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College of Arts and Law

School of Languages, Cultures, Art History and Music

Department of Music

MODULES FOR

INCOMING EXCHANGE STUDENTS

2019/2020

2

Semester 2 modules

3

25658 LI Analysis of Music

Credits: 20 Semester 2

This module is compulsory for BMus students; Joint Honours students must take at least one compulsory

module

This module is also available to Exchange students.

Teaching: A 2-hour lecture and a one hour seminar per week

Module Description:

This module introduces basic analytical concepts and skills for the understanding of Western art music

from the Renaissance to the twenty-first century. Topics may include mode, word-painting, fugue, the

schemata of the galant style, syntax in the Classical style, sonata form, Romantic harmony and tonality,

the Romantic fragment, Wagner’s form and harmony, , pitch-class collections and sets, twelve-note

technique, and harmony and form in popular music.

Assessment:

Two 2 hour examinations, 50% each

Module Convenor: Matthew Riley

4

28316 LI Dramatic Italian Vocal Music: Monteverdi & His Contemporaries

28315 LH Dramatic Italian Vocal Music: Monteverdi & His Contemporaries


All Music students can take this module.


Teaching: A 2-hour seminar per week

Module Description:

During the lifetime of Monteverdi significant and longlasting changes to dramatic vocal music occurred.

The end of the 16th century gave rise to the new genre of opera, which developed in disparate ways

throughout the Italian peninsula over the course of the seventeenth century. Alongside opera many other

secular vocal genres continued to thrive and develop. Studying all vocal genres side by side presents us

with a more complete picture of singing culture during this period. While this module will certainly

address the stylistic aspects of the vocal genres, we will also focus on the social and cultural issues which

shaped their musical development. This includes examining the patrons, singers, and composers of this

repertoire through issues of gender, class/social status, reception, the musical canon and the conception

of the early modern body.

Assessment:

45% Essay: 2000 words

45% Exam: includes timed essays and listening identification (2 hours)

10%: Weekly questions and three sentence summaries

Module Convenor: Amy Brosius

5

19888 LI Eighteenth-Century Counterpoint

19889 LH Eighteenth-Century Counterpoint





Module Description:

This course will familiarize students with 18th-century counterpoint techniques through the study of

major repertoire and the writing of a variety of small forms such as figuration preludes and dance forms.

The course will conclude with writing of a larger Baroque form, such as a fugue or a chorale prelude. An

emphasis will be placed on practical compositional skills. This course is suitable for anyone interested in

deepening their understanding of counterpoint as well as developing their practical writing skills, and is

particularly suitable for composers.

Assessment:

100% Portfolio of composition exercises in Baroque style

Module Convenor: Daria Kwiatkowska

6

30262 LI Film Music Techniques and History (Sem 2)

30260 LH Film Music Techniques and History (Sem 2)




Teaching: A one hour seminar and one hour workshop per week

Module Description:

This module will introduce students to both the history of film music and key stylistic tendencies in scoring

film. The historical strand of the course will focus upon the practices of composers working in the

mainstream (i.e. Hollywood) tradition. Broad tendencies in film scoring will be identified within a

chronological framework. Key historical moments to be discussed will include the silent era, the golden

age of Hollywood, the rise of pop and jazz scoring and the new symphonicism. Work on the history of film

will be underpinned by analytical case studies and this will link with a series of exercises concerning film

music styles. Through these exercises students will develop a grasp of textural, melodic and harmonic

devices commonly found in recent film music thereby fostering useful practical skills and a more detailed

understanding of stylistic tendencies in the composition of music for picture.

Assessment:

50% Essay (2000 words)

50% Portfolio of practical exercises concerning film music techniques (2000 word equivalent)

Module Convenor: Ben Curry

7

17934 LI Glinka to Glazunov

17935 LH Glinka to Glazunov




Teaching: A 2-hour lecture per week

Module Description:

This module will examine the music composed when Russian musicians were becoming more conscious of

their national identity and attempting to create a distinctive national style of composition. The composers

examined will include Glinka, Tchaikovsky, Rubinstein, Balakirev, Mussorgsky, Rimsky-Korsakov, Liadov,

Borodin and Glazunov and we will attempt to find out what, if anything, made their music distinctive from

that of the contemporary ‘mainstream’ Western tradition. The relevant social, political and cultural

context will also be examined.

Assessment:

50% Essay I (2500-3000 words)

50% Essay II (2500-3000 words)

Module Convenor: Paul Rodmell

8

27206 LI Introduction to Jazz Styles: 1920 to 1980

27205 LH Introduction to Jazz Styles: 1920 to 1980





Module Description:

This module will focus on selected jazz styles which fit approximately into the sixty years between 1920

and 1980. Taking a broadly chronological approach, the module will cover a range of styles, such as:

ragtime, New Orleans styled jazz, swing, bop, modal jazz, free (and avante-garde) jazz, and jazz fusion.

This survey will, of course, acknowledge that these styles were influenced by historical, cultural and

geographical factors, but the main focus of the module will be on the details of style. Each style will

therefore be investigated primarily through musical parameters such as, harmony, melody and rhythm, as

well as investigating structural tendencies, improvisational approaches and instrumental roles in the

repertoire. Similarly, various influential figures such as Louis Armstrong, Duke Ellington, Charlie Parker,

Miles Davis, John Coltrane and Cecil Taylor will be discussed mainly with regard to their contributions to

jazz styles.

Assessment:


50% Original Jazz Arrangement (2000 words)

Module Convenor: Ben Curry

9

28319 LI Introduction to Music Therapy

28317 LH Introduction to Music Therapy





Module Description:

This module will provide a basic understanding of the fundamental components of music therapy, both

practical and theoretical. Audio and video clips will be used to explore the nature of this clinical

intervention. At least one practical music session will enable students to gain an experiential

understanding of this application of music. Students will consider the application of music therapy in

relation to topics such as mental health, autism, dementia, neurology, psychotherapeutic approaches and

clinical improvisation.

Assessment:

35% Essay 1500 words

65% Essay 2500 words

Module Convenor: Ruth Millington

10

30768 LI Music and Emotion

30766 LH Music and Emotion





Module Description:

In this module, students will be introduced to the interdisciplinary study of Music and Emotion, focusing in

particular on approaches from music theory, music psychology and cognitive neuroscience. The classes

may cover topics such as musical emotion and expectation, embodied musical emotions, emotional

expression in music, the pleasure of dance music, physiological responses to music and music-induced

emotion responses in the brain. The taught topics will be discussed in such a way as to provide students

with the tools to critically assess both scientific and humanistic approaches, with their respective

limitations and ethical considerations.

Assessment:

20% Weekly responses (500 words in total)


50% Independent research project (2500).

Module Convenor: Maria Witek

11

29058 LI Music Festivals

29056 LH Music Festivals





Module Description:

This module provides an in-depth examination of music festivals as a cultural phenomenon. Students will

discover and discuss the historical origins, social contexts, cultural significance, and practical functioning

of music festivals. Students will be introduced to key concepts and critical perspectives in the study of

music festivals through assigned readings and in-class discussion. Assessments will be geared towards

applying the insights gained from these materials to the analysis and evaluation of real-world music

festivals. Topics and cases to be examined will include a wide range of genres (folk, classical, early music,

world music, electronic, rock), scales, venues, and historical periods.

Assessment:

1 2,000-word midterm essay (30%),

1 3,000-word research project (50%),

10 weekly reading responses (20%).

Module Convenor: Luis-Manuel Garcia

12

31926 LI Postsocialist Music and Ethnography

31925 LH Postsocialist Music and Ethnography




Teaching: A 2-hour seminar per week, 2 tutorials and 2 project supervisions

Module Description:

Since the fall of the Soviet Union, global socialism has adapted to new economic and political

circumstances to survive. With these changes, nation-states have revised, reversed, and augmented

cultural heritage preservation policies to pursue new goals of nation-building. This module explores

several socialist and post-socialist contexts attempting to implement newly-crafted policy. Students in the

module trace preservation practices during so-called high socialism, which often involved the creation of

large folk music ensembles, to late- and post-socialism, which features strategical policy alliances with

international organizations (including UNESCO) and tourism drives to bring funds to the state and its

people. Students read several recent music ethnographies on Russia, China, Bulgaria, Cuba, Vietnam and

elsewhere, as well as theoretical literature on the nature of post-socialist endeavour.

Assessment:

‘Designing a Festival’ Project (equivalent to a 1500-word essay) (30%)

Final Project (2500-word essay) (50%)

Fortnightly response assignments (1000-word equivalent) (20%)

Module Convenor: Alexander Cannon

13

31928 LI Ralph Vaughan Williams and his World

31927 LH Ralph Vaughan Williams and his World





Module Description:

This course examines the life and work of twentieth-century British composer Ralph Vaughan Williams

(1872 – 1958).

It is an essentially historical course (rather than an analytical one, for example), and its aim is to situate

and explore Vaughan Williams within his relevant musical, cultural, social, and political contexts.

Particular attention is turned to the range of images that have attached to ‘Vaughan Williams’, both

during his lifetime and since; these invite us to examine his particularly fraught reception history, through

which he has often been mythologized.

As we will see, Vaughan Williams’s contested reputation has been bound up, in turn, with his close

association with certain twentieth-century ideas about English national identity – a set of associations

recently examined and contextualized by scholars, who argue that Vaughan Williams’s cultural

nationalism has served to equate him with aesthetic and political conservatism. Many of these scholars

have pointed, rather, to the progressive aspects of his work.

With all this in mind, key questions examined during this course will include: on what terms has Vaughan

Williams been considered a nationalist composer and/or a modernist composer?

How do the various debates that have surrounded Vaughan Williams’s work inform a broader

understanding of how twentieth-century English composers, writers, artists, and society more broadly

thought about issues of national self-image, aesthetic modernisms, and social modernity?

Assessment:

2 x 2000-word essays (50% each)

Module Convenor: Ceri Owen

14

27210 LI Studies in Performance Practice

27209 LH Studies in Performance Practice





Module Description:

This module combines the disciplines of musicology and performance, introducing students to the main

topics in performance practice of Western Music. Case studies are chosen from the Early Modern,

Baroque and Classical periods. Topics may include organology, rhythm and tempo, articulation, pitch and

temperaments, notation, the history of recorded performance, manuscript and printed musical sources,

issues surround existing editions and editorial practices, and debates around ‘authenticity’ in

performance. These will be explored through case studies of individual works, discussions of

performances and recordings, readings of contemporary treatises, critical evaluation of the secondary

literature on Performance Practice, and workshops with CEMPR vocal and instrumental tutors.

Assessment:

1 x Assessed translation project (100%)

Either

50% Essay I (2000 words)

50% Essay II (2000 words)

or


50% Performance, which can comprise either: 40% for a 12-minute performance, plus 10% for a 500

word supporting programme note on issues arising from the performance;

or 40% participation in the concert by the Early Modern Vocal Ensemble or Chamber Orchestra (a

baroque/ classical orchestra), plus 10% part test

or


50% Edition with 1000 word commentary on issues arising from the editorial process

Module Convenor: Andrew Kirkman

15

29016 LI The Broadway Musicals from Show Boat to Sondheim (Sem 2)

29015 LH The Broadway Musicals from Show Boat to Sondheim (Sem 2)





Module Description:

This module comprises a survey of the musical theatre, placing the genre in its cultural context alongside

close analytical study of scores and libretti. The works of composers and lyricists including Kern,

Hammerstein, Gershwin, Rodgers, Hart, Porter, Bernstein and Sondheim will be examined. Although

concentrating on American output of the 20th century, predecessors of the genre such as operetta and US

theatre forms, and the contribution of the West End, will also be considered.

Assessment:

50% Essay 1 (2500 words)

50% Essay 2 (2500 words)

Module Convenor: Paul Rodmell

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