Quick Materials – Last Week of Classes<\/p>\n\n\n\n
Dear Students, I hope you can find the time to hear the following works:<\/p>\n\n\n\n
El Ni\u00f1o by John Adams<\/a> (2000)<\/p>\n\n\n\n La Pasi\u00f3n seg\u00fan San Marcos by Osvaldo Golijov<\/a> (2000)<\/p>\n\n\n\n Consider the following post-modern traits:<\/strong><\/p>\n\n\n\n –Unusual combinations of texts <\/p>\n\n\n\n –Unusual views of canonic texts (a feminist Nativity; a political revolutionary Jesus)<\/p>\n\n\n\n –Hybridization of the genre (oratorio\/opera\/music theater)<\/p>\n\n\n\n –Unified style or mixed styles? (minimalist\/symphonic or classical\/popular)<\/p>\n\n\n\n –post-tonal harmony<\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n Quick materials for weeks 11 -1<\/strong>3<\/p>\n\n\n\n Recording with score: P\u00e4rt- De Profundis<\/a><\/p>\n\n\n\n Recording: P\u00e4rt- Salve Regina<\/a><\/p>\n\n\n\n Perusal score: MacMillan – Seven Last Words From The Cross<\/a><\/p>\n\n\n\n The Cambridge Companion to Arvo Part<\/a> (you may need to log in with your NDID)<\/strong><\/p>\n\n\n\n Phillip Cooke; The Music of James MacMillan <\/a> (you may need to log in with your NDID)<\/strong><\/p>\n\n\n\n Pay special attention to these chapters:—-A Different World \u2013 Visitatio Sepulchri, Seven Last Words from the Cross and In\u00e9s de Castro<\/a>(pp. 71-96)<\/p>\n\n\n\n https:\/\/doi-org.proxy.library.nd.edu\/10.2307\/j.ctvb6v59w.13<\/a><\/p>\n\n\n\n —-7 A New Song \u2013 Mass and MacMillan\u2019s Choral Renaissance<\/a> (pp. 135-158) <\/p>\n\n\n\n https:\/\/doi-org.proxy.library.nd.edu\/10.2307\/j.ctvb6v59w.16<\/a><\/p>\n\n\n\n Quick materials for weeks 7 and 8<\/strong><\/p>\n\n\n\n (To download)<\/p>\n\n\n\n (to view)<\/strong><\/p>\n\n\n\n READING AND LITERATURE LIST NO. 4<\/strong><\/p>\n\n\n\n Britten\u2019s War Requiem (a reconsideration of eclecticism and the middlebrow aesthetic after examining radical modernism)<\/strong><\/p>\n\n\n\n Publisher\u2019s page: https:\/\/www.boosey.com\/cr\/music\/Benjamin-Britten-War-Requiem\/15495<\/a><\/p>\n\n\n\n Publisher\u2019s score: https:\/\/www.boosey.com\/cr\/perusals\/score?id=10483<\/a> (you need to open a free account)<\/p>\n\n\n\n The beginnings of Post-Modernism<\/strong><\/p>\n\n\n\n Is it just a third stage of modernism? (after the first modernism post WWI and the radical second modernism after WWII?). Is it a confrontation between contemporary music and the reality of a transcultural world?<\/p>\n\n\n\n Article<\/strong>: Messiaen- The Musico-theological Critique of Modernism and Postmodernism<\/a> (Beasley)<\/p>\n\n\n\n Article: <\/strong>I Believe in What? Arvo P\u00e4rt s and Alfred Schnittke s Polystylistic Credos<\/a> (Moore)<\/p>\n\n\n\n Listening:<\/strong><\/p>\n\n\n\n Luciano Berio- Sinfonia <\/em>(Baldwin)<\/a><\/strong><\/p>\n\n\n\n Alfred Schnittke \u2013 Requiem (Marshall)<\/a><\/p>\n\n\n\n American Modernism and Post-Modernism<\/strong><\/p>\n\n\n\n Listening:<\/strong><\/p>\n\n\n\n Interview: John Cage about Silence <\/a>(Roberson)<\/p>\n\n\n\n Charles Ives: Psalm 90 (Alarcon)<\/a><\/p>\n\n\n\n Morton Feldman: Rothko Chapel (Leah)<\/a><\/p>\n\n\n\n Gilberto Mendes \u2013 Beba Coca Cola (Nwankwo)<\/a><\/p>\n\n\n\n Meredith Monk: Songs of Ascension (DeLeon)<\/a><\/p>\n\n\n\n R. Murray Schaffer: Epitaph for Moonlight (Mihalliak)<\/a><\/p>\n\n\n\n <\/p>\n\n\n\n Quick materials for weeks 6 and 7<\/strong><\/p>\n\n\n\n Roig Francoli \u2013 Harmonic and Formal Processes in Ligeti’s Net-Structure Compositions<\/a><\/p>\n\n\n\n (David Marshall)<\/strong><\/p>\n\n\n\n Listening List No. 3<\/strong><\/p>\n\n\n\n Anton Webern ( ) Entflieht auf leichten K\u00e4hnen, Op. 2 (1908)<\/a> (Jude)<\/p>\n\n\n\n Anton Webern- Cantata No. 2. Op. 31, on texts by Hildegard Jone<\/a> (1941-43) (Leah)<\/p>\n\n\n\n Arnold Schoenberg- A Survivor from Warsaw, Op.46 (1947) (Emorja)<\/a><\/p>\n\n\n\n Igor Stravinsky \u2013Requiem Canticles (1966)<\/a> (Lorraine)<\/p>\n\n\n\n Olivier Messiaen \u2013 Trois Petites Liturgies de la Pr\u00e9sence Divine (Tucker)<\/a><\/p>\n\n\n\n Olivier Messiaen \u2013 Cinq Rechants<\/a> (1948)<\/p>\n\n\n\n Witold Lutoslavski- Trois po\u00e8mes d\u2019Henri Michaux. No. II. Le grand combat(1963) (Christina)<\/a><\/p>\n\n\n\n Gy\u00f6rgy Ligeti – Lux aeterna (1963-66) (Eman)<\/a><\/p>\n\n\n\n Krzysztof Penderecki \u2013 Passio et Mors Domini Jesu Christi secundum Lucam<\/a> (1965) (Dallin)<\/p>\n\n\n\n Karlheinz Stockhausen – Stimmung<\/a> (1968) (Juan Carlos)<\/p>\n\n\n\n Quick materials for weeks 4 and 5 <\/strong><\/p>\n\n\n\n ——–<\/strong><\/p>\n\n\n\n Quick materials for weeks 1, 2 and 3<\/strong><\/p>\n\n\n\n ***Margarita Mazo:<\/p>\n\n\n\n Stravinsky\u2019s Les Noces and Russian Wedding Ritual<\/a><\/p>\n\n\n\n ***Edward T. Cone:<\/p>\n\n\n\n Stravinsky-The progress of a method<\/a><\/p>\n\n\n\n Dmitri Tymoczko<\/p>\n\n\n\n Stravinsky and the octatonic<\/a><\/p>\n\n\n\n post1900-analysischecklist-2021Download<\/a><\/p>\n\n\n\n
CHORAL-LITERATURE-POST-1900-Listening-and-reading-4-1<\/a><\/a><\/div>\n\n\n\n