| CODE | MSP5500 | ||||||||||||
| TITLE | Music since 1945 | ||||||||||||
| UM LEVEL | 05 - Postgraduate Modular Diploma or Degree Course | ||||||||||||
| MQF LEVEL | 7 | ||||||||||||
| ECTS CREDITS | 5 | ||||||||||||
| DEPARTMENT | Music Studies | ||||||||||||
| DESCRIPTION | An overview of developments in Music composition since 1945, with more detailed focus on specific topics. The issues involved will be different stances, as adopted by a number of selected composers, concerning modernism (pro-, anti-, post-, eclecticism), both as regards musical techniques and the philosophies behind these different attitudes. The lectures will consist of presentations about the topics, listening, analysis and discussions. Students will do their own research to contribute to the proceedings, by submitting a portfolio of assignments and more detailed analyses, which will be entitled "My Music since 1945". Study-unit Aims: To make Composition students familiar with techniques and different approaches to musical language within the contemporary music scene. Learning Outcomes: 1. Knowledge & Understanding: By the end of the study-unit the student will be able to: 1. Understand the contemporary music scene, with its different viewpoints, and have knowledge of the techniques used so that he/she could adopt those which they find attractive to them as composers. This would be the result of their ability to assess and evaluate the different positions, so that he/she would be able to integrate them into their own particular viewpoint. 2. Skills: By the end of the study-unit the student will be able to: 1. Further his/her ability to present his/her research on contemporary music; 2. Prepare write-ups of an academic standard about their research, making a well-argued critique of different composers' and other writers' approaches to the areas under discussion, and support and defend their positions; 3. Use appropriate analytical techniques; 4. Make use of the baggage of techniques, procedures, etc. that has been made available to the contemporary composer by other composers and integrate them with his/her personal style. Main Text/s and any supplementary readings: Cross, J.: The Stravinsky legacy (Cambridge University Press, 1998) Griffiths, P.: Encyclopaedia of 20th-Century Music (Thames & Hudson, 1986) Griffiths, P.: Modern Music and after (OUP, 1995) Lester, J.: Analytic Approaches to Twentieth-Century Music (Norton, 1989) Metzer, D.: Musical Modernism at the turn of the Twenty-First Century (Cambridge University Press, 2009) Ross, A.: The Rest is Noise (Harper, 2007) Stone, K.: Music Notation in the Twentieth Century (Norton, 1980) Whittall, A.: Musical Composition in the Twentieth Century (OUP, 1999) Whittall, A.: Exploring Twentieth-Century Music, Tradition and Innovation (CUP, 2003) http://www.theguardian.com/music/musicblog/2012/apr/23/welcome-new-contemporary-music-guide Several other books (including scores) about individual composers or national schools are in the possession of the lecturer and might be made available to students. |
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| STUDY-UNIT TYPE | Lecture | ||||||||||||
| METHOD OF ASSESSMENT |
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| LECTURER/S | Max Erwin |
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The University makes every effort to ensure that the published Courses Plans, Programmes of Study and Study-Unit information are complete and up-to-date at the time of publication. The University reserves the right to make changes in case errors are detected after publication.
The availability of optional units may be subject to timetabling constraints. Units not attracting a sufficient number of registrations may be withdrawn without notice. It should be noted that all the information in the description above applies to study-units available during the academic year 2024/5. It may be subject to change in subsequent years. |
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