|Semester and Year||WI 2013|
|Time||10:00 AM - 1:30 PM|
Is it possible to say that a piece of music “means” something? Can music communicate emotion, narrative, or philosophy? Can it embrace or resist political ideology? In what ways is music influenced by, or in what ways does it influence, society? For Richard Wagner, music and words together are capable of expressing the deepest thoughts and feelings that a human can have, and according to Nietzsche, music provides access to the nature of reality itself. On the other hand, Eduard Hanslick insisted that music should be divorced from the extramusical world, and Stravinsky famously claimed that music, by its very nature, is essentially powerless to express anything at all. More recently, thinkers have stressed the importance of approaching music as a cultural construct to reveal its encoded ideological meanings. This course looks at the nature of musical meaning from all these perspectives. We listen to and discuss forms of Western art (i.e. “classical”) music as well as genres of popular and folk music as we explore the relationship of gender, race, class, and politics to musical works. Each unit in this course takes a specific musical text (Beethoven’s Ninth Symphony, John Coltrane’s Love Supreme, the Beatles’ White Album) and explore different theoretical, philosophical and musicological approaches to the music’s “meaning.” We read philosophical works of aesthetics and hermeneutics by Plato, Hegel, Schopenhauer, and Heidegger, essays by musicologists and cultural studies scholars such as Carl Dahlhaus, Theodor Adorno, Leo Treitler, Paul Gilroy, Susan McClary, and Robert Walser, and creative pieces by James Baldwin, Ralph Ellison, and John Cage.
Interdisciplinary Seminars (IDSEM-UG)