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Spring 2002
This information effective
for Spring 2002.
Check with instructor the first day of class for any changes.
Spring 2002
Instructor: Staff
F 12:30–3:30 p.m.
Music Center 114
A course covering the music of North India taught using the oral traditions of Indian music. For beginners as well as more experienced students, this course is well suited for instrumentalists and vocalists. Taught by a master musician, focus will be on the Ragas and Talas of North Indian (Hindustani) music, a body of literature from an unbroken oral tradition of two to three thousand years. Traditional compositions will be taught as vehicles for improvisation within the raga (melodic shape) and tal (rhythmic cycle). (General Education Code: A)
Spring 2002
Instructor: John Schechter
TTh 2:00–3:45 p.m.
Music Center 131
Phone: (831)459-2246; (831)459-2019
E-mai: jschech@cats.ucsc.edu
http://arts.ucsc.edu/faculty/schechter/
An in-depth examination
of living musical traditions, within stipulated regions of Latin America and
the Caribbean. The recently published text was written especially for this course,
and it comprises chapters written by ethnomusicologists with substantial fieldwork
experience in their respective regions: Mexico; Central America; the Caribbean;
Colombia; Peru; Chile and Argentina; Brazil. Focus on one or two particular
music-cultures within each region, treating musical types, instruments, and
rituals, as well as giving biographies of noted musicians and descriptions of
pertinent music-cultural processes. Also, supra-regional material: Nueva Canción
(“New Song”); Latin American Women’s Songs and the Images of
Women in Song; the symbolic character, of musical expression in Latin America.
Instructor: Sherwood Dudley
Opera addresses our strongest passions: love, lust, hatred, and grief figure prominently in operatic plots. This spring you will have a chance to examine how the consummate art form of opera has dealt with our most basic emotions through the years, and at the same time you can earn credit for a general education arts requirement (A and T).
The course will be organized chronologically, providing an overview of opera from its inception around the year 1600 to the present. As operatic styles and conventions have changed, the drama inherent in them has necessarily been affected. One must view Monteverdi's L'Orfeo of 1607 and Strauss' DerRosenkavalier, written two hundred years later, from quite different dramatic perspectives.
The course carries no prerequisites. A reading knowledge of music is not necessary.
Most of the outside work for the course will be viewing and listening; required reading will be minimal, simply a couple of articles that will be available at the Copy Center later in the quarter. Hand-outs at each lecture will include terms to learn and information about the specific operas that we are studying. Assignments will involve three or four essays on the dramatic content of the operas under consideration.
The class will meet in room 131 of the Music Center, Tues.-Thurs., 10:00-11:45, and will be supplemented by screenings of entire operas each Monday evening, 7-10, in the same room. (Videodiscs or tapes of these operas will be available for personal viewing in the Media Center on the first floor of McHenry Library.) Because clips from numerous other operas will be shown at each lecture as well, attendance at all lectures and screenings will be expected.
Most operas will be sung in a language other than English, but they will be subtitled. Here is the syllabus and screening schedule:
Week I: Baroque and reform
opera
Tu 03/26, Class # 1-The beginnings of opera (Monteverdi, L'Orfeo)
Th 03/28, Class # 2-Early 18th-century opera seria (Vivaldi, Orlando
furioso;
Handel, Julius Caesar); reform opera (Gluck, Orfeo ed Euridice)
Week II: Mozart's operas
*M 04/01, 7:00 p.m, screening: excerpts from Vivaldi, Handel, and Gluck
Tu 04/02, Class # 3-18th-century opera buffa (Le nozze di Figaro)
Th 04/04, Class # 4-When an opera buffa isn't comic (Don Giovanni);
when directors change the locale and time period of the opera (Peter Sellars's
Don Giovanni)
Week III: Early nineteenth-century
Italian opera
*M 04/08, 7:00 p.m., screening: Mozart, Le nozze di Figaro
Tu 04/09, Class # 5-Structure of an early 19th-century opera buffa: Rossini
(Il barbiere di Siviglia)
Th 04/11, Class # 6-The scena: Donizetti (Lucia di Lammermoor);
Bellini (Norma)
Week IV: Verdi's operas
*M 04/15, 7:00 p.m., screening: Rossini, Il barbiere di Siviglia
Tu 04/16, Class # 7-La traviata and Aida
Th 04/18, Class # 8-Otello (with comparison to Shakespeare's Othello);
Falstaff
Week V: Wagner's philosophies
of music drama
*M 04/22, 7:00 p.m., screening: Verdi, La traviata
Tu 04/23, Class # 9-overview of Der Ring des Nibelungen; Das Rheingold
Th 04/25, Class # 10-Die Walküre; Siegfried; Götterdämmerung
Week VI: Nineteenth-century
French opera
*M 04/29, 7:00 p.m., screening: excerpts from The Ring
Tu 04/30, Class # 11-grand opéra (Meyerbeer, Les Huguenots);
lyric opera (Offenbach, Les Contes d'Hoffmann); opéra comique
(Bizet, Carmen)
[You will not be tested on this material until the final exam.]
Th 05/02, Class # 12-Midterm exam
Week VII: Late nineteenth-century
Italian opera
*M 05/06, 7:00 p.m., screening: Bizet, Carmen
Tu 05/07, Class # 13-Verismo opera (Leoncavallo, I Pagliacci)
Th 05/09, Class # 14-Puccini (La bohème; Tosca; Gianni Schicchi)
Week VIII: Russian opera
and early twentieth-century American opera
*M 05/13, 7:00 p.m, screening: Puccini, La bohème
Tu 05/14, Class # 15-Russian Nationalism: (Musorgsky, Boris Godunov)
Th 05/16, Class # 16- The African-American contribution to opera: Marian Anderson,
Leontyne Price, et al.; Gershwin (Porgy and Bess)
Week IX: Post-Wagnerian
German opera; Spanish opera
*M 05/20, 7:00 p.m., screening: Gershwin, Porgy and Bess
Tu 05/21, Class # 17-The Wagnerian legacy (R. Strauss, Salome); the Mozartian
legacy (R. Strauss, Der Rosenkavalier); the "New Viennese School"
(Berg, Wozzeck)
Th 05/23, Class # 18- Opera in Spain and Latin America: the zarzuela
(guest lecture by Yanira Urquhart)
Week X: Late twentieth-century
American opera
*M 05/27, no screening (holiday)
Tu, Class # 19-Overview of American opera (John Adams, Nixon in China)
Th, Class # 20-John Corigliano, The Ghosts of Versailles; review for
final exam
The final exam will be on Tuesday, June 4, 7:30-10:30 p.m.
Spring 2002
Instructor: Karlton Hester
TTh 2:00–3:45 p.m.
Music Center 101
This course traces the various stylistic musical areas throughout the African continent and explores the development of traditional African music from antiquity into the 20th century. (General Education Codes: T4-Humanities and Arts, A, E.)
Spring 2002
Instructor: Gerald Bassermann
M 11:00 a.m.–12:45 p.m.
Music Center 114
Lab TBA
A survey of musical applications of the World Wide Web and the technologies they employ: tools for musical research, playback, composition, performance, and publishing. Historical perspectives and artistic ethics also discussed. Students prepare a creative project using software tools, techniques, and sound sources available on the web, and learn how to publish the results on the web. (General Education Codes: T4-Humanities and Arts, A.)