{"id":6,"date":"2018-08-18T19:51:59","date_gmt":"2018-08-18T23:51:59","guid":{"rendered":"http:\/\/sites.nd.edu\/choral-lit\/?page_id=6"},"modified":"2021-02-02T22:50:28","modified_gmt":"2021-02-03T02:50:28","slug":"syllabus","status":"publish","type":"page","link":"https:\/\/sites.nd.edu\/choral-lit\/syllabus\/","title":{"rendered":"SYLLABUS"},"content":{"rendered":"<p style=\"text-align: center\"><a href=\"https:\/\/sites.nd.edu\/choral-lit\/files\/2021\/02\/Syllabus-GRADUATE-SEMINAR-IN-CHORAL-LITERATURE-2021.pdf\">Syllabus GRADUATE SEMINAR IN CHORAL LITERATURE<\/a><\/p>\n<p>(for a printed version, click on the title above or go to the bottom of the page)<\/p>\n<p style=\"text-align: center\"><em>I acknowledge my presence in the traditional homelands of<\/em> <i>Native peoples including the Haudenosauneega, Miami, Peoria, and particularly the Pok\u00e9gnek Bod\u00e9wadmik \/ Pokagon Potawatomi, who have been using this land for education for thousands of years, and continue to do so<\/i>&#8212;<\/p>\n<p style=\"text-align: center\"><strong>GRADUATE SEMINAR IN CHORAL LITERATURE<\/strong><\/p>\n<p style=\"text-align: center\"><strong>SPRING 2021<\/strong><\/p>\n<p style=\"text-align: center\"><strong>THE 20<sup>TH<\/sup> AND 21<sup>ST<\/sup> CENTURIES<\/strong><\/p>\n<p style=\"text-align: center\"><strong>Friday, 1-3:30 pm<\/strong><\/p>\n<p style=\"text-align: center\"><strong>Professor Carmen-Helena T\u00e9llez<\/strong><\/p>\n<p style=\"text-align: center\"><a href=\"mailto:ctellez1@nd.edu\"><strong>ctellez1@nd.edu<\/strong><\/a><\/p>\n<p style=\"text-align: center\">COURSE WEBSITE: <a href=\"http:\/\/sites.nd.edu\/choral-lit\">sites.nd.edu\/choral-lit<\/a><\/p>\n<p><strong>General Objectives<br \/><\/strong>To gain proficiency and insight in the historical context, analysis, performance practices, programming, and interpretation of choral literature from 1900 to the present.<\/p>\n<p><strong>Scores and Recordings<\/strong><br \/>Students are usually advised, as the semester develops, to obtain published copies of specific repertoire through Reserves at the Music Library \u00a0to prepare for class. However, because of the pandemic, we will use digital scores alongside electronic listening resources. (The use of an IPad with the <em>ForScore<\/em> app is highly recommended).<\/p>\n<p><strong>Requirements and grading.<\/strong><\/p>\n<ul>\n<li>You must have access to your personal computer and IPad (if you have one) while attending the seminar. Materials will be distributed electronically<\/li>\n<\/ul>\n<p>Grading is based on the following:<\/p>\n<ul>\n<li>attendance and participation in the discussion (33%)<\/li>\n<li>class presentations and assignments (33%)<\/li>\n<li>final paper (34%)<\/li>\n<li><strong>Attendance is strictly required. An excuse to be absent must be requested at least week in advance.<br \/><\/strong><\/li>\n<\/ul>\n<p><strong>Assignments<\/strong><\/p>\n<p>Assignments will be distributed on a rolling basis, matching the content and progress of the discussion. They will be listed in the seminar\u2019s online page, and\/or emailed directly to the seminar members as the semester develops.\u00a0 The seminar members are responsible for checking on assignments and clarifying expectations.\u00a0 Reading and listening resources are available in the Music Library and Seminar Website. Completed assignments will be sent BY EMAIL to me at <a href=\"mailto:ctellez1@nd.edu\">ctellez1@nd.edu<\/a><\/p>\n<p><strong>Types of assignments.<\/strong><\/p>\n<p>Assignments may involve the following activities:<\/p>\n<p>\u2022Readings and reports of book chapters and articles about style trends after 1900<\/p>\n<p>\u2022Analysis of compositional procedures and formal structures in a specific composition<\/p>\n<p>\u2022Preparation of annotated lists of repertoire and music terminology<\/p>\n<p>\u2022Discussion of case studies on programming and rehearsing 20<sup>th<\/sup> and 21st century choral music repertoire<\/p>\n<p>\u2022Attendance to guest lectures and workshops<\/p>\n<p>\u2022Listening to assigned excerpts to discuss rehearsal techniques<\/p>\n<p><strong>Research paper<\/strong><br \/>A topic proposal for a final research paper will be expected by mid-semester (see calendar below). The proposal will be submitted by email to Dr. Tellez at <a href=\"mailto:ctellez1@nd.edu\">ctellez1@nd.edu<\/a>. Recommendations on how to prepare the topic proposal and the paper can be found in the Seminar Website. <a href=\"https:\/\/sites.nd.edu\/choral-lit\/handouts\/\">Handouts<\/a> page. <strong>Please follow the topic proposal format indicated there.<\/strong><\/p>\n<p><strong>Final research presentations<\/strong> based on your paper will take place during the last week of classes with a possible extra day if necessary (see calendar).\u00a0 Written final papers are due on or before the assigned date in the calendar, by or before 5pm. Papers will be submitted by email to <a href=\"mailto:ctellez1@nd.edu\">ctellez1@nd.edu<\/a><\/p>\n<p><strong> E-portfolio<\/strong><\/p>\n<p>All students must keep an e-portfolio in the format of a personal website with both public and private pages. See <a href=\"https:\/\/sites.nd.edu\/choral-lit\/handouts\/\">Handouts page<\/a> of the seminar website for suggestions on how to prepare this tool.<\/p>\n<p><strong> Materials recommended for your permanent personal library (links provided for purchase options)<\/strong>:<\/p>\n<ul>\n<li>Biographies and Essay Compilations (often called \u201cCompanions to\u2026\u201d) about the featured composers in this seminar, preferably those published after 1985, <strong>such as:<\/strong><\/li>\n<\/ul>\n<p><a href=\"http:\/\/www.amazon.com\/Cambridge-Companion-Benjamin-Britten-Companions\/dp\/0521574765\/ref=sr_1_6?s=books&amp;ie=UTF8&amp;qid=1293335447&amp;sr=1-6\">The Cambridge Companion to Benjamin Britten (Cambridge Companions to Music)<\/a>by Mervyn Cooke(June 28, 1999)<\/p>\n<p><a href=\"https:\/\/www.amazon.com\/Cambridge-Companion-Arvo-Companions-Music\/dp\/0521279100\/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1532135239&amp;sr=1-1&amp;keywords=the+Cambridge+companion+to+arvo+part&amp;dpID=416trzZszUL&amp;preST=_SY291_BO1,204,203,200_QL40_&amp;dpSrc=srch\">The Cambridge Companion to Arvo P\u00e4rt (Cambridge Companions to Music)<\/a> by Andrew Shenton, editor (May 17, 2012).<\/p>\n<p><a href=\"http:\/\/www.amazon.com\/Cambridge-Companion-Stravinsky-Companions-Music\/dp\/0521663776\/ref=sr_1_6?s=books&amp;ie=UTF8&amp;qid=1293332936&amp;sr=1-6\">The Cambridge Companion to Stravinsky (Cambridge Companions to Music)<\/a>by Jonathan Cross(Aug 18, 2003)<\/p>\n<p>And others on composers of your choice.<\/p>\n<ul>\n<li>Studies on the development of styles, genres, compositional techniques and performance practices in the 20<sup>th-<\/sup> and 21<sup>st<\/sup>-century music, such as:<\/li>\n<\/ul>\n<p><a href=\"https:\/\/www.amazon.com\/Analysing-Musical-Multimedia-Nicholas-Cook\/dp\/0198165897\/ref=mt_hardcover?_encoding=UTF8&amp;me=&amp;qid=1532139167\">Analysing Musical Multimedia<\/a> by Nicholas Cook (2001)<\/p>\n<p><a href=\"https:\/\/www.amazon.com\/Analytic-Approaches-Twentieth-Century-Music-Lester\/dp\/0393957624\">Analytic Approaches to Twentieth-Century Music<\/a> by Joel Lester (1989)<\/p>\n<p><a href=\"http:\/\/www.amazon.com\/Approaches-Meaning-Music-Musical-Interpretation\/dp\/0253347920\/ref=sr_1_1?ie=UTF8&amp;qid=1293330647&amp;sr=8-1\">Approaches to Meaning in Music (Musical Meaning and Interpretation)<\/a> by Byron Alm\u00e9n and Edward Pearsall. (2006)<\/p>\n<p><a href=\"https:\/\/www.amazon.com\/Modern-Music-After-Paul-Griffiths-ebook\/dp\/B00569JXTE\/ref=pd_typ_k_rtpb_1_154606011_5\/143-9934727-3219304?_encoding=UTF8&amp;psc=1&amp;refRID=0DYTSS3YDMS57HW32CP2\">Modern Music and After<\/a> by Paul Griffith (2011).<\/p>\n<p><a href=\"https:\/\/www.amazon.com\/Music-after-Fall-Composition-Culture\/dp\/0520283155\/ref=sr_1_1?s=books&amp;ie=UTF8&amp;qid=1532138044&amp;sr=1-1&amp;keywords=music+after+the+fall\">Music after the Fall<\/a> by Tim Rutherford-Johnson. (2017).<\/p>\n<p><a href=\"https:\/\/www.amazon.com\/Postmodern-Music-Listening-Jonathan-Kramer\/dp\/1501306014\/ref=pd_bxgy_14_3?_encoding=UTF8&amp;pd_rd_i=1501306014&amp;pd_rd_r=2R78GD7DPPRWTQR2BRQ6&amp;pd_rd_w=sdtW9&amp;pd_rd_wg=0UPTY&amp;psc=1&amp;refRID=2R78GD7DPPRWTQR2BRQ6\">Postmodern Music, Postmodern Listening<\/a>, by Jonathan Kramer (2016)<\/p>\n<p><a href=\"http:\/\/www.amazon.com\/Rest-Noise-Listening-Twentieth-Century\/dp\/0312427719\/ref=sr_1_6?s=books&amp;ie=UTF8&amp;qid=1293332589&amp;sr=1-6\">The Rest Is Noise: Listening to the Twentieth Century<\/a> by <a href=\"http:\/\/www.amazon.com\/Alex-Ross\/e\/B001JRYICE\/ref=sr_ntt_srch_lnk_6?qid=1293332589&amp;sr=1-6\">Alex Ross<\/a> (2008)<\/p>\n<p><strong>Other activities.<\/strong><br \/>Choral performances, workshops, lectures and related activities will be recommended for attendance with follow-up reports by the seminar members. \u00a0 They will be announced as they emerge and therefore, given the student\u2019s possible conflicts with other duties, a strict requirement will not be imposed. However, reports on these events will earn points for the class and should be added to the e-portfolio. <em>This semester the pandemic may restrict these activities.<\/em><\/p>\n<p><strong>GENERAL SEMINAR CALENDAR SPRING 2021<\/strong><\/p>\n<ul>\n<li><strong>FRIDAY<\/strong>, February 5 &#8211; First seminar session 1-3:30 pm<\/li>\n<li><strong>FRIDAY April 2<\/strong><br \/>Good Friday: no classes and no meetings<\/li>\n<li><strong>FRIDAY April 9<\/strong> \u2013 Submit paper proposal (prospectus)<\/li>\n<li><strong>FRIDAY MAY 7- PAPER PRESENTATIONS<\/strong><\/li>\n<li><strong>TUESDAY May 11<\/strong><br \/>Last class day<\/li>\n<li><strong>FRIDAY May 14 POSSIBLE EXTRA PAPER PRESENTATION DATE &#8211; <\/strong><br \/>Final Exams (no review sessions)<\/li>\n<li><strong>THURSDAY, MAY 20, BY 5 PM-<\/strong> <strong>PAPER SUBMISSION DEADLINE<\/strong><\/li>\n<li><strong>May 22-23<\/strong><br \/>Commencement Weekend<\/li>\n<\/ul>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>An overview of the \u00a0seminar\u2019s activities through the semester:<\/strong><\/p>\n<p>Each week the seminar will include some or all of the following components:<\/p>\n<p>&#8211;Lecture by Professor Tellez on the profile and contributions of salient works of the 20<sup>th<\/sup>\/21<sup>st<\/sup> century repertoire<\/p>\n<p>&#8211;Presentations by seminar members on targeted readings and technical terminology, as assigned.<\/p>\n<p>&#8211;Reports by seminar members on related repertoire and listening assignments, as assigned.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>WEEK 1 \u2013 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 February 5 <\/strong><\/p>\n<p>Survey of topics, requirements and expectations.<\/p>\n<p>The constellation of trends in music composition after 1900. The breakdown of Romantic music and the artistic focus on innovation. The dominant directions of innovation.<\/p>\n<p>Faur\u00e9, Rachmaninoff, Martin, early Schoenberg<\/p>\n<p><strong>WEEK 2 \u2013\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 February 12<\/strong><\/p>\n<p>Modernism and the innovation based on root traditions 1. Stravinsky\u2019s <em>Les Noces (Svadebka).<\/em> Villa-Lobos <em>Choros No. 10.<\/em> Modernism and the pre-classical structures.<\/p>\n<p>Stravinsky \u2018s <em>Symphony of Psalms<\/em> and <em>Mass<\/em>.\u00a0 Comparable works. Reports and presentations assigned.<\/p>\n<p><strong>WEEK 3 \u2013 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 February 19.<\/strong><\/p>\n<p>Student reports and presentations as assigned.<\/p>\n<p><strong>WEEK 4 &#8211;\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 February 26<\/strong><\/p>\n<p>The French neoclassical school: Poulenc, Durufl\u00e9, and other French masters. The influence of the French school in America and Britain. The preservation of tonality and the \u201cmiddle-brow\u201d aesthetic. Vaughan Williams, Howells, Britten. Copland, Bernstein, Barber. The American influence on Latin American countries, Ginastera, Estevez.<\/p>\n<p><strong>WEEK 5 &#8211;\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 March 5<\/strong><\/p>\n<p>Reports and presentations as assigned.<\/p>\n<p><strong>WEEK 6 &#8211;\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 March 12<\/strong><\/p>\n<p>Rational Modernism: Twelve-tone languages and Schoenberg, Webern, Stravinsky, Dallapiccola. Moving towards radical modernism: The imperative of originality and Messiaen, Stockhausen, Ligeti, Penderecki,\u00a0 Lutoslawski. Radical modernism continues: The move towards postmodernism and polystylism: Schnittke and Berio.<\/p>\n<p><strong>WEEK 7\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 March 19<\/strong><\/p>\n<p>Reports and presentations as assigned.<\/p>\n<p><strong>WEEK 8 &#8211;\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 March 26<\/strong><\/p>\n<p>The American \u201cmaverick\u201d approach versus the success of the \u201dmiddle-brow\u201d choral tradition. Ives, Cage, Feldman, Meredith Monk\u00a0 \u00a0American minimalism and other conceptual experimentations: John Adams, Steve Reich, Philip Glass, John Luther Adams, Lauridsen, Whitacre, Paulus, Caroline Shaw.<\/p>\n<p><strong>WEEK 9 -&#8220;\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 April 2<\/strong><\/p>\n<p>Good Friday \u2013 no session<\/p>\n<p><strong>WEEK 10-\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 April 9 <\/strong><\/p>\n<p>Presentation of paper theses. Submission of the paper\u2019s topic proposal, before 5pm.<\/p>\n<p><strong>WEEK 11\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 April 16<\/strong><\/p>\n<p>Post-Modernism and the renaissance of sacred music in the Catholic and Lutheran traditions. MacMillan, Sandstr\u00f8m. Nordic and Baltic Countries: Rautavaara, Norgard, Tormis. Post-Modern Music and the influence of Orthodox and Medieval religious traditions. P\u00e4rt, Tavener, Esenvalds. The impact on American choral music. David Lang.<\/p>\n<p><strong>WEEK 12 &#8211;\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 April 23<\/strong><\/p>\n<p>Reports and presentations as assigned.<strong>\u00a0<\/strong><\/p>\n<p><strong>WEEK 13\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 April 30<\/strong><\/p>\n<p>A global and inter-artistic sensibility: Classical choral, the non-Western European traditions, embrace of non-concert repertoire, and the advent of interactive technologies Performance Studies and Creativity: Challenges in contemporary conducting practice. The need to integrate diverse cultures. \u00a0The new conductor as an interdisciplinary artist. Ellington, Sierra, Golijov, Leon, Thompson<\/p>\n<p><strong>WEEK 14\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 May 7<\/strong><\/p>\n<p>Paper presentations.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n<p><strong>WEEK 15\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 May 14<\/strong><\/p>\n<p>Possible continuation of paper presentations.<\/p>\n<p><strong>\u00a0<\/strong><\/p>\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/sites.nd.edu\/choral-lit\/files\/2021\/02\/Syllabus-GRADUATE-SEMINAR-IN-CHORAL-LITERATURE-2021.pdf\">Syllabus-GRADUATE-SEMINAR-IN-CHORAL-LITERATURE-2021<\/a><a href=\"https:\/\/sites.nd.edu\/choral-lit\/files\/2021\/02\/Syllabus-GRADUATE-SEMINAR-IN-CHORAL-LITERATURE-2021.pdf\" class=\"wp-block-file__button\" download>Download<\/a><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Syllabus GRADUATE SEMINAR IN CHORAL LITERATURE (for a printed version, click on the title above or go to the bottom of the page) I acknowledge my presence in the traditional homelands of Native peoples including the Haudenosauneega, Miami, Peoria, and particularly the Pok\u00e9gnek Bod\u00e9wadmik \/ Pokagon Potawatomi, who have been using this land for education [&hellip;]<\/p>\n","protected":false},"author":3153,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-6","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sites.nd.edu\/choral-lit\/wp-json\/wp\/v2\/pages\/6","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.nd.edu\/choral-lit\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.nd.edu\/choral-lit\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.nd.edu\/choral-lit\/wp-json\/wp\/v2\/users\/3153"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.nd.edu\/choral-lit\/wp-json\/wp\/v2\/comments?post=6"}],"version-history":[{"count":12,"href":"https:\/\/sites.nd.edu\/choral-lit\/wp-json\/wp\/v2\/pages\/6\/revisions"}],"predecessor-version":[{"id":413,"href":"https:\/\/sites.nd.edu\/choral-lit\/wp-json\/wp\/v2\/pages\/6\/revisions\/413"}],"wp:attachment":[{"href":"https:\/\/sites.nd.edu\/choral-lit\/wp-json\/wp\/v2\/media?parent=6"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}