VH_303 Introduction to New Musicology

Faculty of Arts
Autumn 2015
Extent and Intensity
0/2/0. 3 credit(s). Type of Completion: k (colloquium).
Teacher(s)
Mgr. Bc. Miloš Zapletal, Ph.D. (lecturer)
doc. Mgr. Vladimír Maňas, Ph.D. (seminar tutor)
Guaranteed by
doc. Mgr. Vladimír Maňas, Ph.D.
Department of Musicology – Faculty of Arts
Contact Person: Mgr. Alena Taranzová
Supplier department: Department of Musicology – Faculty of Arts
Timetable
Mon 14:10–15:45 N43
Course Enrolment Limitations
The course is also offered to the students of the fields other than those the course is directly associated with.
The capacity limit for the course is 30 student(s).
Current registration and enrolment status: enrolled: 0/30, only registered: 0/30, only registered with preference (fields directly associated with the programme): 0/30
fields of study / plans the course is directly associated with
there are 10 fields of study the course is directly associated with, display
Course objectives
This course provides an introduction to the so-called "new musicology" and basic overview of its main problems. This term refers to various current fields of Anglo-American musicology after 1980, whose common denominators are criticism of "positivism" of traditional music historiography and "formalism" of traditional musical analysis, implementation of methodological approaches of post-structuralism, cultural, gender and post-colonial studies, and general tendency towards interdisciplinary approach to musicological issues.
Syllabus
  • (1) conditions and contexts of the new musicology (2) musical criticism versus musical analysis (3) impulses of the cultural studies (4) the gender musicology (5) anthropological approaches to musical historiography (6) theory and history of musical reception, canons and cults (7) musical semiotics (8) theory of musical narrative (9) the topic analysis (10) the post-colonial musicology (11) the possibilities of synthesis: "the relational musicology" (12) criticism of the new musicology
Literature
    required literature
  • EVERIST, Mark – COOK, Nicholas (edd.): Rethinking Music. Oxford: Oxford University Press, 2001.
  • KERMAN, Joseph: Musicology. London: Fontana Press, 1985.
  • FULCHER, Jane F. (ed.): The Oxford Handbook of New Cultural History of Music. Oxford: Oxford University Press, 2011.
    not specified
  • AGAWU, Kofi: Music as Discourse. Semiotic Adventures in Romantic Music. New York: Oxford University Press, 2009.
  • SUBOTNIK, Rose Rosengard: Developing Variations: Style and Ideology in Western Music. Minneapolis: University of Minnesota Press, 1991.
  • McCLARY, Susan: Feminine Endings: Music, Gender, and Sexuality. Minnesota: University of Minnesota Press, 1991.
  • KERMAN, Joseph: How We Got into Analysis, and How to Get Out. Critical Inquiry 1980, roč. 7, č. 2, s. 311–331.
  • AGAWU, Kofi: How We Got Out of Analysis, and How to Get Back in Again. Music Analysis 2004, roč. 23, č. 2–3, s. 267–286.
  • FULCHER, Jane: The Composer as Intellectual: Music and Ideology in France 1914–1940. New York: Oxford University Press, 2005.
  • KRAMER, Lawrence: Music as Cultural Practice, 1800–1900. Berkeley: University of California Press, 1990.
  • BURNHAM, Scott: Beethoven Hero. Princeton: Princeton University Press, 1995.
  • MONELLE, Raymond: The Musical Topic: Hunt, Military, and Pastoral. Bloomington: Indiana University Press, 2006.
  • De NORA, Tia: Beethoven and the Construction of Genius: Musical Politics in Vienna, 1792– 1803. Berkeley: University of California Press, 1997.
  • COOK, Nicholas: Beyond the Score: Music as Performance. Oxford: Oxford University Press, 2013.
Teaching methods
Lecture, collective reading, class discussion.
Assessment methods
80% attendance, active participation in discussions.
Language of instruction
Czech
Further Comments
Study Materials
The course is taught only once.
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