Upcoming Doctoral Seminars
New for Fall 2009
MUTH 6680 – PRO-SEMINAR IN MUSIC THEORY: Serialism in Discourse
FALL 2009, PROFESSOR FRANK HEIDLBERGER
Tues/Thurs, 2:00PM – 3:30 PM, MUS 293 (Library, 422), begins August 27
Since Arnold Schoenberg’s first compositions “with twelve tones” (he persistently denied the status of this technique as a “theory”), composers, theorists and musicologists were eager to theorize and conceptualize this technique. The ensuing critical, analytical, compositional and aesthetic discourse led to a diverse understanding of “serialism” in the course of the 20th century that resulted in significant developments of serial compositional techniques and a variety of analytical strategies.
It is the goal of this course to discuss and understand key components of this discourse:
- Ideas and Origins of serial techniques: its “necessity” (Schoenberg)
- Pre World-War II criticism of the Second Viennese School: first steps towards a “theory of twelve-tone compositions”
- Adorno’s “Philosophy of New Music” and its influence in theory, literature and composition
- Further developments of twelve-tone composition, and the related discourse by Krenek, Babbitt and others
- The development of “serialism” in the context of post World War II Europe (Boulez, Stockhausen, “Darmstadt-School”)
- The early history of “electronic music” in the 1950’s and the discourse on musical time (Eimert, Stockhausen)
- Consequences of the serialism discourse for the aesthetics and criticism of non-serial music
- Aspects of performance practice and perception with reference to serialism and electronic/electroacoustic music
- Aesthetics and criticism of serialism in the post-modernist era.
We will not necessarily cover all of these topics, but focus on what develops the strongest momentum in our discussion. A sound mix of participants with majors in diverse fields is important and desirable: this seminar is not an exclusive event for theory “cracks”, but notably welcomes musicologists, performers and particularly composers to ensure a broad range of perspectives and opinions.
The following skills would be advantageous (but they are not exclusively required): 20th century analytical techniques, specific repertoire knowledge, interest in reading, presenting and discussing complex writings about music, German and/or French language skills (the seminar qualifies as a practicing field for those who prepare for language exams required in their degree plan).
Inquiries about the seminar, topics, literature etc. are welcome before the start of the semester. Please contact me through: heidlberger@unt.edu