VLE Wide use of online resources, interactive exercises with responses

Chat rooms and online tutorials

Feedback

Given with the interactive exercises; via chat rooms and emails and fully annotated written comments on submitted work.


4

Indicative Reading Andreas, Eric. How to Read Music: Beginner Fundamentals of

Music and How to Read Musical Notation CreateSpace Independent

Publishing Platform, 2015

Boosey & Hawkes Read Music From Scratch (A complete guide to

reading music for beginners with CD) London, nd.

Franceschina, John. Music Theory Through Musical Theatre:

Putting it Together OUP, 2015

Jones, G. T. Music Theory London: Harper Collins, 1974

Kardontchik, Jaime. Modulation in Classical Music for Young

Musicians Create Space, 2017 [Don’t be put off by the title – this

book explains chords and modulations with examples from keyboard

music, you can test yourself using the examples].

Nickol, Peter. Learning to Read Music Oxford: How to Books, 2008

Richer, Margaret. Understanding Music Theory Oxford: Hodder

Education, 2010

Shanet, Howard. Lean to Read Music Prentice Hall, 1971

Small, Christopher. “The Perfect Cadence and the Concert Hall”,

Chapter 1 of Music - Society - Education. John Calder, London,

1980

Schmeling, Paul. Berklee Music Theory Book 1 Boston: Berklee

Press, 2005

Straus, Joseph N. Elements of Music, 2nd ed. Upper Saddle River,

NJ: Prentice Hall, 2008

Taylor, Eric. The AB Guide to Music Theory London: Associated

Board, 1989

Zeitlin, Poldi. Understanding Music Theory London: Omnibus

Press, 2001

Proposed start date September 2018

Information updated on 8.2.18

Date of current version (for RBC use)

26.4.18


5


Title Mastering the Basics of Analysis Part 1

Module code MS403

Credit rating 10

Level 4


Pre-requisite modules MS402




ECT* 5


9. AIMS

The module aims to: -enable you to analyse various structural forms and genres in terms of their musical features -enable you to relate the musical score to the dramatic moment -enhance your understanding of the structures and compositional tools composers use -develop your analytical skills with regard to basic musical structures


The module will focus on structures such as binary and ternary form, recitative, da capo aria, ritornello and explore their structures and functions. The question of musical unity within a work will be discussed. Orchestral score layout will be studied together with the families of instruments.




-explain basic musical concepts such as keys and tonality and apply them in the study of vocal and orchestral scores -analyse forms in terms of their dramatic features relate specific musical sections to the dramatic moment


Practical skills -utilise specialist skills in music analysis


6

-utilise specialist skills in score reading


-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -formulate a comprehensive response to a designated assignment


You will receive the written module material via our E-learning platform. The material has staged exercises and tasks throughout, most being interactive. All exercises have full explanatory responses. You have access to the Naxos Music and Film libraries, JSTOR and IMSLP through the College.



Analysis of a short aria and recitative or instrumental form (Formative assessment will be given on a draft submission)

Equivalent to 2500 words +/- 10%

100%


Semester 1 or 2


Music Studies


No


7

Content Weeks 1 and 2 Forms - I Exploration of structures such as binary and ternary form, recitative, arioso, aria shapes, ensembles, ground basses, overture/prelude relating musical shapes and features to dramatic intentions. Weeks 3 and 4 Forms - 2 Musical unity and ways to achieve it; e.g., long term tonal planning, reminiscence motifs, leitmotives. Weeks 5 and 6 The Orchestra The orchestra. Score layouts, what to look for and where to look in an orchestral score. Transposing instruments. The function of the orchestra in opera. The orchestra as protagonist or as commentary. Weeks 7 and 8 Analysis

Analytical techniques such as harmonic analysis will be discussed and examples of how to integrate this within a written response will be given.

Teaching Method You will receive distributed written material via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses. You will also receive written Tutor feedback on submitted work, online tutorials and support.



Feedback


Indicative Reading Abbate, Carolyn and Parker, Roger (eds.). “Introduction: On Analyzing Opera” in Analyzing Opera, Verdi and Wagner. Berkeley: University of California Press, 1989 Benjamin, Thomas E. Music for Analysis OUP, 2002 Berry, Wallace. Structural Functions in Music Dover, 1987 Cutter, B. Harmonic Analysis Cornell University, 2014 Harper-Scott, J. P. An Introduction to Music Studies CUP, 2009 Harrison, Daniel. Pieces of Tradition: the Analysis of Contemporary Tonal Music OUP, 2016 Lehmann, Friedrich Harmonic Analysis (reprint) Forgotten Books, 2012 Morris, C. Reading Opera between the lines Cambridge: CUP, 2002 Noske, Frits. The Signifier and the Signified. Oxford, Clarendon Press, 1990 Piston, Walter Principles of Harmonic Analysis New York: Schirmer, 1983 Scher, S. P. Music and Text: critical enquiries Cambridge: CUP, 1992

Stein, Leo. Structure & Style: The Study and Analysis of Musical Forms, Suzuki, 1979

Swain, J. P. Harmonic Rhythm Oxford: OUP, 2002


Information updated on February 8, 2018


26.4.18


8


Title Mastering the Basics of Analysis Part 2

Module code MS404

Credit rating 10

Level 4


Pre-requisite modules MS402, MS403




ECT* 5


16. AIMS

The module aims to: -further your ability to analyse forms and structures, -expand your vocabulary of analytical methods, -give you tools to use these methods and techniques in your writing


This module builds on MS403 by looking at sonata principle and its use, including within opera. It also offers a basic introduction to voice leading. The breakdown of tonality as seen in Wagner’s Tristan und Isolde and its meaning for western music will be discussed.




-explain basic musical concepts such as keys and tonality and apply them in the study of vocal and orchestral scores -relate musical structures to the dramatic text




-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -read and follow musical notation -respond to the precise terms of a designated assignment


9

-develop and apply skills of analysis in research, critical writing performance and music -formulate a comprehensive response to a designated assignment


You will receive the written module material via our E-learning platform. The material has staged exercises and tasks throughout, most being interactive. All exercises have full explanatory responses. You have access to the Naxos Music and Film libraries, JSTOR and IMSLP through the College.



Assignment 1: Formative Assessment 2: Summative

1000 words 1500

40% 60%


Semester 1 or 2


Music Studies


No

Content Weeks 1 and 2

Sonata principal - its features and tonal structure.

Weeks 3 and 4

Sonata principle in Mozart’s operas

Weeks 5 and 6

A basic introduction to Schenkerian analysis

Weeks 7 and 8

The innovation of Tristan and its meaning for Western music


10

Teaching Method You will receive distributed written material via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses. You will also receive written Tutor feedback on submitted work, online tutorials and support.


Chat rooms and online tutorials.

You have access to the Naxos Music and Film libraries, JSTOR and IMSLP through the College.

Feedback


Indicative Reading

Aldwell, E. and Schater, C. Harmony and Voice Leading New York: Schirmer, 2011 Benjamin, T. E., Michael E. Horvit, M. E. and Robert Nelson, R. Music for Analysis: Examples from the Common Practice Period and the Twentieth Century Oxford: OUP, 2001 Cadwallader, A. Gagné, D. Analysis of tonal music: a Schenkerian approach Oxford: OUP, 1998 Cook, Nicholas. A Guide to Music Analysis OUP, 1992(Especially the Introduction and Chapter Two.) Forte, A. and Gilbert, S. Introduction to Schenkerian Analysis. New York: W. W. Norton, 1982 Pankhurst, Tom. Schenker Guide: A brief handbook and website for Schenkerian analysis London: Routledge, 2008 Schenker, H. Five Graphic Music Analyses Dover, 1970 Schnarrenberg , Robert. Schenker’s Interpretive Practice CUP, 2005 Stein, Leo. Structure & Style: The Study and Analysis of Musical Forms Suzuki, 1979 Tobin, J. R. Mozart and the Sonata Form London: Da Capo Press, 1978




26.4.18

http://www.amazon.com/Music-Analysis-Examples-Practice-Twentieth/dp/0195155130/ref=sr_1_10?s=books&ie=UTF8&qid=1325765029&sr=1-10

http://www.amazon.com/Music-Analysis-Examples-Practice-Twentieth/dp/0195155130/ref=sr_1_10?s=books&ie=UTF8&qid=1325765029&sr=1-10


11


Title Historical Context

Module code MS405

Credit rating 20

Level 4






ECT* 10


23. AIMS

The module aims to: -enable you to identify the relationships between music, drama, staging and theatre space, social structure and cultural context. -enable you to engage with some of the basic aims, accomplishments and problems of abstract music and opera -develop your abilities to situate and analyse music in historical and cultural contexts -develop your abilities to analyse musical form


The module seeks to place the study of music in historical and cultural contexts. The historical scope of the module is from late renaissance to the present day, including crucial innovators such as Monteverdi, Gluck, Beethoven, Wagner, Schoenberg and the Post Moderns.




-begin to situate musical genres within their historical, social and political contexts -place composers, librettists and practitioners in historical and relative contexts -evaluate judgements of taste and value in a range of critical domains -evaluate and discuss significant developments in music -acquire an informed awareness of the working contexts and organisation of historical and contemporary opera production

Intellectual skills -identify and practise primary study skills and scholarly research


12

methods -identify and apply analytical approaches appropriate for systematic historical and contextual inquiry

Practical skills -undertake detailed comparative analyses -utilise specialist skills in music analysis -utilise specialist skills in score reading -recognise various musical genres


-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -respond to the precise terms of a designated assignment -locate and discuss primary material within historical and theoretical frameworks -formulate a comprehensive response to a designated assignment


You will receive the written module material via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses. You have access to the Naxos Music and Film libraries, JSTOR and IMSLP through the College.



Formative, multi-part Summative (essay based)

2000 (+/- 10%) 3000 (+/- 10%)

40% 60%


Semester 1 or 2


Music Studies


No


13


Towards a definition of opera. Librettist-composer collaboration (including Gilbert - Sullivan, Brecht – Weill). The role of the singer and the setting of the melodic line.

Weeks 3 and 4

Greek plays, mystery plays, madrigals, intermedi; the Florentine camerata; La nuove musiche.

Weeks 5 and 6

Italian music in London and the English revolt. Metastasio, Calzabigi, Algarotti and Gluck’s reforms.

Weeks 7 and 8

The musical scene in eighteenth-century Vienna. 1756-91. Haydn 1732-1809 symphony, string quartet, Beethoven 1770-1827 Schubert 1797-1828 Mozart text, music and drama.

Weeks 9 and 10

Rossini and the William Tell overture, Bellini, Donizetti, Meyerbeer and Grand Opera

Weeks 11 and 12

Beethoven, Weber’s use of the orchestra Marschner, introducing Wagner and Verdi Macbeth

Weeks 13 and 14

Verdi Rigoletto use of orchestra Wagner Die Walküre leitmotives

Weeks 15 and 16

Modern and Post Modern musical trends, jazz fusion etc., both in and out of the theatre. Composers include Schoenberg, Krenek, Adams, Berio, Cage, Cornelius Cardew, Henze, Glass, Nyman, Kagel, Saxton, Birtwistle, Neuwirth.

Teaching Method Distributed written material with graded exercises and tasks, many interactive, and all with responses.

Specified texts

Written Tutor feedback on submitted work, online tutorials and support



You have access to the Naxos Music and Film libraries, JSTOR and IMSLP through the College.

Feedback

Given via chat rooms and emails and fully annotated written comments on submitted work


14

Indicative Reading Abbate, Carolyn, Parker, Roger. A History of Opera: The Last Four Hundred Years Penguin, 2015 Arblaster, Anthony. Viva la Libertà London: Verso, 2000 Bailey, Kate. Opera: Passion, Power and Politics V&A, 2017

Barbier, P. Opera in Paris, 1800-1850 Amadeus, 1995

Barbier, P.The World of the Castrati Souvenir Press, 2010

Cohen, Mitchell. The Politics of Opera: A History from Monteverdi to Mozart Princeton University Press, 2017

Cooke, Mervyn. Twentieth-century Opera Cambridge: CUP, 2005

Dahlhaus, C. Nineteenth-century Music University of California Press, 1989

Giroud, Vincent. French opera: A Short History Yale University, 2010

Greenwald, Helen. The Oxford Handbook of Opera OUP, 2014

Grout, Donald. A short History of opera Columbia University Press, 2003

Henson, Karen. Opera Acts: Singers and Performers CUP, 2015

Lindenberger, H. Situating Opera Period, Genre, Reception CUP, 2010

Millington, B. Wagner Dent, 1992

Parker, Roger. The Oxford Illustrated History of Opera OUP. 1994.

Petrobelli, P. Music in the theatre Princeton, 1994

Pistone, D. Nineteenth-century Italian Opera Amadeus, 1995

Plantigna, L. Romantic Music Norton, 1984

Plaut, E. A. Grand Opera Chicago: Dee, 1993

Radice, M. A. Opera in Context Amadeus, 1998

Rosselli, J. Music and Musicians in 19th century Italy Batsford, 1991

Sternfeld, F. W. The birth of opera OUP, 1993

Treadwell, J. Interpreting Wagner Yale, 2003

Weiss, Piero Opera, a History in Documents Oxford: OUP, 2002

Wintle, Christopher. What Opera Means Plumbago, 2018


15


Information updated on February 2018


March 2018


16


Title The Singer

Module code MS407

Credit rating 20

Level 4






ECT* 10


30. AIMS

The module aims to: -further your understanding of the role of the singer in relation to the composition and production of opera and Lieder. -enable you to consider the technical aspects of vocal production within an historical perspective -increase your knowledge of singers and the possibilities of vocal and dramatic interpretation within the context of the history of operatic production -develop your abilities to analyse the singer’s position within society over the period of the last four hundred years, with reference to social, cultural and political events


The module offers a socio-historical overview of the role of the singer, before moving on to consider topics such as vocal classification and its effect on operatic composition; basic vocal physiology and its relation to changing notions of vocal technique; the ways in which singers are trained and marketed and the way in which expectations of singers’ performance have evolved. The module concludes with some case studies of particularly influential singers.


17




-begin to situate vocal Fachs within their historical, social and political contexts -understand the basics of voice physiology and techniques -evaluate judgements of taste and value in a range of critical domains -explain and discuss significant developments in vocal styles -gain a detailed knowledge of the main artistic movements, traditions and ideologies that influence and inform opera in all periods -identify historical perspectives of vocal production

Intellectual skills -identify and practise primary study skills and scholarly research methods -identify and apply analytical approaches appropriate for systematic and in-depth historical and contextual inquiry -analyse the singer’s position within society

Practical skills -undertake detailed comparative analyses of operas and approaches to opera practice -utilise specialised skills in comparative opera analysis -understand vocal production


-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -undertake a range of formal assessments to a range of specified briefings (assignments) -respond to the precise terms of a designated assignment -identify the theoretical assumptions informing your own work and the writings/practices of others -formulate a comprehensive response to a designated assignment


You will receive the distributed written module material via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have fully explanatory responses.



Formative, multi-part Summative (essay based)

2000 (+/- 10%) 3000 (+/- 10%)

40% 60%



18

Semester 1 or 2


Opera Studies, Music Studies


No

Content Weeks 1 and 2 The Voice

How the voice is made. Society’s perception of the singer – historical context.

Weeks 3 and 4 1600-1760

Opera designed for singers; the castrato as operatic superstar; definitions of bel canto; patronage and the singer as servant.

Weeks 5 and 6 Reform and Revolution: 1760-1820

The shift of power from singer to composer, and from patron to public spectator; the demise of the castrati; the development of opera singing as a profession and the beginnings of a new and lucrative operatic marketplace

Weeks 7 and 8 Bel Canto and the Rise of the Prima Donna: 1820-1860

The supremacy of the coloratura soprano on the operatic stage; the operatic travelling troupe at home and abroad; new approaches to the tenor voice; the final flourish of “singer’s opera”. Weeks 9 and 10 “Con Belto” and the Emergence of the Helden Tenor: 1860-1900

Science and singing - changing ideas of technique and the development of the “big voice”. The expansion of opera singing as a profession, the establishment of music conservatoires, and the influx of middle-class novice singers

Weeks 11 and 12 New Singers for New Opera in a New Age: 1900-1930

The influence of naturalism and other avant-garde theatrical practices on operatic performance conventions; the vocal and physical demands of the new opera on the singer; the emergence of the director. Weeks 13 and 14 Building the Future, Reviving the Past: 1930-1968

The effects of technological advances (especially the jet-plane and the gramophone) on the singer’s career; the paucity of new operatic repertoire; the revival of bel canto techniques and operas. Weeks 15 and 16 The Voices of Here and Now: 1968-2012

New audiences, mass markets and crossing cultural divisions; the rise of designer/director’s opera and its use of the singer; opera on, and as, film.


Specified texts




Feedback



19

Indicative Reading Bentley, Eric, ed. The Theory of the Modern Stage Penguin Books, [1968] 1992.

Budden, Julian. “Verdi and the World of the Primo Ottocento.” The Operas of

Verdi. Vol.I. Clarendon Press, 1992.

Budden, Julian. “The Collapse of Tradition (Italian Opera 1840-70).” The Operas

Of Verdi, Vol.II. Clarendon, 1992

Carpenter, Audrey. Giovanna Sestini: An Italian Opera Singer in Eighteenth-

century London Matador, 2017

Carreras, José. Singing From the Soul: An Autobiography London: Souvenir

Press, [1991] 1994.

Cowgill, Rachel. The arts of the prima donna in the long nineteenth century OUP,

2012

Dunn, L.C. and Jones, N. A. (eds) Embodies voices Cambridge: CUP, 1994

Edwards, G. & Edwards, R. The Verdi Baritone Indiana University Press, 1994.

Grunberger, Richard. A Social History of the Third Reich Phoenix Press, 2005

Fitzlyon, April. Maria Malibran: Diva of the Romantic Age Souvenir Press, 1987

Roach, Joseph. A Player’s Passion: Studies in the Science of Acting London &

Toronto: Associated University Presses, 1985

Hahn, Reynaldo. On Singers and Singing trans. Leopold Simoneau. Oregon:

Amadeus Press, 1990.

Henson, Karen. Opera Acts: Singers and performance CUP, 2015

Hines, Jerome. Great Singers on Great Singing New York: Limelight Editions,

1990.

Holmes, William C. Opera Observed: Views of a Florentine Impresario Chicago,

1993

Hyde, Derek. New-Found Voices: Women in Nineteenth Century English Music

Aldershot: Ashgate, 1998

Kerman, Joseph. Opera as Drama London: Faber & Faber, 1989.

Lehmann, Lilli. How to Sing New York: Dover Publications, 1993.

Macy, Laura. The Grove Book of Opera Singers OUP, 2008

Matheopoulos, Helen. Diva: Great Sopranos and Mezzos Discuss Their Art

Boston, MA: Northeastern University Press, 1992

McGinnis, Pearl. The opera singer’s career guide: understanding the European

Fach system Scarecrow Press, 2010

Platoff, John. “The buffa aria in Mozart’s Vienna.” Cambridge Opera Journal

Vol. 2, no 2 (July 1990).

Pleasants, Henry. The Great Singers Hemel Hempstead: Prentice Hall, 1981.

Poriss, Hilary. Changing the Score Oxford: OUP, 2009

Rosselli, John. Singers of Italian Opera: The History of a Profession CUP, 1995

Rutherford, Susan. The Prima Donna and Opera 1815-1930 CUP, 2009

- Verdi, Opera, Women CUP, 2013

Scott, Michael. The Record of Singing, Vols.I & II. Duckworth & Co., 1993.

Steane, J. B. Voices: Singers and critics Amadeus Press, 1992

Steane, J. B. Singers of the Century, Volume 3, Duckworth, 2000

Woodfield, Ian. Performing Operas for Mozart: Impresarios, Singers and Troupes

CUP, 2011


20


Information updated on


11.4.2018


21


Title The Orchestra and Conductor

Module code MS408

Credit rating 10

Level 5






ECT* 5


37. AIMS

The module aims to: -trace the historical development of the orchestra, from the beginnings in opera to the present day -develop your ability to read and follow an orchestral score, and to understand transposing instrumentals -enhance your ability to understand and express the way in which the orchestra contributes towards the experience of musical genres -examine the role of the conductor, drawing on case studies of some influential conductors


This module traces the development of the orchestra from the origins in opera to modern times. Successive weeks focus on the seventeenth, eighteenth, nineteenth and twentieth centuries. Historical analysis is accompanied by practical examples: you are given structured exercises to develop your ability to read an orchestral score. The module considers the way in which the score is structured and notated, and addresses the question of transposing instruments as well as considering how the various instruments are used by composers. The role of the conductor and its historical development is considered together with the function of the conductor in the modern opera company. Basic patterns for conducting are also explored.


22




-understand the layout of an orchestral score -explain the organisation and history of the orchestra -evaluate the role of the conductor

Intellectual skills -identify and practise primary study skills and scholarly research methods -apply specific models of analysis appropriate for the study of orchestral music



-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -read and follow musical notation -respond to the precise terms of a designated assignment -locate and discuss primary material within historical and theoretical frameworks


You will receive the written module material via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses.



Summative (essay based) (Formative assessment will be given on a draft submission)

2500 (+/- 10%) 100%


Semester 1 or 2


Music Studies


23


No


The instruments of the orchestra and the skill of score reading. In these weeks we look at the various families of instruments, transposing instruments and the historical layout of the orchestra. Score reading is taught in gently graduated stages leading you through three instrumental works: Bach Brandenburg Concerto No. 4, Beethoven Symphony No. 5 and Bruckner Symphony No. 4

Weeks 3 and 4

The history of the orchestra to the nineteenth century. We consider the historical development of the orchestra from the Renaissance to the nineteenth century. Three nineteenth-century treatises on orchestration are considered before assessing the emerging role of the conductor. Rudiments of conducting are given together with a historical overview of the changing role of the conductor.

Weeks 5 and 6

The orchestra in the nineteenth century and twentieth centuries. Sample scores of composers such as Beethoven, Wagner, Bruckner, Debussy, Webern, Messiaen and Penderecki are considered from the perspective of orchestration.

Weeks 7 and 8

The role of the conductor is explored studying manuals written by famous conductors such as Berlioz, Wagner, Wood, Scherchen and Boulez.


Specified texts




Feedback



24

Indicative Reading Bellman, J. (Ed.). The Exotic in Western Music Northeastern University Press, 1998

Bowen, José Antonio. The Cambridge Companion to Conducting CUP, 2003

Brown, D. Musorgsky: His Life and Works Oxford: OUP, 2002

Brown, Peter. The Symphonic Repertoire, Volume IV: The Second Golden Age of the Viennese Symphony: Brahms, Bruckner, Dvorák, Mahler, and Selected Contemporaries Indiana, 2003

Buelow, G. J. (Ed.). The Late Baroque London:Macmillan, 1991

Burkholder, J. P. All Made of Tunes: Charles Ives and the uses of musical borrowing Yale, 1995

Burholder, J. P. Charles Ives and the ideas behind the Music Yale, 1985

Butt, J. Ed. The Cambridge Companion to Bach CUP, 1997

Chesterman, Robert. Conductors in Conversation Robson Books, 1990

Del Mar, Norman. Conducting Beethoven OUP, 1992

Gasparov, B. Five Operas and a Symphony Yale University Press, 2005

Gerhard, A. The Urbanization of Opera Trans. Mary Whittall, University of Chicago, 1998

Glass, P. Opera on the Beach London: Faber & Faber, 1987

Henze, H. W. Bohemian Fifths: An Autobiography Trans. Stewart Spencer, Faber, 1998

Henze, H. W. Music and Politics Trans. Peter Labanyi Faber & Faber, 1982

Holoman, D. Kern. The Orchestra: A Very Short Introduction OUP, 2012

Hopkins, A. The nine symphonies of Beethoven Heinemann, 1981

Johnson, R. S. Messiaen University of California Press, 1975

Krikler, Anne. Conductors, Batons and Orchestras Grosvenor House, 2012

Lara, Navarro. The Miracle of Conducting the Orchestra without using the Hands: Neuro Conducting CreateSpace, 2016

- The 10 Apocryphal Commandments Of the Orchestral Conductor of the 21

Century: Orchestra ConductingCreateSpace, 2016

Marisson, M. The Social and Religious Designs of J. S. Bach’s Brandenburg Concertos Princeton University Press, 1995

McElheran, Brock. Conducting Technique OUP, 2005

Mercer-Taylor, P. The Cambridge Companion to Mendelssohn CUP, 2004

Miller, Michael. The Complete Idiot’s Guide to Conducting Music Alfred Publishing, 2012

Morris, C. Reading Opera between the Lines Cambridge: CUP, 2002

Morrison, S. Russian Opera and the Symbolist Movement University of California, 2002

Newlin, D. Bruckner, Mahler, Schoenberg Marion Boyars, 1978

Parikian, Lev. Waving not Drowning Create Space Independent Publishing Platform, 2013

Perry, R. S. Charles Ives and the American Mind Kent State University Press, 1974

Peyser, J. Music in Europe since the Rite of Spring Billboard Books, 1999

Pike, L. Beethoven, Sibelius and the ‘Profound Logic’, University of London, 1978

Price, C. Ed. The Early Baroque Macmillan, 1991

Prout, Ebenezer. The orchestra: techniques and combinations Dover, 2004

Richardson, J. Singing Archaeology, Philip Glass’s Akhnaten Wesleyan University, 1999

Rorem, N. A Ned Rorem Reader Yale University Press, 2001

Samson, J. Music in Transition OUP, 1993

Schuller, Gunther. The Compleat Conductor OUP 1998

Service, Tom. Music as Alchemy: Journeys with Great Conductors Faber & Faber, 2014

Spitzer, John & Zaslaw, Neal. The Birth of the Orchestra: History of an Institution, 1650-1815 OUP, 2005

Sullivan, J. New World Symphonies Yale University Press, 1999

Till, N. Mozart and the Enlightenment Faber & Faber, 1992

Toorn, P. C. van den. Music, Politics, and the Academy University of California Press, 1995

Watkins, John The Art of the Conductor Universe, 2007

Walker, A. Franz Liszt: The Weimar Years Faber & Faber, 1989

Watson, D. Bruckner Schirmer Books, 1996

Widor, Charles Marie. The Technique of the Modern Orchestra; a Manual of Practical Instrumentation HardPress Publishing, 2012

Wooldridge, David. Conductor’s World London: Barrie and Rockliff, 1970

Zaslaw, Neal. Mozart Symphonies Macmillan, 2008


25


Information updated on January 11, 2018


March 2018


26


Title Monteverdi

Module code MS409

Credit rating 10

Level 4






ECT* 5


44. AIMS

The module aims to: -enable you to make a detailed analysis of the innovative synthesis of music, dramatic action and design -bring about a deepened awareness of the conditions in which opera originated and began to develop, -contextualise early and significant developments in form and composition -engage you with detailed study of the social and cultural contexts and performance conditions of early opera -understand the beginnings of the orchestra


The module is centred on the achievement of Monteverdi as both a composer of non-operatic music, exponent of the ‘new style’, and as a musico-dramatist. The major concern, apart from the historical foundation laid during the period, is the question of the nature of the melodrama itself and the sometimes conflicting demands of music, words and staging. In addition to representative instrumental and vocal music (including “Second Practice”, monody and madrigal), the works studied will include Peri Euridice, Monteverdi, La Favola d’Orfeo and Il ritorno d’Ulisse in patria.



27



-situate musical genres and operas within their historical, social and political contexts -place Monteverdi in his historical and relative contexts -evaluate judgements of taste and value in a range of critical domains -gain a detailed knowledge of the main artistic movements, traditions and ideologies that influence and informed the genesis of opera demonstrate an awareness of the working contexts and organisation of early opera production and the orchestra

Intellectual skills -identify and practise primary study skills and scholarly research methods -identify specific models of theory and analysis appropriate for the study of music, and begin to apply these in critical assessments -identify and apply analytical approaches appropriate for systematic historical and contextual inquiry

Practical skills -undertake detailed comparative music analyses -utilise specialised skills in comparative analysis -utilise specialist skills in score reading


-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -undertake a range of formal assessments to a range of specified briefings (assignments) -read and follow musical notation -respond to the precise terms of a designated assignment -develop and apply skills of analysis critical writing -locate and discuss primary material within historical and theoretical frameworks -identify the theoretical assumptions informing the writings/practices of others -start to undertake relevant research and make effective use of supporting primary and secondary evidence and source -formulate a comprehensive response to a designated assignment


You will receive the distributed written module material via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses.



Formative, draft

0%


28

Summative (essay based)

2500 +/- 10% 100%


Semester 1 or 2


Music Studies


Yes

Content Week 1 Pastoral, intermedio, favola in musica

Immediate predecessors of vocal and instrumental music in late sixteenth-century theatre in Italy; Jacopo Peri’s Euridice (1600) and the workings of the Florentine recitative. Weeks 2 -4 Monteverdi’s Orfeo

The première of Orfeo; the structure and music

Weeks 5 Other musical theatre

Other theatrical genres in the early seventeenth-century Italian court; intermedio, Monteverdi’s Ballo delle ingrate (1608), Combattimento di Tancredi et Clorinda (1624). Weeks 6-8 Il ritorno d’Ulisse in patria Monteverdi in Venice; “public” opera; Il ritorno d’Ulisse as a “transitional” work; from epic to libretto.


Specified texts




Feedback



29

Indicative Reading Arnold, D. and N. Fortune, ed. The New Monteverdi Companion. Norton, 2008

Bianconi, Lorenzo, and Thomas Walker. “Production, Consumption and Political Function of Seventeenth-Century Opera.” Early Music History Vol 4 (1984)

Calcagno, Mauro. From Madrigal to opera: Monteverdi’s staging of the self Univ. California Press, 2012

Carter, Tim. “Non occorre nominare tanti musici: Private Patronage and Public Ceremony in Late Sixteenth-Century Florence.” I Tatti Studies: Essays in the Renaissance 4 (1991)

Carter, Tim. “‘In Love’s Harmonious Consort’?: Penelope and the Interpretation of Il ritorno d’Ulisse in patria.” Cambridge Opera Journal Vol 5, No. 1 (March 1993)

- Monteverdi’s Musical Theatre Yale, 2002

Chafe, Eric. Monteverdi's Tonal Language Schirmer, 1992

Curtis, Alan. “La Poppea Impasticciata, or Who Wrote the Music to L’incoronazione (1643)?” Journal of the American Musicological Society Vol 42, No. 1 (Spring 1989)

Fabbri, P. & Carter, T. Monteverdi CUP, 1994

Fenlon, Ian. The Operas of Monteverdi ENO Guide, 2011

Gordon, Bonnie. Monteverdi’s unruly women CUP, 2009

McClary, Susan. Feminine Endings: Music, Gender, and Sexuality. Minnesota & London: University of Minnesota Press, 1991.

Palisca, Claude Studies in the History of Italian Music and Music Theory. Oxford: OUP, 1994

Redfern. Nick Claudio Monteverdi: Ohimè Kindle Books, 2014

Ringer, Mark. Opera’s First Master Amadeus Press, 2006

Rosand, Ellen. “Seneca and the Interpretation of L’incoronazione di Poppea.” Journal of the American Musicological Society Vol 38, No. 1 (Spring 1985)

- Monteverdi’s last operas: a Venetian trilogy Univ. California Press, 2007

Tomlinson, Gary.“Madrigal, Monody, and Monteverdi’s ‘via naturale alla immitatione’.” Journal of the American Musicological Society Vol 34, No. 1 (Spring 1981) Whenham, John, ed. Claudio Monteverdi: “Orfeo.” Cambridge Opera Handbooks. Cambridge: Cambridge University Press, 1986

-(Ed.) The Cambridge Companion to Monteverdi CUP, 2007


Information updated on January 2018


30


20.4.2018


31


Title Verdi

Module code MS410

Credit rating 10

Level 4






ECT* 5


51. AIMS

The module aims to: -analyse how Verdi’s operas function as musico-dramatic works -establish the core values or techniques used by Verdi -to outline some of the main features of Verdi’s stylistic development including how he assimilated influences -to stimulate you to think afresh about operas which may already be familiar by asking you to critically examine the techniques Verdi used.


The module presents the argument that there are core values or techniques present in all Verdi’s operas and that he assimilated influences without changing these. The scena is the basic unit of a Verdi opera and a study of how Verdi constructs scenes forms the basis of the whole module.




-situate Verdi’s musical practice within its historical, social and political contexts -apply basic musical concepts such as keys and tonality in the study of vocal and orchestral scores -explain Verdi’s musical dramaturgy

Intellectual skills -be able to identify and practise primary study skills and scholarly research methods


32

-identify specific models of theory appropriate for music and begin to apply them in critical assessments -engage with, apply and integrate complex theoretical analyses in relation to primary and secondary material

Practical skills -undertake detailed comparative analyses -utilise specialist skills in music analysis -begin to develop specialised skills in score reading


-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -undertake a range of formal assessments to a range of specified briefings (assignments) -read and follow musical notation -respond to the precise terms of a designated assignment -develop and apply skills of analysis in critical writing -locate and discuss primary material within historical and theoretical frameworks -identify the theoretical assumptions informing the writings/practices of others -start to demonstrate approaches to analytical inquiry which are -discursive, associative and flexible rather than precisely chronological or historical


You will receive distributed written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses.



Formative (draft) Summative

2500 (+/- 10%)

0% 100%


Semester 1 or 2


Music Studies


33


Yes

Content Weeks 1 and 2 La Traviata

We will set Verdi in context and define the scena and Verdi’s core techniques through examining La Traviata Act II scene ii. Emphasis will be placed on Verdi’s use of rhythm to drive the action forward.

Weeks 3 and 4 Verdi’s treatment of father-child relationships through elements in the scena: arias, duets and trios

We will study how one of the most important themes in Verdi’s operas, the father-child relationship, is dramatised through elements in the scene, mainly the aria and duet, but also with some reference to ensembles in extracts from Oberto, I Due Foscari, I Masnadieri, Rigoletto, La Traviata.

Weeks 5 and 6 The ensemble

We will study an important element in the scena, the ensemble, by discussing the conventions involved and how ensembles work. We will discuss the balance between music drama and pure music and introduce Hanslick’s theory of how opera works. We will explore these points in relation to Nabucco, Ernani and Rigoletto.

Weeks 7 and 8 Verdi’s use of the orchestra

We will look at the way Verdi uses the orchestra focussing on Nabucco, Il Lombardi, Rigoletto and La Traviata.


34

Indicative Reading Abraham, Gerald, (ed.) The Age of Beethoven, 1790-1830 OUP, 1985 - Romanticism, 1830-1890. OUP, 1990. Albright, D. Berlioz, Verdi, Wagner, Britten: Great Shakespeareans, Bloomsbury, 2014 Allitt, John S. Donizetti In the Light of Romanticism and the Teaching of Johann Simon Mayr London: Element, 1991 Bagnoli, Giorgio. Verdi’s Operas Amadeus, 2014 Balthazar, Scott L. (ed.) The Cambridge Companion to Verdi CUP, 2004

Bensoussan, Albert. Verdi Gallimard, 2013

Bianconi, L. & Pestelli, G. (Eds.). Opera in Theory and Practice: Image and Myth University of Chicago, 2003

Boromé, Joseph A. “Bellini and Beatrice di Tenda.” Music and Letters 42, no.4 (October 1961).

Budden, Julian. The Operas of Verdi. 3 vols. OUP,1992.

- Verdi OUP, 2008

Chusid, Martin, (ed.) Verdi’s Middle Period (1849-1859): Source Studies, Analysis and Performance Practice. Chicago University Press, 1997

Conrad, P. Verdi and/or Wagner Thames and Hudson 2013

Edwards, G. and Edwards, R. The Verdi Baritone Indiana University Press, 1994

Galatopoulos, Stelios. Bellini London: Sanctuary, 2002

Harwood, G. Giuseppi Verdi: A research and Information guide Routledge, 2012

Hepokoski, James. “Verdi, Giuseppina Pasqua, and the Composition of Falstaff.” Nineteenth-Century Music 3, no.3 (Spring 1980)

John, Nicholas, (ed.) Falstaff ENO Opera Guide 10. London: Calder, 1982.

- Il trovatore ENO Opera Guide 20. London: Calder, 1983.

- Simon Boccanegra ENO Opera Guide 32. London: Calder, 1985.

- Don Carlos ENO Opera Guide 46. London: Calder, 1992.

Kahn, Gary (Ed.). Overture Opera Guides: (a reprint/some updating of the ENO Guides)

- Rigoletto. Alma Books, 2017

- Otello. Overture Opera Guides, Alma Books, 2014

- La Traviata. Overture Opera Guides, Alma Books, 2011.

- Don Carlos. Overture Opera Guides, Alma Books, 2011.

Keys, A.C. “Schiller and Italian Opera.” Music and Letters 41, no. 3, 1960

Kimbell, David. Italian Opera. Cambridge: CUP, 1994

- Verdi in the age of Italian Romanticism, CUP, 1985

Latham, A. & Parker, R. Verdi in Performance OUP, 2001

Marvin, Roberta M. The Cambridge Verdi Encyclopedia CUP, 2014

Osborne, Richard. Rossini: His Life and Works OUP, USA, 2007

Parakilas, James. “Political Representation and the Chorus in Nineteenth-Century Opera.” Nineteenth-Century Music 16, no. 2 (Fall 1992)

Parker, Roger. “The Dramatic Structure of Il trovatore.” Music Analysis 1:2 (July 1982)

- The New Grove Guide to Verdi and His Operas OUP, 2007

Petrobelli, Pierluigi. “Towards an Explanation of the Dramatic Structure of Il trovatore.” Music Analysis 1, no.2 (July 1982)

Pistone, Danièle. Nineteenth-Century Italian Opera Cambridge: Amadeus Press, 1995.

Riall, Lucy. The Italian Risorgimento: State, Society and National Unification Routledge, 1994.

Richards, David. Tragic Manhood and Democracy Brighton: Sussex Academic Press, 2004

Rosselli, John. Music and Musicians in Nineteenth-Century Italy Batsford, 1991.

Rutherford, Susan. Verdi, Opera, Women CUP, 2013 pb 2017

Senici, Emanuele. The Cambridge Companion to Rossini CUP, 2004

Sharpe, Lesley. Friedrich Schiller. Drama, Thought and Politics. Cambridge: CUP, 1991

Smart, Mary Ann. Waiting for Verdi: Opera and Political Opinion in Nineteenth-Century Italy, 1815-1848 University of California Press, 2018

Steen, Michael. Verdi: the Great Composers Kindle, 2014

Stendhal.The Life of Rossini Trans. Coe. London: Calder, 1985

Van, Gilles de. Verdi’s Theater: Creating Drama through Music Chicago: Chicago University Press, 1998

Verdi & Boito. The Verdi-Boito Correspondence University of Chicago Press, 2015

Wills, Garry. Verdi's Shakespeare: Men of the Theater Penguin, USA, reprint 2013

Zicari, Massimo. Verdi in Victorian London Open Book, 2016


35




March 2018


36


Title Wagner

Module code MS411

Credit rating 10

Level 4






ECT* 5


58. AIMS

The module aims to: -give you an overview and understanding of Wagner’s development in relation to cultural and socio-political contexts -enable you to engage with Wagner’s theoretical writings and their implications for music drama -enable you to understand his innovations in opera production and the orchestra


This module discusses Wagner’s dramatic development by looking at operas from each of his artistic periods setting them in their contemporary and theatrical contexts. It also explores the various social, political and philosophical influences on Wagner’s creativity throughout his life and the innovations he made.




-situate Wagner’s operas within their historical, social and political contexts -identify financial, political and operational contexts in which his operas were produced -evaluate and discuss Wagner’s developments in opera and the orchestra -explain the main artistic movements, traditions and ideologies that influenced and informed Wagner


37

Intellectual skills -identify and practise primary study skills and scholarly research methods -identify specific models of theory and analysis appropriate for the study of opera, and begin to apply these in critical assessments

Practical skills -undertake detailed comparative analyses -utilise specialist skills in music analysis -utilise specialist skills in score reading


-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -undertake a range of formal assessments to a range of specified briefings (assignments) -read and follow musical notation -respond to the precise terms of a designated assignment -develop and apply skills of analysis in critical writing -identify the theoretical assumptions informing the writings/practices of others -make effective use of supporting primary and secondary evidence and sources -begin to demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical





Formative, draft Summative (essay based)

2500 (+/- 10%)

0% 100%


Semester 1 or 2


Music Studies


38


Yes

Content Weeks 1 and 2 Wagner’s life and career

An exploration of Wagner’s creative life, the development of his ideas, and the composition and performance of his works in the context of his time.

Weeks 3 and 4 The Early Operas and Dresden Years

Die Feen, Das Liebesverbot, Rienzi, Der fliegende Holländer, Tannhäuser and Lohengrin.

Weeks 5 and 6 Theories into Practice

The years of transition and exile; Wagner’s theory of opera and the beginning of Der Ring des Nibelungen, with emphasis upon Das Rheingold

Weeks 7 and 8 Parsifal

A discussion of Parsifal in its context as Wagner’s last work and the appropriation of Christian symbolism.


39

Indicative Reading Badiou, A. Five lessons on Wagner trans. Slavoj Zizek London: Verso, 2010

Borchmeyer, Dieter. Richard Wagner Theory and Theatre Trans. Spencer. OUP,

1991

- Drama and the World of Richard Wagner Princeton, 2002

Carnegy, Patrick. Wagner and the Art of the Theatre Yale: University Press, 2006

Cooke, Deryck. I saw the world end: a study of Wagner’s Ring. OUP, 1979

Conrad, P. Verdi and/or Wagner: two men, two worlds, two centuries Thames and

Hudson, 2011

Deathridge, J. Wagner beyond Good and Evil Univ. California Press, 2008

Donington, Robert. Wagner’s Ring and its Symbols Faber, 1963

Emslie, Barry. Richard Wagner and the Centrality of Love Boydell, 2010

Foster, Daniel. Wagner’s Ring cycle and the Greeks CUP, 2010

Grimm, R. & Hermand, J. Re-Reading Wagner University of Wisconsin Press,

1993

Geck, Martin. Richard Wagner, a life in music University of Chicago Press, 2013

Grey, Thomas. Richard Wagner and His World Princeton. 2009

Kinderman, W. & Syer, K.R. A Companion to Wagner’s Parsifal Camden House,

2005.

Kirby, F. E. Wagner’s Themes Michigan: Harmonie Park Press, 2004

Köhler, Joachim. Richard Wagner – the Last of the Titans Trans. Spencer. Yale,

2004

Kramer, Lawrence. Opera and Modern Culture University of California Press,

2004

Johnson, Stephen. Wagner: his life and music Naxos, 2007

Magee, Bryan. Aspects of Wagner London: Ross, 1968

Millington, Barry. Wagner London: Dent, 1984

- The Sorcerer of Bayreuth Thames and Hudson, 2012

Nietzsche, Friedrich. Richard Wagner in Bayreuth Create Space, 2017

Rieger, Eva. Richard Wagner’s Women Boydell, 2011

Ringer, Alexander, (ed.). The Early Romantic Era Macmillan, 1990.

Sabor, Rudolph. Richard Wagner: Der Ring des Nibelungen Phaidon, 1997

Schopenhauer, Arthur. The World as Will and Representation Dover, 1969

Scruton,Roger. Death-Devoted Heart OUP, 2004

Shaw, Bernard. The Perfect Wagnerite Constable, 1929

Spotts, Frederick. Bayreuth: A History of the Wagner Festival Yale, 1996

Steen, Michael Wagner: the great composers Kindle, 2014

- Wagner’s The Ring – a short guide Kindle, 2015

Syer, Katherine. Wagner’s Visions University of Rochester Press, 2014

Tanner, Michael. The Faber Pocket Guide to Wagner Faber, 2010

Vazsonyi, Nicholas. Wagner’s ‘Meistersinger’ University of Rochester Press,

2002

- The Cambridge Wagner Encyclopedia CUP 2013

Williams, Bernard. On Opera Yale: University Press, 2006

Williams, Simon. Wagner and the Romantic Hero CUP, 2004




40


March 2018


41


Title Mozart

Module code MS412

Credit rating 10

Level 4






ECT* 5


65. AIMS

The module aims to: -enable you to undertake sustained dramatic and musical analysis of works of Mozart in their context -enable you to engage with the artistic implications for Mozart’s work in the major cultural transitions of the time.


This module examines Mozart in his cultural context, positioned between the Baroque and the Romantic: his place as culmination of the earlier style and pointer towards a new, more intensely felt kind of music. Works are chosen from Mozart’s early, middle and late periods, and the module also includes reference to works by other contemporary composers.




-situate Mozart’s works within their historical, social and political contexts -identify financial, political and operational contexts in which his works were produced -explain the main artistic movements, traditions and ideologies that influenced him



42

-engage with, apply and integrate theoretical analyses in relation to primary and secondary material.

Practical skills -undertake detailed comparative analyses of different genres -utilise specialised skills in comparative music analysis -utilise specialist skills in score reading


-maintain scholarly modes of presentation and approaches to referencing and compiling a bibliography -present a structured argument in written assignments -undertake a range of formal assessments to a range of specified briefings (assignments) -read and follow musical notation -respond to the precise terms of a designated assignment -develop and apply skills of analysis in critical -identify the theoretical assumptions informing the writings/practices of others -start to demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical





Formative, draft Summative

2500 (+/- 10%)

0% 100%


Semester 1 or 2


Music Studies


Yes


43

Content Weeks 1 and 2 The Uses of Genre

These Weeks will enable you to recognise the conventions of the

different the operatic genres in which Mozart worked, looking in

turn at opera seria, opera buffa and German Singspiel. It will

consider the advantages and disadvantages of generic conventions to

a composer such as Mozart.

Weeks 3 and 4 Musical form and dramatic language

These Weeks will consider the way in which Mozart was able to

deploy developments in late eighteenth-century instrumental music,

in particular sonata form, to extend the dramatic language of opera.

Weeks 5 and 6 Representation and Meaning

These Weeks will consider the problem of representation and

meaning in music. How can the composer communicate feelings and

ideas in the abstract language of music? You will learn to recognise

the many ways in which Mozart encoded meanings in his operatic

music.

Weeks 7 and 8 The classic aftermath: Beethoven and Rossini

These Weeks will consider the impact of Mozart upon two

composers whose works have been described as spanning the

Classical and Romantic styles: Beethoven and Rossini. You will

learn to evaluate the different kinds of influence which Mozart

exerted over these two masters in Fidelio and Il barbiere di Siviglia.


Specified texts




Feedback



44

Indicative Reading Anderson, E. (ed.). The Letters of Mozart and his Family Revised by Stanley Sadie and Fiona Smart. Macmillan, 1997

Braunbehrens, V. Mozart in Vienna: 1781-1791 Munich and Zurich, 1986

Brophy, Brigid. Mozart the Dramatist London: Faber & Faber, 2005

Cairns, David. Mozart and His Operas University of California Press 2006/Penguin, 2007

Einstein, A. Mozart Oxford: OUP, 1965

Eisen, Cliff. Mozart, a life in letters Penguin, 2006

Eisen, C. & Keefe, S. The Cambridge Mozart Encyclopedia CUP 2007

Elias, N. Mozart, Portrait of a Genius University of California Press, 1993

Gjerdingen, Robert. Music in the Galant Style OUP, 2007

Glover, Jane. Mozart’s Women Pan, 2006

Holmes, Edward. Edward Holmes’ Life of Mozart Kindle, 2013

Jones, David Wyn. Music in Vienna 1700, 1800 Boydell, 2016

Johnson, Paul. Mozart – a life Penguin, 2014

Keefe, Simon. Mozart in Vienna: The Final Decade CUP, 2017

Kerman, J. Opera as Drama University of California, 2005

Nagel, Ivan. Autonomy & Mercy Trans. Marion Faber & Ivan Nagel. Harvard, 1991

Pestelli, G. The Age of Mozart and Beethoven CUP, 1984

Rice, John A. La clemenza di Tito CUP, 1991

Robbins Landon, H. C. (ed.). The Mozart Compendium London: Thames & Hudson, 1996

- Mozart’s Last Year 1791 Thames & Hudson, 1999

Rosen, Charles. The Classical Style Faber & Faber, 1971

Rushton, J. Mozart: an extraordinary life ABRSM, 2005

Sadie, S. (ed.) Wolfgang Amadè Mozart: Essays on his Life and Music Oxford: OUP, 1996

Solomon, M. Mozart: A Life Hutchinson, 1995

Spaethling, Robert. Mozart’s letters, Mozart’s Life Faber & Faber, 2004

Steen, Michael. Mozart: the great composers Kindle, 2014

Taruskin, Richard. Music in the Seventeenth and Eighteenth Centuries OUP, 2009

Till, Nicholas. Mozart and the Enlightenment: Truth, Virtue and Beauty in Mozart’s Operas Faber and Faber, 1992

Woodfield, Ian. Performing Operas for Mozart: Impresarios, Singers and Troupes CUP, 2011

Zaslaw, N.(ed.) The Classical Era Macmillan, 1989


45




March 2018