Part 1: European Music Before WWII
Composers and ideas which gained in importance before 1939 or at least 1945. Some works studied will be from as late as 1956 but in "older" styles.
Antecedents and the State of Music, 1899. The "Long Nineteenth Century." 1900-1960: The Big Questions.
|Morgan. "The Nineteenth-Century Musical Background," "Europe at the Turn of the Century," and (skim) "R. Strauss." pp. 1-8, 11-17, and 28-35.|
|2||Stravinsky Throws Down the Gauntlet||
Morgan. "New Tonalities: Stravinsky." pp. 89-103.
Morgan. "On Bartók." pp. 103-110 and 179-186.
Morgan. "On Ravel." pp. 124-27.
Bartók, Béla. "The Influence of Peasant Music on Modern Music." and "The Relation of Folk Song to the Development of Art Music of Our Time." In [Strunk v.7].
You must attempt one of these two readings, but don't worry if you don't get through them:
|4||German Music between the Wars (And a Little Before and After...)||
Morgan. "The Influence of Politics: Germany: Hindemith and Weill." pp. 220-35.
Hindemith, Paul. "Atonality and Polytonality." In The Craft of Musical Composition, trans. Arthur Mendel. New York, NY: Schott, 1984.
|5||The Second Viennese School: Tonality and Atonality||
Morgan. "Chapter III: The Atonal Revolution." pp. 62-88.
|6||The Second Viennese School: Twelve-Tone Tonality||
Morgan. "The Twelve-Tone System." pp. 187-219.
Schoenberg, Arnold. "Composition with Twelve Tones." In [Strunk v.7]. (Excerpts)
Neoclassicism and Stravinsky (ca. 1920-1952)
First Unit Test
Morgan. "Prokofiev" and "Stravinsky." pp. 238-41 and 160-79.
|Part 2: American Music Before WWII|
Morgan. pp. 137-148.
Ives, Charles. "Music and Its Future." In [Strunk v.7].
Thoreau, Henry David. Walden. Chapter 1, essentially the first 20 pages or so. (Excerpts) (Download a copy of Walden from Project Gutenberg.)
|10||Ruth Crawford Seeger and Other American Modernists|
|11||The "Art-Scientists": Cowell, Antheil, Varese||
Morgan. pp. 295-302.
|12||Still, Gershwin (And Bernstein)||
Still, William Grant. "Horizons Unlimited." In [Strunk v.7].
Wilson, Olly. "The Black American Composer." In [Strunk v.7].
|13||Aaron Copland (Guest Lecture)||Morgan. pp. 282-92.|
Second Unit Test
|Part 3: Music During and After WWII|
|15||The Continued Tonal Tradition I: Britten and Barber||
Morgan. pp. 270-78 (includes Walton); optional: pp. 128-37 (earlier English composers, includes Vaughn Williams and Holst).
|16||The Continued Tonal Tradition II: Shostakovich||
Morgan. pp. 244-50.
Shostakovich, Dmitri. "Testimony." In [Strunk v.7].
Morgan. pp. 333-45.
|18||Total Serialism 1: Babbittand Stockhausen||
Morgan. "Serialism in Germany: Stockhausen," and "American Serialism." pp. 345-55.
Babbitt, Milton. "Who Cares if You Listen?" (1958) In [Strunk v.7].
Boulez, Pierre. "Schoenberg is Dead." The Score 6 (1952): 18-22.
|19||Serialism 2: Nono and Stravinsky||
Morgan. "Stravinsky and Serialism." pp. 355-58.
Guerrero, Jeannie Ma. "Serial Intervention in Nono's Ilcanto Sospeso." Music Theory Online 12.1 (February 2006).
|20||Boulez, Carter and the Legacy of Serial Aesthetic||
Morgan. pp. 306-14.
Rossolo, Luigi. "The Art of Noises." In [Strunk v.7].
Varèse, Edgard. "The Liberation of Sound." In [Strunk v.7].
Stockhausen, Karlheinz. "The Concept of Unity in Electronic Music." In [Strunk v.7].
|22||Cage and Aleatory||
Morgan. "Indeterminacy." pp. 359-364.
Eco, Umberto. "The Poetics of the Open Work." In [Strunk v.7]. (Excerpts)
Aleatory 2: Open Form, New York School and Fluxus
(Bring Instruments Today!)
Morgan. "Indeterminacy." pp. 365-376.
Young, La Monte, and Jackson MacLow, eds. An Anthology of Chance Operations. 2nd ed. Bronx, NY: George Maciunas, 1970.
|24||Nancarrow and Partch: Two American Originals||
Morgan. pp. 302-6.
Partch, Harry. "Patterns of Music." In [Strunk v.7].