A pro-seminar with lots of participations by groups and individual students, exploring together the methodology and resources of music research, and constructing the meaning of music through thinking, talking and writing. The core text will be Musical Performance: A Guide to Understanding (ed. John Rink, CUP, 2002), the final project a short review essay (oral and written).
Prominent artists, scholars, and specialists from different fields will be invited to lecture on a wide range of issues that aim to broaden our horizons and sharpen our critical and artistic faculties. Class meets usually fortnightly throughout the semester, and master classes as well as workshops will be organized afterwards occasionally to deepen the discussion.
A pro-seminar that introduce students to the theories in musicology, and to provide practical experience in writing and oral presentation. Beethoven’s 9th Symphony will be taken as an example of study, touching upon the issues of biography, analysis, historiography, and feminist critique.
Confronting "Key Works" of 20th-Century Music
Key works of new music from five different decades that continue to exert their influence on composers of all generations until the present day will be discussed extensively and analyzed with regard to their structural, auratic and semantic qualities.
Musical Analysis as a Means of Listening
The course will give an introduction to basic methods of analysis including a systematic approach to motivic, harmonic and formal processes. We will listen to and look at scores of exemplary works from different epochs. A special focus will be placed on the link between listening experience (as codified in the "implicit listener" by a composer) and analytical strategies.
Depending on the number of participating students and the available instruments, small scale chamber music works, mainly from 20th century music, will be studied and rehearsed. Emphasis will be given to an understanding of the overall formal processes of the pieces and the consequences of structural details for interpretation.
"Performance Practice" is an introductory course on all aspects of the way in which music is and has been performed, with special emphasis on the importance of historical awareness as a pre-requisite for modern performers. Much focus is on music from the late Baroque to 1830, but a general understanding of the changes that take place in later periods will also be acquired. The course will require a wide range of readings from historical treatises, critical writings, to present-day discussions on performance issues.
In bloc seminars, methods of integrating technology in the creation and performance of music will be introduced. A focus will be given to the diverse applications of the object oriented programming language Max/MSP and its specific potential for both intuitive and structural extension of instrumental and/or vocal sound sources.
Improvisation is live composing. Through the interaction of the musicians we explore and experiment the musical languages of our own and the others. Material for improvisation is provided by Vinko Globokar's INDIVIDUUM, COLLECTIVUM, and some graphic scores are also used to improve our improvising skill. Furthermore, the well-known theatre director Yi-Sheng Chang will be invited to the class to instruct a workshop on body-improvisation.
A general overview of computer applications in various musical endeavors, from performance to composition. Provide historical perspective of applications software, algorithmic and automated compositional techniques, and state-of-the-art computer-related hardware. Introduction to Midi data processing using Max graphical programming environment.
To Gain an understanding of the algorithmic methods and techniques that have evolved since the groundbreaking work of pioneer Lejaren Hiller in the United States and Iannis Xenakis in Europe.
Students learn interactive PC software for integrating computer music and live computerized performance; improvisation techniques; new music notation procedures, and learn to use Midi sequencing procedures and transforms for orchestrating projects for small to large ensembles. Then Students learn to use notation software for preparation of professional-looking scores and sheet music. Students also learn to use digital audio editing, effects processing, digital concrete, and multi-tracking software (Adobe Audition) to compose computer music, audio samples, and other soundtrack material for use in compositions. Designed for audio professionals, Adobe Audition offers advanced audio mixing, editing, and effects processing capabilities.
Conduct independent, in-depth research projects using state-of-the-art techniques and methods. CSound and other programming review of research literature required prior to selecting research area. Interdisciplinary collaboration with other technology artists, scientists, or scholar in any acceptable research field. Topics should be related with major domain prior to initiation of research.