DQ for Watkins 235-52

DQ for Watkins 235-52 (grad students: please also read p288-99 and be prepared to relate this material [which describes roughly contemporaneously innovations in America and in Germany] to the Italian/Russian material described in Chapter 12)

Please be prepared to respond in either seminar meeting or in "Comments" on the course blog. In all venues, you must be prepared to cite specific passages (by page, paragraph, line, and quotation) in support of your responses—and specific works.

Summary: This section explores an “Ism” which had far more impact conceptually and philosophically—even technologically—than it did sonically. That is, the Italian (and to an extent) the Russian Futurists did not in fact generate much in the way of original, “lasting,” or influential-upon-other-composers music. However, the very fact that the Futurists were better at theory than practice, yet still were conceptually very important, helps us get at the impact that ideas (as opposed to concrete compositions) shaped music in the first half of the 20th century.

General question for consideration: consider the language, metaphors, and seeming intentions that shaped and underlay the various Futurist “manifestos” (and if you don’t know the literal meaning of that word, look it up here). Now consider the time period (originally 1909-14 in Italy, then roughly 1914-21 in Europe and America). Are there any other philosophical movements extant in the public discourse in the same period which seem to employ or invoke similar language, metaphors, and/or intentions? Be prepared to articulate and to cite examples.

(1) In the very first paragraph of the chapter, Watkins cites a “revolt” in fin-de-siecle Italy as the point of origin for musical Futurism. This is a very brief commentary but it has (potentially) profound significance when set against contemporaneous musical/social/political perspectives in other places. Against what was the revolt? In what media did the revolt play out? Do the concerns of this rebellion (both musical and otherwise) in Italy have any parallels in other places at about the same time? What might account for such parallelisms? If so, how and why did the artistic “rebellion” in those other places differ from that in Italy? In what way is the Italian situation unique?

(2) On pp236-39 Watkins quotes the language of various Futurist manifestos (including those by Marinetti and Russolo, most importantly), and the descriptions of various instruments invented by composers to realize these new goals. What characteristics seem to be shared in both polemic and inventions? In other words and to quote our Syllabus, what are the “problems” the Futurists perceive themselves to be “solving”?

(3) Bottom of p237, Watkins describes the audience for a demonstration of the “Exploder” in Modena in 1913. Who was present at this demonstration? What is the significance of these persons’ presence? Do these individuals take these ideas elsewhere, either geographically or conceptually or both? If so, how can we articulate the influence (cited in the “Summary”) above of these essentially non-composing Futurist inventors upon other composers far more active? Construct and be prepared to quote a thesis that interprets this relationship.

(4) Scanning the entire chapter, make a checklist of the specific technical innovations developed by Futurist composers (noting page numbers) and be prepared to describe other works in which these innovations were employed.

(5) Watkins distinguishes between Russian and Italian Futurism. How? What are the differences? How did the Italian versus the Russian composers’ goals—or analyses of the artistic “problems” they faced—differ. Be prepared to provide an explanation for those differences and to cite evidence to support that explanation. Hint: Consider the contrasted political and artistic immediate histories of these two places. How did differing historical context shape Futurism two different ways in two different places?

(6) On pp241-42, Watkins specifically discusses the impact of Futurism upon Stravinsky. What aspects of Futurist thought does Watkins locate in which Stravinsky works? With what other “Isms” already present in Stravinsky does Watkins see Futurism being connected? Be prepared to describe these links.

(7) On p243, Watkins says “While the official ‘Futuristi’ spawned slim musical results, their influence was more salutary than would appear at first glance.” Further to the “Summary” above—how can this be? How can composers who “spawned [only] slim musical results” nevertheless have surprisingly extensive influence? What evidence does Watkins cite in support of this thesis?

(8) On pp244-45 Watkins discusses the evolution of Futurist ideas in Russia into what would become yet another “Ism” under Stalin: that of “Socialist Realism.” The circumstances of progressive, experimental, avant-garde composition in Russia before and after 1924 were very different and reflected the State’s strong influences. How did those circumstances change? Grad students: be prepared to define and provide examples of “Socialist Realism” in the period after 1924, and to explain why it became so much more important after that date.

(9) On pp248-49, Watkins discusses, among others, those aspects of Paul Hindemith’s and Edgard Varese’s music which show the influence of Futurism. Overall, be prepared to summarize and contrast Hindemith’s versus Varese’s goals for music written under this influence. What did Hindemith desire his 1920s music should accomplish? What did Varese desire in contrast? Cite evidence to support your response.

DQ for Neo-classicism articles (All read Messing, Grad students add Taruskin)

For Thursday Mar 1: find these pdf articles on WebCT "Materials - Week 08 - pdf files"

DQ for Neo-classicism articles (All read Messing, Grad students add Taruskin)

Messing, “Polemic as History: The Case of Neoclassicism”

Taruskin, “Back to Whom? Neoclassicism as Ideology” (Review essay)

Please be prepared to respond in either seminar meeting or in "Comments" on the course blog. In all venues, you must be prepared to cite specific passages (by page, paragraph, line, and quotation) in support of your responses—and specific works.

These articles both examine and “problematize” the label of “neoclassicism” which has been applied (in hindsight) to some composers and compositions, with both negative and positive connotations, referencing both stylistic and philosophical tendencies. Both Messing and Taruskin (Taruskin largely in concurring commentary to Messing’s book) suggest that NC is a more complicated, less clear, more polemical and ideological, less stylistic or historical phenomenon.

General questions for consideration: if these authors are correct that there is no such thing as a “neoclassical style,” what is the use of the term? Can it help us understand other factors, beyond issues of SHMRG characteristics? To use the terminology of the syllabus, what “problems faced by composers” did inauguration and application of the term “neoclassicism” help solve?

(1) On p481, Messing cites two “paradoxes” in the usual discussions of neoclassicism. In your own words, be prepared to summarize these paradoxes, and to provide a one-sentence articulation of Messing’s “solution” to or resolution of these seeming paradoxes. Hint: first articulate the particular rhetoric or theoretical problems which Messing believes neoclassicism was addressing.

(2) What is the role of nationalist concerns in the contested meanings of neoclassicism? Messing makes clear that the term was originally applied as a pejorative criticism by one group of composers in reference to another group of composers? What negative attributes did the term’s employers intend to convey about the opponents? Grad students: be prepared to provide a brief, complete, and accurate articulation of the extra-musical (historical, economic, political or other) factors that might have motivated this criticism?

(3) Expand (2) above outward: what was at stake in these debates? Why did composers feel this competition so strongly? Hint: try to articulate a thesis which explains the “power” that is conveyed by being able to label something? What is the “power” of labeling? Who uses or seeks to use this power?

(4) on pp482 & ff Messing cites an “emerging dissatisfaction” amongst composers who later became associated with neoclassical impulses. Dissatisfaction with what? Within music? Outside music? What qualities, aesthetics, or ideals did neoclassicism in music seek to create in opposition to this dissatisfaction?

(5) Pick at least 2 non-German composers cited in the article, jot down a list of the dates of their works which Messing cites as emblematic of NC, and look at the same dates in the creative trajectories of at least 2 German composers. (For example, look at Satie and Debussy, jot down the dates of at least 2 works by Satie and Debussy which Messing calls NC, and look at dates in the music of Brahms, Mahler, Strauss, Schoenberg, or other German composers). What patterns emerge?

(6) There are specific SHMRG characteristics which seem to be shared commonly amongst works commonly labeled “NC”; jot down a list of at least 5 of these characteristics. Having done so, be prepared to articulate at least 3 ways in which these SHMRG characteristics exemplify the aesthetics you cited in (4) above.

(7) pp491 & ff: What is neoclassicism’s view of history? Be prepared to articulate the neoclassical composer’s response to the following question: “Neoclassical aesthetics, forms, and SHMRG characteristics made it possible for these composers to come to terms with the following historical ‘problems’…[a], [b], [c]”.

(8) p493 Messing refers to a “decidedly ironic cast.” This is an adjective we have used in class (specifically but not exclusively speaking about the music of Satie). On p493 & ff, how does Messing explain the use of irony in this period? What problem(s) did “irony” make it possible for composers to solve?

(9) What is the relationship of, respectively, Stravinsky and Schoenberg to neoclassicism? Did Stravinsky feel it necessary to “negotiate a response” to NC? If so, what were the specifics of this negotiation? Did Schoenberg feel a similar necessity? If not, why not, specifically?

(10) Grad students: read Taruskin’s article through p294 and be prepared to contribute this author’s insights to discussion of the above questions. I am particularly interested in ways you can use Taruskin to nuance and/or problematize Messing’s model.

DQ for Watkins, 196-214 (grad students: add 215-22)

DQ for Watkins, 196-214 (grad students: add 215-22. Also, please locate at least 2 compositions [score excerpts or audio excerpts] and at least 2 artwork images cited but not included in the readings, and be prepared to share with the class in hard-copy or from a jump-drive)

Please be prepared to respond in either seminar meeting or in "Comments" on the course blog. In all venues, you must be prepared to cite specific passages (by page, paragraph, line, and quotation) in support of your responses—and specific works.

This section, as its titles make clear, explores the confluence of factors that led to the watershed work The Rite of Spring, now conventionally understood as marking the beginning of the “musical 20^th century.” Please pay particular attention to the historical continuum (the lengthy historical progression) and the combination of artistic and other factors in which Watkins roots this seminal work.

General question for consideration: is it possible that the Rite is widely regarded as such a watershed precisely because its roots and source influences are so complex? Is the Rite, then, a kind of “culmination”? If so, could a different piece, in the same time and place, have had the same impact? Why or why not?

(1) On p196, Watkins locates the combination of factors cited above specifically in Paris. Be prepared to articulate a thesis summarizing Watkins’ explanations for the impact of the city and its residents upon the roots of the Rite. Grad students: be prepared to cite at least 3 other influential individuals present in Paris in the pre-WWI period, but not cited specifically by Watkins; pay particular attention to “The World of Art” (pp199-200).

(2) On pp196-97, Watkins cites a group of “painters, composers, singers, actors, architects,” and others who provided new models for creative persons who sought new and/or nationalist art forms in Russia of the period. What were their sources? What were their motives? Be prepared to summarize; grad students: be prepared to link this group to roughly contemporaneous “new arts” movements outside Russia in the same period.

(3) On pp197 & ff, Watkins describes the career, influence, and styles of Rimsky-Korsakov. Be prepared to (a) summarize these elements of Rimsky’s artistic identity (particularly relating sources to compositional style) and (b) to explain both the philosophical and the practical/stylistic impact of Rimsky upon Stravinsky. Grad students: be prepared to cite specific works by each composer.

(4) Read the entire section and be prepared to describe the role(s) of Sergei Diaghilev, not only in the career of Stravinsky but also as a shaper of the world of Parisian avant-garde art. Hint: look at the citations of Diaghilev in the index. Grad students: be prepared to link at least five of the various artists (in various media) who Diaghilev brought together, and to compare Diaghilev’s role in pre-WWI Paris to the activities of other impresarios/producers in other times and places.

(5) Listen to at least TWO of the Four Tableaux (on WebCT) while following in the scenario printed in Watkins on pp202-04. Jot down a list of at least five precisely descriptive adjectives (e.g., “angular, dissonant, folk-like,” or other) which you think accurately describe musical textures in the Two Tableaux you listen to, and be prepared to articulate the SHMRG characteristics which support the choice of those adjectives. Grad students: play through the folksong excerpts on pp204-05 (11.4-11.8) and locate at least TWO places in Petroushka in which those excerpts serve as raw thematic material.

(6) On pp211-14 Watkins summarizes the range of sources, influences, ideas, and (especially) extra-musical inspirations for Le Sacre du printemps. Be prepared to summarize in your own words, in one sentence (jot down the sentence if necessary). Grad students: in addition read 215-20 and be prepared to summarize the specific motivic and rhythmic techniques which give the piece its distinctive melodic/rhythmic language.

Further to thesis statements

Folks:

Lots of good stuff here—but lots of work still to be done, particularly in the area of narrowing and specifying the nature of your thesis. If a thesis statement and/or my comments do not appear next to your focal piece, it's because I did not receive a thesis statement or need you to resend it.

General comments:

• You must employ primary sources as your principle evidence; secondary literature may be cited to reinforced points, but your analysis of evidence must be based upon those primary sources: scores, letters, journals, newspapers, iconography, etc
• You must be arguing a specific interpretation: you must in other words be seeking to “prove” something about the material in question
• You must demonstrate that your work makes an original contribution: it is not necessary to create a thesis no other author has ever argued, but your combination of evidence and interpretation must be unique and original. Typically, the best way to ensure that you are doing this is to review the existing secondary literature, to articulate how/where it is missing insight(s), and describe how your contribution addresses these insights
• Generally speaking, theses which are too broad, vague, or unspecific can be vastly narrowed and specified (a) by reference to Watkins’s own commentary on specific pieces, (b) by surveying secondary literature about specific pieces (especially but not limited to Grove Online), and, (c) most importantly, by listening to and taking notes upon the specific works. You should not be trying to create a specific thesis unless and until you have completed (a), (b), and (c).

Berio: Sequenza

Mahler: Symphony no. 6.

I will argue that Gustav Mahler’s compositional style was influenced by his role as a conductor, based on analysis of scores, particularly Das Lied von Der Erde, primary sources such as composers notes and personal accounts, and interviews of modern conductors who have studied Mahler’s works.

• OK as far as it goes, but simply to say “was influenced” is far too unspecific. In WHAT SPECIFIC WAYS was his compositional style influenced? Orchestration? Instrumental techniques? Blends? Dynamics? Distinctive approaches to notation? Distinctive combinations? Other specific characteristics? Narrow the focus of the investigation and rewrite thesis to reflect

Barber: School for Scandal

I will argue why Barber's Overture to the School for Scandal was written about the Curtis Institute and how this piece portrays programmaticism about this topic

• OK but too vague and unspecific. If you want to argue that the “Overture” was “written about” Curtis, what sorts of evidence will you use? What will your primary sources be?

Scriabin: Piano Sonata No. 9

Gershwin: Porgy & Bess

Debussy: "Nocturnes"

The Nocturnes that Debussy wrote in the early 20th century, shows many different kinds of styles, techniques, and characteristics. I will argrue using books, articles, and score analysis that Debussy used French romanticism, influences from other musical styles, and impressionism to help him with his writing of Nocturnes.

• Not really a thesis: it is reasonably obvious that Debussy was influenced by “romanticism,” “impressionism,” and “influences from other styles”; likewise, “many different kinds of styles” is way too vague. This is not sufficiently specific or original. What specific aspects of the works will you focus upon, what specific previous/outside works or other influences will you cite, and what do you specifically seek to prove?

Mahler 2

Glass

This paper will focus on both the historical and aesthetic ideas that culminated in the creation of Koyannis katsi (Sp?), namely the shifting role of art music, the procedure and development of minimalism and incorporation of non-western philosophy with regard to film.

• OK, this is sufficiently specific. But, you do not describe the specific types and pieces of primary evidence you will draw upon, and you need to articulate in the form of a thesis (“I will argue that…”)

Babbitt: All Set; Composition for Twelve Instruments

Vaughan Williams: Mass in G Minor

direct happenings in Vaughan Williams’ family life are manifested in his work – the Mass in G Minor.

• OK but rather vague and unspecific: “direct happenings…are manifested” is not precise. Which events? Manifested how? What types of primary evidence will you employ?

Walton-Belshazzar: Feast

Vaughan Williams: Five Tudor Portraits

Vaughan Williams employed Skelton's text and Tudor musical references in Five Tudor Portraits in order to establish an English national music identity in the face of (mostly Germanic) criticism of England as the "land without music." My approach will be both contextual and analytical.

• Good. What specific types or sources of primary evidence will you employ?

Messiaen: Turangalila Symphony

Futurism

Stravinsky/Neo-classicism: Octet, Pulcinella, or other

Piazzolla, or Shostakovich Conc. #1

Cage

John Cage’s first thoughts of the importance of percussion in his writing started with an argument with his teacher, Arnold Schoenberg. He had stated that he had no feeling for harmony, at which Shoenberg’s reply was that he came to a wall he could not pass. Cage’s reply was, “I will devote my life to beating my head against that wall.” I will attempt to prove that his early development as a composer was based in non- harmonic traditions that pushed his own focus to the percussive. Through insights into his early years of music study into the first composition for percussion ensemble, First Construction, I plan to prove that Cage not only pioneered development for music in the new art form of the percussion ensemble, but also found the vehicle for which he could move from harmonic superiority in music to future ventures into the exotic linear.

• Good. One or two slightly confusing or ambiguous phrases: what specifically do you mean by “the exotic linear”? It’s an interesting construction but your reader will want to be clear on what it means. Also, a question for further extension: could you expand this thesis to include a kind of “percussive approach to the exotic linear” which helps us understand his aleatoric and/or multi-media pieces? Or should this thesis only be limited to the works for percussion ensemble? I can see both possibilities; what do you think?

Short Ride in a Fast Machine

Music for 18 Musicians" by Steve Reich; John Adams "Short Ride In A Fast Machine".

Ravel: Daphnis and Chloe

DQ for Watkins, 170-95

DQ for Watkins, 170-95 (grad students: please be prepared to supply additional references to parallel art works, artists, and contemporaneous events that impacted upon late Expressionism)

Please be prepared to respond in either seminar meeting or in "Comments" on the course blog. In all venues, you must be prepared to cite specific passages (by page, paragraph, line, and quotation) in support of your responses—and specific works.

This section explores the gradual linkage (particularly in Germany but also in France) between certain aspects of “expressionism” in poetry and the visual arts, and music. Further, it describes a gradual “clarification” of the expressionist mood expressed in expressionist music. Focusing upon analysis of Schoenberg’s Erwartung and Pierrot Lunaire, Watkins suggests that these works represent a kind of final flowering of expressionism: its close linkage with programs depicting the complex, dream-like, irrationality of the subconscious. In this sense, allusion, programmaticism, autobiography, “neo-classical” impulses (at least in the form of quotations from other musics), atonality/angularity, all become tools in service of this dream-like mood. Keep in mind this gradual “clarification”—which moves away from the garish Decadence of Salome and toward a more internal and introspective mode.

(1) On pp170-71 Watkins describes a “general crisis” that “seemed to suggest the final overthrow of the Romantic age.” What was the shape of this crisis, what factors were understood to be contributing to it, in what arenas outside the arts did it appear, and how did composers in the period respond?

[Note that Watkins acknowledges that works which fall within “Romantic” stylistic or philosophical modes continued to be written in this period, but that certain works may be seen as “a watershed” into a new era. His thesis is not comprehensive, therefore, but selective.]

(2) Watkins further links several different national or stylistic schools, and across various art forms, in describing the elements of this “Expressionist attitude” (170), and in so doing usefully complicates the presumption that “German” or “French” musics in this period can be seen as simply, diametrically opposite. At both the beginning and the end of the chapter he shows relationships and cross-influences between these two national schools. Read the discussion of color theory, “correspondences,” and the Blaue Reiter group carefully (grad students: this would be a review of additional reading on DBR which you have already done).

(3) Note the particular characteristics of the “emotionalism” Watkins cites at the bottom of 171; what are these characteristics, how are they combined in various works cited in the text (grad students: or in additional works of the period), and how could you succinctly summarize the expressive goals of the music that results?

(4) on p173 Watkins provides a remarkably succinct but very dense summary of the goals, strategies, and results of German musical expressionism in the pre-WWI period. Be prepared to unpack this description line by line and phrase by phrase, citing specific works and composers to explain Watkins’s meaning.

(5) Watkins presents Erwartung as an effective test-case for his model of German expressionism. Articulate the specific goals and “moods” which this piece and related works sought to evoke. Explain how the musical/psychological portrait in Erwartung “moves beyond” earlier or parallel corollaries: what are the programmatic subtleties of this portrait? What are the musical specifics? Articulate the ways in which the “Self/Other” dichotomy and the phenomenon of “the Other” can help explain Erwartung.

(6) Follow along Sc. 1 and Sc. 2 using WebCT excerpts and the texts in Watkins. Identify at least THREE specific passages in the text and provide precise discussion of specific compositional choices which support each passage.

(7) Please read this Wikipedia article on the Italian Renaissance theatrical form called commedia dell’arte and articulate links between the behaviors and/or emotional associations of specific characters as they were appropriated by early 20^th-century expressionists. Locate and describe at least one additional allusion to commedia characters in 20^th-century arts culture from outside Watkins’s examples.

(8) Select at least THREE numbers from Pierrot, follow the texts in Watkins as you listen via WebCT, and provide precise discussion of specific compositional choices which are employed (NOTE: you must expand your analysis beyond Watkins’s own comments).

(9) See 193-94 discussion of Ravel’s La valse and articulate the linkage between Ravel’s 1923 composition and the social/artistic environment(s) that shaped it—please address this in detail.

Breeze slideshow on Debussy

See "Materials - Week 05 - Links - Breeze." Read, listen, compare to Watkins, be prepared for "drop the laser" mock-exam on Tuesday.

For mock exam, remember that, for any mystery piece from our listening, you would be expected to use SHMRG evidence to make conclusions about the following, in descending order of priority. These are a "baseline" of conclusions you should be able to draw from any score or audio example, and exactly parallel the kinds of conclusions you are expected to derive on Master's and Doctoral exams.

1. (most important) Time period of composition, as precisely as possible. In the 20th century, this means within 5 years earlier or later of actual date.

2. (next most important) Type, form, or structure of composition--and detailed description if the piece does not conform to specific traditional forms.

3. (3rd most important) National or stylistic school to which the composition belongs: German, French, Nationalist, Expressionist, Primitivist, etc.

4. (least important) Possible ID(s) of composers who fit the above three parameters.

NOTE: specific title of composition is NOT the priority, and knowing the title of the composition will not substitute for the above insights.

Please review, at the very least, the works of Webern, Debussy, and Ravel discussed in the past three class sessions.

Remember to please read the discussion of Bartok's Duke Bluebeard's Castle with our seminar discussion of the overlaps between "expressionism," "exoticism," and "color theory" in mind.

No seminar meeting Thursday Feb. 15.

See also the next set of Discussion Questions.,

DQ for Watkins, 130-54 (grad students: Schoenberg, Kandinsky, Skriabin also)

DQ for Watkins, 130-54 (grad students: be prepared to fill out the class discussion with your insights regarding Schoenberg, Kandinsky, Skriabin, and Der Blaue Reiter. Note: you are especially asked to be prepared to both define and explain the impact of concepts of “synaesthesia” in cognitive and artistic theories of the period. Suggestion: look at the color experiments of all three above-cited artists, but also look at the discussion of Bartok’s Duke Bluebeard’s Castle, and the included stage directions for Salome, to flesh your commentary)

Please be prepared to respond in either seminar meeting or in "Comments" on the course blog. In all venues, you must be prepared to cite specific passages (by page, paragraph, line, and quotation) in support of your responses—and specific works.

(1) Although the term “decadent”, in common parlance, has pejorative connotations, Watkins clearly intends a complex and subtle set of expressive characteristics. We have spoken of some related characteristics in fin-de-siecle Vienna—of a sense of “things ‘ending.’” Based on those discussions, and your reading of this chapter, be prepared to articulate (a) a definition of “decadence” which captures all Watkins connotations, (b) examples of those characteristics associated with “decadence” which we have identified in Viennese and Parisian music already examined, and (c) a model of decadence which explains its expressions across art forms in this period. Extra credit (grad students?): relate (a), (b), and/or (c) to analogous manifestations of decadence in other time periods and art forms.

(2) pp130-35 discusses at some length the impact and symbolism of the Salome story to artists, writers, and composers in the period. Unpack the characteristic connotations associated with this story and link them to other expressive concerns manifested by composers in this period. What agendas or artistic programs did the Salome story make available? What sorts of compositional characteristics (especially timbral, formal, and harmonic) did these agendas demand or make possible? Extra credit (grad students?): relate specific passages in the Huysmans text to specific music-stylistic elements in cited works of Strauss or Bartok.

(3) pp135-38: Read these pages (about Oscar Wilde’s, Aubrey Beardsley’s, Gustav Klimt’s approaches to Salome) and then realize one of the following three alternatives:

(a) Locate a substantial portion (at least 2 scenes) from Wilde’s play-script and be prepared to lead the rest of the class in a discussion of the “musical connotations” of the reading script;

(b) Locate at least 2 hi-rez full-color images of other Klimt paintings or Beardsley etchings and be prepared to lead a discussion of those images as they reveal musical connotations of decadence;

(c) Relate the mood and mode of expression in Strauss’s Salome to the general artistic, political, economic, and historical “mood” in fin-de-siecle Vienna. Musically and metaphorically, how did Salome address or confront “problems” composers and others saw themselves as facing?

(4) pp138-43: Be prepared to articulate the relationship between Salome-era Strauss, Wagner, and, crucially, other composers outside the German orbit. Is it accurate to say that “decadent symbolism” is, or is not, allied in goals or strategies to French nationalism of the same period? Extra credit (grad students?): locate textual/musical passages in the (Watkins-transcribed) Finale of Salome and be prepared to compare/relate these to passages in Debussy’s work.

(5) pp149-51: Be prepared to articulate the specific impact of Debussy’s Pelleas upon Schmitt’s Salome (and on which later Russian composers?). Unpack and summarize the impact of Russian upon French and French upon Russian composers of the period. Extra credit (grad students?): do some independent research, find out more about les Apaches, and relate their artistic credo and their behaviors to both contemporaneous and later artistic developments (especially in France). Hint: look at the Satie connection.

(6) pp152-54: Read the background on Bartok’s Duke Bluebeard’s Castle; relate this background material to the experiments in emotion, mood, and color by Der Blaue Reiter group as described in Watkins and summarized by our grad students. Articulate the specific relevant definition of synaesthesia and relate this phenomenon to the overall structure of Bartok’s opera. Conventionally we think of opera has highly programmatic, but this work reveals tight symmetrical and “abstract” musical organization; be prepared to explain. What is Bartok’s debt, in this work, to Russian nationalist composers? To German Expressionism?