main: December 2009 Archives
But I think instead I'm going to scale it back and make up a list of smaller pieces. I really don't want to spend a lot of time on the Second Vienna School, who don't interest me much - the payoff for me is all post-war Darmstadt - but I think with undergrads I probably should. I could teach one of the Webern Cantatas (I've grown deadly tired of dissecting the Symphony) and part of Berg's Violin Concerto to start off, plus Dallapiccola's Piccola Musica Notturna or Sex Carmina Alcaei. I can't think what Schoenberg to teach, since I don't like any of his 12-tone music except for Moses und Aron. Maybe I can suppress my gag reflex and do the Orchestra Variations or a movement from the Third Quartet. I do not want to waste my time teaching pieces I don't like in this class. I've been analyzing Post-Partitions for years as a Babbitt example, and while it's easy to outline, I just don't think it's a strong piece.
So I'm thinking All Set, for jazz ensemble, if there's enough documentation about it in Andrew Mead's book. I well know the folly of trying to analyze Babbitt without a cheat sheet. I regret that Mead doesn't discuss The Widow's Lament in the Springtime, which would be a perfect size. For another American, I'm thinking Rochberg's lovely Serenata d'Estate, or possibly the first movement of his Second Symphony. For Stockhausen I wouldn't mind trying my hand at Kontrapunkte, which I rather like. (I'm a little weary of rushing through Gruppen in alternate years.) I'd love to include Maderna, but the only score I have is Aura, which is too big. I don't want to do early Boulez, Le Marteau included; the sonatas are too doctrinaire, and Marteau seems like more work than it's worth. Ditto the Stockhausen Klavierstucke, with the possible exception of IX. Berio's Sinfonia would be worth spending a few weeks with; that and Mantra could be the semester's two major works. I'm also thinking about Berio's Circles, a more manageable score. Ligeti's Continuum is a good teaching piece, though I'd rather do something like Melodien or Monument-Selbstportrait-Bewegung. I'd love to do some later Nono, but I'm not inclined toward Il Canto Sospeso and even less to Polifonica-Monodia-Ritmica, which are the scores I own. I've always had a soft spot for Pousseur, but the only piece of his for which I own both score and recording is Jeu de Miroirs de Votre Faust, which is fun but hardly seems representative of serialism. The problem, as some of you know, is that some of these pieces contain complicated hidden structures, and don't make much sense unless someone with inside information has written about them. I once had a frustrating experience trying to analyze Requiem Canticles in class, though I've since found enough information to want to try again. I shy away from Sessions for this reason, too - something about his row technique I don't get.
What am I missing? What could I get and afford scores for, and find coherent analyses of?
UPDATE: Thanks to my readers for all your suggestions. I can now proceed feeling that I've left no stone unturned. Merry Christmas, happy Hannukah, have a good Kwanzaa or solstice, and all that jazz.
Jude Traxler, Heber Schuenemann, David Finlay, Eli Stine, Juliana Steele, Marina Rosenfeld, Scott Wollschleger, Sally Williams, Kathy Supove, Moritz Eggert, Daniel Goode, Luciano Azzigotti, Greg Kirkelie, Carr, Joe Kneer, Joseph Nechvatal, Mary Jennings, Brian McCorkle, Paula Diehl, Johnny Kira, Pall Ivan Palsson, Michael Cooper, Emily Koh, Terence Zahner, Joshua Kopecek, William Brittelle, Christian Gentry, Gabrielle Gamberini, Aaron Feinstein, Douglas DaSilva, Greg Pfieffer, Brad Baumgardner, Dave Golbert, Paul Burnell, Jim Legge, David Morneau, Andrea La Rose, Holly Eve Gerard, Gary A. Edwards, Brian McCorkle, Matthew Reid, Gail Noor, Jonah Bloch-Johnson, Greg A Steinke, Tania Leon, Alexandra Fol, Lucy Koteen, Luca Vanneschi, Sarah Prusoff, Ilias Pantoleon, Luis Menacho, David Simons, David Snow, David Drexler, Mike von der Nahmer, Martha Mooke, Art Jarvinen, David Wolfson, Neil Lyndon, Piotr Grella-Mozejko, David Broome, Matt Malsky, Linda Joe, Greg A Steinke, Nate Trier, Mats Eden, Mort Stine, Ophir Ilzetzki, Yianni Naslas, Jane Stuppin, Jessica Quinones, David Snow, Mark Stephen Brooks, Christopher Fulkerson, Ryan Muncy, Barry Seroff, Emanuel Ayvas, Stephanie Miller, John Oliver, Beth Tambor, Pauline Oliveros, Michael Gordon, Adam Reifsteck, Janet Maguire, Jiri Kaderabek, Marilyn Shrude, Joe Hallman, Mimi Kim, Doug Yule, Jeffrey Young, Tom Lopez, Andrew Griffin, Gene Pritsker, Winnie Sunshine, Sima Shamsi, Wally Gunn, Carl Danielsen, Mike Hanf, and Erin Rogers.
Sites To See
AJ BlogsAJBlogCentral | rss
Terry Teachout on the arts in New York City
Andrew Taylor on the business of arts & culture
rock culture approximately
Laura Collins-Hughes on arts, culture and coverage
Richard Kessler on arts education
Douglas McLennan's blog
Dalouge Smith advocates for the Arts
Art from the American Outback
For immediate release: the arts are marketable
No genre is the new genre
David Jays on theatre and dance
Paul Levy measures the Angles
Judith H. Dobrzynski on Culture
John Rockwell on the arts
innovations and impediments in not-for-profit arts
Jan Herman - arts, media & culture with 'tude
Apollinaire Scherr talks about dance
Tobi Tobias on dance et al...
Howard Mandel's freelance Urban Improvisation
Focus on New Orleans. Jazz and Other Sounds
Doug Ramsey on Jazz and other matters...
Jeff Weinstein's Cultural Mixology
Martha Bayles on Film...
Fresh ideas on building arts communities
Greg Sandow performs a book-in-progress
Harvey Sachs on music, and various digressions
Bruce Brubaker on all things Piano
Kyle Gann on music after the fact
Greg Sandow on the future of Classical Music
Norman Lebrecht on Shifting Sound Worlds
Joe Horowitz on music
Jerome Weeks on Books
Scott McLemee on books, ideas & trash-culture ephemera
Wendy Rosenfield: covering drama, onstage and off
Chloe Veltman on how culture will save the world
Public Art, Public Space
Regina Hackett takes her Art To Go
John Perreault's art diary
Lee Rosenbaum's Cultural Commentary
Tyler Green's modern & contemporary art blog