2021 O L Western Music Paper Pdf !!LINK!! Download English Medium

[3.9] The CMS Manifesto sparked needed conversation, with some controversy.(12) However, to my knowledge, the one aspect that the manifesto and all other attempts at reframing the undergraduate music theory curriculum lack is a critical-race analysis of the underlying reasons with respect to how and why we remain so focused on the western canon in music theory, and why it remains so hard for us to envision the music theories outside of it. More specific, I believe that only a critical examination of whiteness and our white frame can reveal how we got to where we are so that we can begin to dismantle the racialized structures that form our field.

[4.7.1]Schenker is but one figure in a long history of racialized thought in music theory, a line of thought that remains underexplored. His racism is seen through a western lens that distorts, contorts, and sanitizes racist behavior, often in service of fictitious science. In The Invention of Race in the European Middle Ages, Geraldine Heng writes:

2021 O L Western Music Paper Pdf Download English Medium

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[6.4] Convene an antiracist music theory conference, or convene such a session at a music theory conference. In addition to focusing on the works, compositional and theoretical, of POC, such a conference would follow up on themes presented in this paper, namely, the examination of music theory from a critical-race perspective.

[6.6] Acknowledge that qualified, music theoretically inclined POC often decamp from music theory for other fields, musicology and ethnomusicology mainly. If we truly seek to reframe our white frame in music theory, we will acknowledge this emigration and try to welcome back such persons. Further, we should reach out to them to open a dialogue about why they left music theory and what we might do in the future to encourage POC to come to or remain in music theory. I believe that many of the themes that I raise in my paper will be raised by these persons. Finally, an anonymous survey could garner participation from those who have left music theory.

21M.220 Medieval and Renaissance Music

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Prereq: None. Coreq: 21M.301

Units: 3-0-9 -schedule

Examines European, Mediterranean basin, and Latin American music in the ancient world, Middle Ages, and the Renaissance (to 1630). Interweaves a chronological survey with the intensive study of three topics, which are usually chant and its development, music in Italy 1340-1420, and music in Elizabethan England. Focuses on methods and pitfalls in studying music of the distant past. Students work with original sources and facsimiles in crafting research papers, presentation, and assignments.

Staff

21M.283 Musicals

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Prereq: One subject in film, music, or theater or permission of instructor

Units: 3-0-9 -schedule

Lecture: MW3.30-5 (4-152)

Covers Broadway works and Hollywood films in depth. Proceeds chronologically, exploring landmark stage musicals and films, within four historical categories: breakthrough musicals of the 1920s and '30s; classic "book musicals" of the '40s and '50s; modernist and concept musicals of the '60s and '70s; and postmodern and cutting-edge works of the '80s and '90s. Attention given to the role of music in relation to script, characterization, and dramatic structure. Final papers involve comparison of one stage and one film work, selected in consultation with the instructor. Oral presentations required and in-class performances encouraged.

M. Marks

Textbooks (Spring 2024)

21M.284 Film Music

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(Subject meets with CMS.925)

Prereq: None

Units: 3-0-9

Provides a conceptual foundation and methodology for the study of music created for various types of (mainly) narrative films, from the medium's origins in the early twentieth century to the present. Close attention to select influential scores by composers active in Hollywood from the 1940s to the 1990s (e.g., Max Steiner, Bernard Herrmann, Quincy Jones, John Williams, Philip Glass). Those works are juxtaposed with landmarks of alternative film and musical styles from other countries and centers of production. Subsidiary topics include the history and challenges of live musical accompaniment to silent films, and the evolution of recording and sound-editing technologies from the studio era to the global present. Students taking the graduate version complete different assignments. Some background in the study of film and/or music is desirable, but not a prerequisite.

M. Marks

This paper focuses on three concepts central to the theory of conservation: authenticity, change and loss. These terms are explored in relation to how they are viewed in traditional conservation practice and how they might usefully be interpreted in relation to time-based media works of art. Discussions about authenticity found in the philosophy of music suggest ways in which conservators might approach concepts of change and loss in relation to time-based media installations.

This paper focuses on questions about authenticity, change and loss in relation to time-based media installations.2 The term time-based media refers to works that incorporate a video, slide, film, audio or computer based element. Time-based media installations involve a media element that is rendered within a defined space and in a way that has been specified by the artist. Part of what it means to experience these works is to experience their unfolding over time according to the temporal logic of the medium as it is played back. As we shall see, the fact that these works are installations has perhaps a greater impact on the development of a conceptual framework for their conservation than the fact that they involve time-based media.

This paper has referenced the philosophy of music, in particular the work of Stephen Davies, to develop a conceptual framework against which we might not only understand notions of loss and change in the conservation of time-based media works of art but also look at ways in which we might determine what, in the identity of such works, is important to preserve.

Among the largest music collections in the U.S., the Northwestern University Music Library has an unmatched strength in 20th century and contemporary classical music, and holds at least one copy of nearly every new score published since 1945.

Olivia Cacchione (she/her) is a PhD candidate in musicology. She received her MM in harp performance and her MA in music history from University of Washington. Her current work deals broadly with intersections of music, sound, and spirit in the long nineteenth century in England and America. Her dissertation asks how music haunts us and explores a cultural history of listening with an emphasis on the lived experience of the Victorian-era spiritualist sance. Her work has been funded by the Mellon Foundation and the Social Science Research Council. She has published on the topic of the voices of spirits in mid-twentieth century gothic radio dramas, and presented papers at the American Musicological Society and the Society for American Music conferences. In her free time, she enjoys riding her bike, reading crime fiction, and indulging in ghost hunts and other paranormal entertainments.

Paul Feller holds a Bachelor of Arts with a concentration in musicology from the Pontificia Universidad Catlica de Chile and a master's degree in musicology from Northwestern University. In addition to being a musicology PhD candidate, Paul is a member of Northwestern's Medieval and Jewish Studies clusters. Primarily an early modernist, his research interests include Jewish-Christian musical exchanges in Northwestern Europe, music in the colonies of the Spanish Empire, and musical othering. Paul has published on eighteenth century opera contrafacts at the Amsterdam Grand Synagogue. Additionally, his research on musical representations of Jewish masculinity was awarded the Irene Alm Memorial Prize of the Society for Seventeenth-Century Music. His work on colonial villancicos in Chile was recognized with an honorable mention for the 2023 Otto Mayer-Serra Award. In 2022, he obtained the American Musicological Society Noah Greenberg Award with Cesar Favila for their contribution to the performance of music from nunneries in New Spain. Paul has presented at conferences throughout the Americas and Europe, including the MUSAM International Conference, the Annual Meeting of the American Musicological Society, the Medieval and Renaissance International Music Conference, and the Association for Jewish Studies Annual Conference. At Northwestern, Paul met his wife, who is also a musicologist, with whom he spends his spare time hiking and playing with their cat.

Bridget Foley (they/them) is a PhD student in musicology at Northwestern University. They earned a Bachelor of Music Education with a Choral/General emphasis and a Master of Arts in Musicology from Indiana University. Their research interests lie primarily in ludomusicology, specifically in Japanese video game scores that utilize popular music genres, tying narrative and interactivity to modern musical culture. They have also done research into the broader scope of ludomusicology, exploring how play and music intertwine in the form of canonic composition in the Renaissance. In their free time they enjoy singing in virtual musicals, cuddling with their cat, and moderating several Discord servers. 2351a5e196