course-schedule

Black Music - Vom Work Song zum Motown-Hit (Seminar)

Inhalt: Der Einfluss schwarzer Musik auf die Musik der weißen Bevölkerung Nordamerikas stellt die herausragende Initialzündung für die gesamte weitere Entwicklung der populären Musikstile bis heute dar. In der Veranstaltung werden die ausdifferenzierten Entwicklungen und Stile dargestellt sowie deren Hauptvertreter behandelt.

Music in Europe from 1700 to 1750 (Seminar)

Dozent/in: Richard Agee

Music in Europe from 300 to 1750 (Seminar)

Dozent/in: Richard Agee

Musik und Medien (Seminar)

Dozent/in: Christian Baierle

Inhalt: Nach einem historischen Einstieg werden entlang der Wertschöpfungskette der Musikwirtschaft die einzelnen Marktteilnehmer der Musikindustrie und ihre Medien vorgestellt. Dabei sind sowohl die möglicherweise Kultur fördernden Aspekte der Musikökonomie zu betrachten als auch Ausschlusskriterien zu untersuchen, die durch die Marktmacht einzelner Teilnehmer des Wirtschaftskreislaufs und Marktdurchsetzungsmechanismen modernen Musikmarketings und durch die Rezipienten gegeben sein können. Schließlich wird im Hinblick auf die so genannten „neuen Medien“ untersucht, ob sich durch diese neue Aspekte in der Verknüpfung von Musikökonomie und Musikkultur ergeben werden.

Popmusik und Konzertmarkt: Musikmessen und Festivals II (Seminar)

Dozent/in: Carola Schormann

Termin:
wöchentlich | Donnerstag | 12:15 - 13:45 | 30.03.2009 - 03.07.2009 | C 16.207 Musik

Inhalt: Inhaltliche Nachbereitung der Exkursion nach Austin und New Orleans im März 2009

The American Experimental Music Tradition (Seminar)

Dozent/in: Stephen Scott

Inhalt: Course Overview A music history and literature course covering primarily the "American Experimental Tradition" in concert music. Survey of composers, beginning with those Europeans and Americans of the late Nineteenth Century whose principal concerns have been with "new sounds" rather than "new means of organization." Topics include “extended” instrumental techniques, altered instruments, composer-designed-and-built instruments, new vocal techniques, tuning, and the influences of world musics, modernism and minimalism. Course Rationale In his book American Experimental Music 1890-1940, the British scholar David Nicholls begins his assessment of American concert music of the 20th Century this way: "Around the turn of the century, ...a national musical consciousness began to emerge in America. Subsequently, as composers increasingly turned away from Europe, this took many forms. Of these, by far the most consistent and stimulating has been that of experimentalism: consequently, Europeans nowadays often look to America as a major source of new ideas." American composers, especially those commonly thought of as "experimental," had in the 20th Century, and continue to have in the early 21st, an enormous impact on the Western concert-music traditions, as well as those of other parts of the world. Indeed, the American "vernacular" traditions, from jazz to rock and hip-hop, have been much influenced by these experimentalists and some of their European counterparts. Further, it is now so well known as to be a truism that boundaries between musical genres have become increasingly blurred in an era of rapid diffusion of cultural information. For these reasons, a well-rounded musician (or music listener) living now, even one concentrating in so-called "classical" music, should have a grounding in the experimental tradition just as s/he should have some acquaintance with jazz, popular musics, and traditional musics of the world's many cultures. Topics by class session (times to be arranged) Friday afternoon, 12 June: historical background, American concert music in the Nineteenth Century, Charles Ives Saturday morning, 13 June: extended instrumental techniques Saturday afternoon, 13 June: altered instruments and new instruments (driven by composers’ needs) Sunday, 14 June: tuning (especially just intonation), world music, (European) modernism and (American) minimalism

Weltmusik: Traditionen und Transformationen (Seminar)