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ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification

* ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT.

** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

1. GENERAL INFORMATION

Title Birth of the Modern Part 1

Module code OS601

Credit rating 20

Level 6

Indicative Contact hours n/a

Pre-requisite modules Levels 4 and 5

Co-requisite modules OS602

School responsible School of Performance

Member of staff responsible Dr F Jane Schopf

ECT* 10

Notional hours of Learning** 200

2. AIMS

The module aims to: • provide you with a detailed understanding of the most important changes in musical style and technique between 1890 and 1912, and an ability to demonstrate how these changes are embodied in certain key pieces • provide you with a knowledge of how these changes affected opera •develop your understanding of the broader cultural context of these changes.

3. BRIEF DESCRIPTION OF THE MODULE

This module discusses the “Tristan” chord and its implications for western harmony leading you through atonality to the serialism of the early twentieth century, setting each within their context. Works studied include Mahler, Debussy and Schoenberg.

4. INTENDED LEARNING OUTCOMES


2

Category of outcome You will be able to:

Knowledge and understanding

Apply musical concepts such as keys and tonality in the study of scores place opera composers, librettists and practitioners in historical and relative contexts evaluate the main artistic movements, traditions and ideologies that influence and inform opera this period of its history explain and discuss significant developments in opera at the turn of the last century

Intellectual skills identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for the study of opera, and apply these in critical assessments identify and apply analytical approaches appropriate for systematic and in-depth historical and contextual inquiry engage with, apply and integrate complex theoretical analyses in relation to primary and secondary material.

Practical skills utilise specialist skills in music analysis utilise specialist skills in score reading

Transferable skills and personal qualities

maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) begin to engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis in critical writing locate and discuss primary material within historical and theoretical frameworks identify the theoretical assumptions informing their own work and the writings/practices of others formulate a comprehensive response to a designated assignment deploy advanced skills of critical, contextual and theoretical analysis, and achieve the integration of these in written submissions demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical

5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING)

You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses.

6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING)


3

Assessment task Length Weighting within module (if relevant)

Formative, multi-part Summative (essay based)

2000 (+/- 10%) 3000 (+/- 10%)

40% 60%

7. FURTHER INFORMATION

Semester 1 or 2

Available on which programme(s)?

Opera Studies

Available as Free Choice (UG) or to other programmes (PG)?

No

Content Weeks 1 and 2 Tristan and the Breakdown of Tonality 1

We will discuss Tristan and the infamous chord to find out what makes it so epoch making.

Weeks 3 and 4 Tristan and the Breakdown of Tonality 2

We will discuss increasing harmonic chromaticism and dissonance; harmonic and motivic processes and their implications for opera.

Weeks 5 and 6 Late Romanticism

We will explore the musical language of late Romanticism.

Weeks 7 and 8 Exoticism

We will discuss musical orientalism and exoticism; pentatonic and modal scales in Mahler’s Das Lied von der Erde

Weeks 9 and 10 Modernist Directions - Debussy 1

Here we will look at Debussy, Impressionism and Symbolism

Weeks 11 and 12 Modernist Directions – Debussy 2

We will consider Debussy’s style; timbre and orchestration; modal and whole-tone scales and approaches to musical structure.

Weeks 13 and 14 Expressionism and Pierrot Lunaire 1

We will explore musical expressionism; the extended use of the voice and the treatment of the text within Pierrot Lunaire.

Weeks 15 and 16 Expressionism and Pierrot Lunaire 2

We will conclude our look at Expressionism and Pierrot Lunaire by considering the proto-serial procedures and the subject of music theatre.

Teaching Method Distributed written material with graded exercises and tasks, many interactive, and all with responses.

Specified texts

Written Tutor feedback on submitted work, online tutorials and support


4

VLE Wide use of online resources, interactive exercises with responses

Chat rooms and online tutorials

Feedback

Given via chat rooms and emails and fully annotated written comments on submitted work

Indicative Reading Antokoletz, Elliott. Musical Symbolism in the Operas of Debussy and Bartok Oxford: OUP, 2004.

Bailey, Robert, (eds.) Prelude and Transfiguration from Tristan and Isolde

New York: Norton, 1985.

Bellman, Jonathan. The Exotic in Western Music Northeasetern University Press,

1998

Boulez, Pierre, Stocktakings from an Apprenticeship, Oxford: OUP, 1991

- Orientations, London: Faber, 1998

Cooke, Mervyn (Ed.). Twentieth-century Opera Cambridge: CUP, 2005

Dahlhaus, Carl, Nineteenth-Century Music Trans. Robinson.Berkeley: University of California Press, 1991

- Between Romanticism and Modernism: Four Studies in the

Music of the Later Nineteenth Century Trans. Whittall. Berkeley:University of California Press, 1989

- The Music Dramas of Richard Wagner. Cambridge: CUP, 1992

Dunsby, Jonathan, Schoenberg: Pierrot Lunaire Cambridge: CUP, 1992

Ewen, David. The World of twentieth-Century Music London: Robert Hale, 1991

Floros, Constantin. Gustav Mahler: the symphonies Transl. Wicker. Portland: Amadeus Press, 2000

Hefling, Stephen E. Mahler: Das Lied von der Erde Cambridge: CUP, 2000

Howat, Roy, Debussy in Proportion Cambridge: CUP, 2005

Mitchell, Donald, Gustav Mahler London: Faber, 1958–85.

Morgan, Robert P. Twentieth-Century Music New York: Norton, 1991.

- Anthology of Twentieth-Century Music New York: Norton, 1992

Roberts, P. Images: the Piano Music of Claude Debussy Portland: Amadeus, 2001

Said, Edward, Orientalism: Western Conceptions of the Orient Harmondsworth: Penguin, 2003

Samson, Jim, Music in Transition: A Study of Tonal Expansion and Atonality, 1900-1920 London: Dent, 1993

Shawm, Allen. Arnold Schoenberg’s Journey Farrer, Straus & Giroux, 2004.

Watkins, Glenn, Pyramids at the Louvre: Music, Culture and Collage from

Stravinsky to the Postmodernists Cambridge: Belknap Press, 1994.

Proposed start date September 2012

Date of approval (for UoM office use)

Information updated on

Date of current version (for RBC use)

Jan 2012


5





Title Birth of the Modern Part 2

Module code OS602

Credit rating 20

Level 6


Pre-requisite modules Levels 4 and 5

Co-requisite modules OS601



ECT* 10


2. AIMS

The module aims to: provide you with a detailed understanding of the most important changes in musical style and serial technique in the early twentieth century enable you to demonstrate how these changes are embodied in certain key operatic pieces develop your understanding of the broader cultural context of these changes give you an understanding of the main operatic developments throughout the twentieth century


Continuing from OS601 we explore Serialism and its development in the Second Viennese School and beyond, showing how it was applied to opera and the innovations this produced. We also look at post war operatic developments in general.




2


situate operas within their historical, social and political contexts identify the main twentieth-century developments in musical language apply basic musical concepts such as keys and tonality in the study of scores place opera composers, librettists and practitioners in historical and relative contexts evaluate judgements of taste and value in a range of critical domains explain and discuss significant developments in opera gain a detailed knowledge of the main artistic movements, traditions and ideologies that influence and inform opera throughout the twentieth century evaluate the working contexts and organisation of contemporary opera production

Intellectual skills identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for the study of opera, and apply these in critical assessments identify and apply analytical approaches appropriate for systematic and in-depth historical and contextual inquiry engage with, apply and integrate complex theoretical analyses in relation to primary and secondary material

Practical skills undertake detailed comparative analyses of operas and approaches to opera practice utilise specialised skills in comparative opera analysis utilise specialist skills in music analysis utilise specialist skills in score reading


maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis in critical writing discuss primary material within historical and theoretical frameworks identify the theoretical assumptions informing the writings/practices of others formulate a comprehensive response to a designated assignment begin to deploy advanced skills of critical, contextual, theoretical and performance analysis, and achieve the integration of these in written submissions demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical



3





2000 (+/- 10%) 3000 (+/- 10%)

40% 60%


Semester 1 or 2


Opera Studies


No


4

Content Weeks 1 and 2 Stravinsky, The Rite of Spring 1

We will look at this seminal work its cultural context, Diaghilev and music and dance.

Weeks 3 and 4 Stravinsky, The Rite of Spring 2

Here we will explore Stravinsky’s rhythmic processes; his use of folk melody, ostinato, modal harmony and dissonance. We will also consider music, ritual and nature.

Weeks 5 and 6 Operatic Pathways – Peter Grimes 1

We will consider the ‘rebirth’ of British opera and Britten’s contribution.

Weeks 7 and 8 Operatic Pathways – Peter Grimes 2

We will examine Britten’s opera in detail looking at extended tonality, traditional forms and the lyric theatre.

Weeks 9 and 10 Serialism

We will explore serialism and its adaptation to vocal and operatic composition.

Weeks 11 and 12 Il prigionero

We will look at Dallapiccola’s opera in the light of our studies of serialism.

Weeks 13 and 14 The Rake’s Progress 1

We will explore another trend of the twentieth century: Neo-Classicism and the Appropriation of the Past and its aesthetics. We consider Stravinsky’s use of his sources.

Weeks 15 and 16 The Rake’s Progress 2

Continuing our exploration of this opera we investigate the techniques Stravinsky uses to achieve his goal.


Specified texts




Feedback



5

Indicative Reading

Boulez, Pierre. Stocktakings from an Apprenticeship Oxford: OUP, 1991

- Orientations London: Faber, 1998

Brett, Philip. Peter Grimes Cambridge: CUP, 1983

Carpenter, H. Benjamin Britten: A Biography London: Faber, 2003

Cooke, Mervyn (ed.). Twentieth-century Opera Cambridge: CUP, 2005

Cooper, Martin, (ed.). The Modern Age 1890-1960 The New Oxford History of Music, vol. 10, London: OUP, 1974

Craft, Robert. Stravinsky in Conversation London: Penguin, 1960

Cross, Jonathan, (ed.). The Cambridge Companion to Stravinsky Cambridge: CUP, 2003.

Dallapiccola, Luigi. Dallapiccola on Opera trans. Shackelford.Toccata Press, 1987

Ewen, D. The World of twentieth-Century Music London: Hale, 1991

Hill, Peter. Stravinsky: The Rite of Spring Cambridge: CUP, 2000

John, Nicholas (ed.). Peter Grimes/Gloriana (ENO Opera Guide 24), London: John Calder, 1983

Morgan, Robert P. Twentieth-Century Music New York: Norton, 1991.

- Anthology of Twentieth-Century Music New York: Norton, 1992

Rupprecht, Philip. Britten’s Musical Language Cambridge: CUP, 2006

Samson, Jim, Music in Transition: A Study of Tonal Expansion and Atonality, 1900-1920 London: Dent, 1993

Shawm, Allen. Arnold Schoenberg’s Journey Farrer, Straus & Giroux, 2004.

Watkins, Glenn. Pyramids at the Louvre: Music, Culture and Collage from

Stravinsky to the Postmodernists Cambridge: Belknap Press, 1994.

Taruskin, Richard. Stravinsky and the Russian Traditions A Biography of the Works through Mavra University of California, 1996

Vlad, Roman. Stravinsky Trans.Fuller. Oxford: OUP, 1978

Walsh, Stephen. Igor Stravinsky: A Creative Spring, Russia and France 1882-1934 London: Vintage, 2002

Watkins, Glenn. Soundings: Music in the Twentieth Century New York:

Schirmer, 1988.

Wilcox, Michael. Benjamin Britten’s Operas Bath: Absolute Press, 1997





Jan 2012


6





Title Independent Research Project

Module code OS603

Credit rating 40

Level 6


Pre-requisite modules Levels 4, 5, OS601, OS602 and 20 other credits at Level 6

Co-requisite modules none



ECT* 20


2. AIMS

The module aims to: • enable you to further develop your research skills • consolidate the research methods and intellectual approaches developed on the programme, and apply these to an area of special interest • enable you to undertake research and present it in an appropriately rigorous and scholarly manner.


You research and present an IRP of 13,000 words/equivalent, the subject and structure of which are determined by you in correspondence with the Programme Director. The project enables you to write on a subject developing a particular original angle or approach. The IRP would normally be an extended assignment based on theoretical and scholarly reading; in certain circumstances, however, it may take the form of an extended essay based upon a practical project. The subject area is negotiable: there will be the opportunity to revisit, in depth, a subject area already studied by moving into new areas of inquiry. You will be guided carefully in the selection of your topic by the Programme Director. During the module, at designated points, you will submit draft work towards the IRP and receive tutorial feedback. You are strongly encouraged to maintain a productive and regular dialogue with your supervisor during your work.


2




situate operas within their historical, social and political contexts identify financial, political and operational contexts in which operas are produced and how they impact on the artistic decision-making process explain basic musical concepts such as keys and tonality and apply them in the study of vocal and orchestral scores place opera composers, librettists and practitioners in historical and relative contexts evaluate judgements of taste and value in a range of critical domains explain and discuss significant developments in opera gain a detailed knowledge of the main artistic movements, traditions and ideologies that influence and inform opera in all periods of its history demonstrate an informed awareness of the working contexts and organisation of historical and contemporary opera production

Intellectual skills identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for the study of opera, and begin to apply these in critical assessments identify and apply analytical approaches appropriate for systematic and in-depth historical and contextual inquiry plan and write an independent research project on a chosen topic (not a requirement for the 300-credit BA Pass Degree) engage with, apply and integrate complex theoretical analyses in relation to primary and secondary material.



maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments engage in independent scholarly research and discursive written analysis undertake a range of formal assessments to a range of specified briefings (assignments) engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis in research, critical writing performance and music locate and discuss primary material within historical and theoretical frameworks


3

identify the theoretical assumptions informing their own work and the writings/practices of others undertake relevant research and make effective use of supporting primary and secondary evidence and source formulate a comprehensive response to a designated assignment deploy advanced skills of critical, contextual, theoretical and performance analysis, and achieve the integration of these in written submissions demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical


You will receive a detailed briefing paper offering guidance on how to submit a proposal, giving guidance on key elements of research and guiding you in how to successfully complete the project. You will receive written and verbal feedback on your drafts and will be directed to online resources suitable for your topic.



Summative (essay or project based)

13,000 or equivalent +/- 10%

100%


Semester 1


Opera Studies


No

Content

Specific to each individual topic

Teaching Method Specified texts suggested by the Tutor


VLE Wide use of online resources



4

Feedback


Indicative Reading

Subject titles specific to each individual topic

Study Guides:

Glatthorn, A. Writing the Winning Dissertation: A Step-by-Step Guide Corwin Press, 1998

Greetham, B. How to Write your Undergraduate Dissertation London: Palgrave, 2009

Swetnam, D and R. Writing Your Dissertation: The Bestselling Guide to Planning, Preparing and Presenting First-Class Work How To Books, 2000





Jan 2012





Title Wagner’s Ring : An Introduction

Module code OS604

Credit rating 10

Level 6


Pre-requisite modules Levels 4 and 5, OS601 and OS602




ECT* 5


2. AIMS

The module aims to: provide a thorough understanding of the historical and cultural context within which The Ring was conceived and composed develop your knowledge of Wagner’s aesthetic ideas, with particular reference to his concept of Gesamtkunstwerk enable you to understand the development from myth to opera


The module examines the historical, cultural and ideological landscape within which Wagner worked, before considering his developing understanding of music drama. It looks at the way in which Wagner shaped the libretti for The Ring from Teutonic myth, and the literary techniques that give the work its unique flavour.



2



situate Wagner’s work within its historical, social and political contexts explain Wagner’s aesthetic ideals and how they impact on his artistic decision-making process evaluate judgements of taste and value in a range of critical domains explain and discuss the concept of Gesamtkunstwerk

Intellectual skills identify and practise primary study skills and scholarly research methods identify and apply analytical approaches appropriate for systematic and in-depth historical and contextual inquiry engage with, apply and integrate complex theoretical analyses in relation to primary and secondary material.

Practical skills utilise specialised skills in comparative opera analysis


maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments engage in critical self-assessment respond to the precise terms of a designated assignment identify the theoretical assumptions informing Wagner’s writings formulate a comprehensive response to a designated assignment demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical






2000 (+/- 10%) 3000 (+/- 10%)

100%


3


Semester 1 or 2


Opera Studies


No

Content Weeks 1 and 2 The historical, cultural and ideological landscape 1

We will explore the historical background (French Revolution, Empire, defeat, reaction, the 1830 revolution, the build-up to 1848) as well as the political ideas of the 1848–9 revolutionaries, Marx and Engels, Bakunin and others and set these against Wagner’s own quasi-feudal status at Dresden.

Weeks 3 and 4 The historical, cultural and ideological landscape 2

Wagner’s own critiques of politics and the status of art, especially opera, in existing society, anti-Semitism in Europe and in German culture will be explored.

Weeks 5 and 6 The aesthetic of the Gesamtkunstwerk

We will explore ideas about the union of the arts pre-Wagner, Wagner’s writings of 1848–52, highlighting the contrasts with his proposals and what happened in operas of the time. We will investigate the use of Stabreim and analyse how it works before considering the influence of Schopenhauer on The Ring.

Weeks 7 and 8 Teutonic myth as libretto

We will explore Wagner’s adoption of Nordic and Teutonic myth and his modifications in adapting them for his use. We will refer to other early versions of the story as well as the dramatic structuring of The Ring libretto and the influence of classical Greek drama.


Specified texts




Feedback



4

Indicative Reading Badiou, A. Five Lessons on Wagner trans. Slavoj Zizek London:Verso, 2010

Björnsson, Arni. Wagner and the Volsungs Viking Society for Northern Research, University of London, 2003

Borchmeyer, Dieter. Richard Wagner Theory and Theatre Trans. Spencer. Oxford: OUP, 1991

- Drama and the World of Richard Wagner Trans. Ellis. Princeton University Press, 2003

Carnegy, Patrick. Wagner and the Art of the Theatre Yale University Press, 2006

Deathridge, J. Wagner beyond Good and Evil Univ. California Press, 2008

Holman, J. K. Wagner’s ‘Ring’ a Listener’s Companion and Concordance Amadeus Press, 2001

Kitcher, P. & Schacht, R. Finding an Ending OUP, 2004

Kramer, L. Opera and Modern Culture Univ. California Press, 2004

Magee, Elizabeth. Richard Wagner and the Nibelungs Oxford: OUP, 1990

McConnell, W. (ed.). A Companion to the Nibelungenlied Camden House, 1998

Millington, B. The Wagner Compendium: A guide to Wagner’s life and music London: Thames & Hudson, 1992.

The Nibelungenlied Translated by A. T. Hatto. Harmondsworth: Penguin, 1973

Sabor, Rudolph. Richard Wagner, Der Ring des Nibelungen: A companion London: Phaidon, 1997

Spencer, S. & Millington, B. Wagner’s Ring of the Nibelung, a Companion London:

Thames and Hudson, 1993

Spencer, S. Wagner’s Ring of the Nibelung London: Thames and Hudson, 2000

Talmon, J. L. Romanticism and Revolt: Europe 1815-1848 London: Thames and Hudson, 1979

Tolley, Clive. Shamanism in Norse Myth and Magic Academia Scientiarum Fennica, 2009

Wagner, R. Writings translated by William Ashton Ellis. Lincoln and London: University of Nebraska Press, 1993-5

Walton, C. Richard Wagner’s Zürich: The Muse of Place Camden House, 2007





July 2013





Title Wagner’s Ring: The operas

Module code OS605

Credit rating 20

Level 6


Pre-requisite modules Levels 4 and 5, OS601, OS602




ECT* 10


2. AIMS

The module aims to: explore the musical, literary and dramatic techniques used by Wagner in the four parts of The Ring provide insight into the way in which The Ring has been interpreted since Wagner’s death, both in production and criticism.


This module examines Leitmotiv and other musical techniques that Wagner developed over the course of the cycle. It also examines the ways in which the work has been staged, and the range of critical interpretations (both positive and negative) it has produced.



2



situate The Ring within its historical, social and political contexts explain basic musical concepts such as keys, tonality and Leitmotiv and apply them in the study of scores understand and discuss the musical developments within The Ring




maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments engage in discursive written analysis undertake a range of formal assessments to a range of specified briefings (assignments) engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment locate and discuss primary material within historical and theoretical frameworks identify the theoretical assumptions informing the writings/practices of others formulate a comprehensive response to a designated assignment deploy advanced skills of critical, contextual, theoretical and performance analysis, and achieve the integration of these in written submissions demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical





3



2000 (+/- 10%) 3000 (+/- 10%)

40% 60%


Semester 1 or 2


Opera Studies


No


4

Content Weeks 1 and 2 Leitmotives 1

We will map Wagner’s changing approaches to form on both small and large timescales, his vocal writing, use of harmony and tonality.

Weeks 3 and 4 Leitmotives 2

We will explore Wagner’s development of leitmotivs; musical onomatopoeia and the way the motive structure underlies all this.

Weeks 5 and 6 Staging, production and performance: Bayreuth

We will consider the old and new Bayreuth theatres, Cosima and Siegfried’s management and the English Winifred Wagner and Hitler and the effect this relationship had on Wagner’s reputation.

Weeks 7 and 8 Staging, production and performance: Elsewhere

We will explore the influence of Adolphe Appia and others together with developments in modern theatre and stage technology as well as Semiotics, deconstruction and the Konzept revolution.

Weeks 9 and 10 Historical and contemporary reception

We will explore the relationship between Wagner and his contemporary critics; Wagnermania in the late nineteenth century and the influence of The Ring on the other arts before looking at the creation and unravelling of the Wagner myth.

Weeks 11 and 12 The Ring as political and ideological commodity

Does the music of The Ring have an ideological dimension as well as the words and drama? We will look at interpretations from George Bernard Shaw to Nazi Germany and anti-Semitism.

Weeks 13 and 14 Some philosophical interpretations

How do we describe, catalogue, label and interpret the leitmotives? We will explore the pervading influence of Wolzogen’s early efforts before delving into the multiplicity of “readings” that have been made including those of Nietzsche and Thomas Mann.

Weeks 15 and 16

We continue our delving into readings by looking at the work of Adorno, and Magee before considering The Ring as Jungian psychodrama.


Specified texts




Feedback



5

Indicative Reading Abbate, Carolyn. Unsung Voices Princeton University Press, 1996.

Adorno, T. In Search of Wagner Trans. Livingstone. London: Verso, 1984.

Amerongen, Martin van. Wagner: a Case History London: Dent, 1983

Badiou, A. Five Lessons on Wagner trans. Slavoj Zizek London:Verso, 2010

Borchmeyer, Dieter. Richard Wagner Theory and Theatre Trans. Spencer. Oxford: OUP, 1991

Drama and the World of Richard Wagner Trans. Ellis. Princeton University Press, 2003

Carnegy, Patrick. Wagner and the Art of the Theatre Yale University Press, 2006

Cooke, Deryck. I saw the world end: a study of Wagner’s Ring OUP, 1979

Deathridge, J. Wagner beyond Good and Evil Univ. California Press, 2008

Donington, Robert. Wagner’s Ring and its symbols London: Faber, 1976.

Grey, T. S. Wagner’s Musical Prose: Texts and Contexts Cambridge: CUP, 2007.

Holman, J. K. Wagner’s ‘Ring’ a Listener’s Companion and Concordance Amadeus Press, 2001

John, Nicholas (ed.). ENO Guides Nos 21, 28, 31, 35 London: Calder, 1985.

Kirby, F. E. Wagner’s Themes Michigan: Harmonie Park Press, 2004

Kitcher, P. & Schacht, R. Finding an Ending OUP, 2004

Köhler, Joachim. Wagner’s Hitler, the prophet and his disciple Polity, 2001

Kramer, L. Opera and Modern Culture Univ. California Press, 2004

McGee, Bryan. Aspects of Wagner London: Alan Ross, 1968.

Millington, B. The Wagner Compendium London: Thames & Hudson, 1992.

Nietzsche, F. The Case of Wagner London: Random House, 1988

Rose, Paul Lawrence. Wagner, Race and Revolution London: Faber & Faber, 1992

Sabor, Rudolph. Richard Wagner, Der Ring des Nibelungen: A companion London: Phaidon, 1997

Shaw, George Bernard. The Perfect Wagnerite Dover 1967.

Spencer, S. & Millington, B. Wagner’s Ring of the Nibelung, a Companion London: Thames and Hudson, 1993

Spotts, Frederic. Bayreuth: A History of The Wagner Festival New Haven: Yale University Press, 1996.

Talmon, J. L. Romanticism and Revolt: Europe 1815-1848 London: Thames and Hudson, 1979

Treadwell, James. Interpreting Wagner Yale University Press, 2003

Wagner, R. Writings translated by William Ashton Ellis. Lincoln and London: University of Nebraska Press, 1993-5

Walton, C. Richard Wagner’s Zürich: The Muse of Place Camden House, 2007

Weiner, Marc A. Richard Wagner and the anti-semitic imagination University of Nebraska Press, 1995.




Date of current version Jan 2012


6

(for RBC use)





Title Women in Opera : The theory

Module code OS606

Credit rating 10

Level 6


Pre-requisite modules none




ECT* 5


2. AIMS

The module aims to: equip you with an understanding of the historical attitudes towards women that have influenced the work of composers and librettists help you analyse operatic scores and libretti with a particular emphasis on the gender treatment of female characters


The module considers a range of evidence needed to help us understand the position of women in opera. It analyses seminal literary works of western culture which had an impact on the way society regulated itself with regard to women, as well as looking at the structure of patriarchal society from the ancient world to the present day and the apparent need to subjugate women. Women’s movements will be studied together with their impact on the arts.


2




situate operas within their historical, social and political contexts place opera composers, librettists and practitioners in historical and relative contexts evaluate judgements of taste and value in a range of critical domains gain a detailed knowledge of the main artistic and social movements that influenced and informed opera throughout history

Intellectual skills identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for the study of opera, and apply these in critical assessments identify and apply analytical approaches appropriate for systematic and in-depth historical and contextual inquiry

Practical skills undertake detailed comparative analyses of operas and approaches to opera practice utilise specialised skills in comparative opera analysis


maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment identify the theoretical assumptions informing the writings/practices of others formulate a comprehensive response to a designated assignment demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical






2000 (+/- 10%) 3000 (+/- 10%)

100%


3


Semester 1 or 2


Opera Studies


No

Content Weeks 1 and 2

The sociological and cultural background to attitudes to women What is gender? The sociological context and historical formation of gender stereotypes. Weeks 3 and 4

The influence of misogynists and female responses to them. Male supporters of women. Nineteenth-century political movements and composers connected with them. Feminist discourse.

Weeks 5 and 6 Gender in Music

Music and meaning seen through historical perspectives, the work of Deryck Cooke and the New Musicology of Lawrence Kramer and Susan McClary. Historical interpretations of gender.

Weeks 7 and 8 Gender constructs and musical characteristics.

Gender interpretation of musical structure such as McClary’s interpretation of Beethoven’s Ninth Symphony. Semiotics. Gender and Sonata Principle and the work of A. B. Marx.


Specified texts




Feedback



4

Indicative Reading Adorno, T. Minima moralia Trans. E. F. N. Jephcott , London: Verso 2005.

Butler, Judith. Gender Trouble London: Routledge, 2006.

Citron, Marcia J. Gender and the musical canon Champaign: University of Illinois, 2000.

Clack, Beverley (Ed.). Misogyny in the Western Philosophical Tradition London: Macmillan, 1999

Cooke, Deryck. The Language of Music Oxford OUP, 1989

Davies, Emily. The Higher Education of Women (1866), Hambledon Press, 1988

Figes, Eva. Patriarchal Attitudes London: Persea Books, 1986.

Kramer, H. and Sprenger, J. The Malleus Maleficarum Any edition

Kramer, Lawrence. Music as Cultural Practice University of California Press,

1992.

McClary, Susan. Feminine Endings University of Minnesota Press, 2002

McGrath, Alister E. Reformation Thought, An Introduction Blackwell, 2001.

Millet, Kate. Sexual Politics Champaign: University of Illinois, 2000.

Mill, John Stuart. The Subjection of Women 1869 Any edition

Nattiez, Jean-Jacques. Music and Discourse Trans. C. Abbate Princeton University Press, 1990

Reid, Marion. A Plea for Women [1843] London: Polygon, 1988.

Rousseau, Jean-Jacques. The Social Contract Christopher Betts (Ed.),

London: Penguin, 2004

Ruether, Rosemary Radford. Women and Redemption London: SCM Press, 1998.

Scher, S. P. (Ed.). Music and Text: critical inquiries Cambridge: CUP, 2006

Simmel, G. On Women, Sexuality and Love Trans. Guy Oakes, Yale, 1984

Solie, Ruth (Ed.). Musicology and Difference University of California Press, 1995.

Swetnam, Joseph. The Arraignment Facsimile edition, Thoemmes Press, 1995

Wollstonecraft, Mary. A Vindication of the Rights of Women 1792 Any edition





July 2013





Title Women in Opera: The Practice

Module code OS607

Credit rating 20

Level 6






ECT* 10


2. AIMS

The module aims to: allow you to analyse operatic scores with a particular emphasis on the gender treatment of female characters make you familiar with key female composers and their works enable you to understand how female performers helped shape operatic roles develop your understanding of female operatic roles within their historical context


This module takes a broad view of the ways in which women participate in and help to shape the art form of opera: as composers, performers, characters and subject-matter. It studies the roles given to women in various periods, examining the libretto and music in relation to contemporary cultural and sociological contexts, whilst seeking to assess whether the composer’s work reinforced or challenged the social stereotypes. Operatic figures such as Dido, Fidelio, Lucia, Senta, and Carmen will be studied in terms of their treatment in the light of contemporary sociological notions of gender. The work of composers such as Hildegard of Bingen, Fanny Mendelssohn, Ethel Smyth, Amy Beach, Germaine Tailleferre, Ruth Crawford, Elisabeth Lutyens, Elizabeth Maconchy, Thea Musgrave, Roxanna Panufnik, Judith Weir and Magret Wolf will be assessed; reasons will be suggested as to why women’s works have not yet become part of the operatic canon.


2




situate operas within their historical, social and political contexts explain musical concepts such as constructs and apply them in the study of scores place female opera composers, librettists and practitioners in historical and relative contexts evaluate judgements of taste and value in a range of critical domains gain a knowledge of New Musicology and gender studies acquire an informed awareness of the working contexts and organisation of historical and contemporary opera production




maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments engage in independent scholarly research and discursive written analysis undertake a range of formal assessments to a range of specified briefings (assignments) engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment locate and discuss primary material within historical and theoretical frameworks identify the theoretical assumptions informing the writings/practices of others undertake relevant research and make effective use of supporting primary and secondary evidence and source formulate a comprehensive response to a designated assignment demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical



3





2000 (+/- 10%) 3000 (+/- 10%)

40% 60%


Semester 1 or 2


Opera Studies


No


4

Content Weeks 1 and 2 Analysis of Carmen 1

Using the feminist discourse of Clément, McClary and others, the opera is deconstructed in the light of gender interpretation. Comparisons are made using the source material.

Weeks 3 and 4 Analysis of Carmen 2

This completes our analysis of this opera.

Weeks 5 and 6 Analysis of Lucia di Lammermoor

Feminist discourse is taken further with an analysis of Lucia.

Weeks 7 and 8 Trouser Roles

How do trouser roles square with feminist interpretation? Historical context and social convention are assessed.

Weeks 9 and 10 Women and Creativity: Women Composers I

Can women compose? Historical interpretations of feminine creativity. Female responses. Hildegard von Bingen.

Weeks 11 and 12 Women Composers II

Louise Farrenc, Fanny Mendelssohn, Clara Schumann, Alice Mary Smith, Augusta Holmès, Cécile Chaminade, Elizabeth Lehmann and Amy Beach, – their worlds and their work

Weeks 13 and 14 Contemporary Women Composers I

The changing social conditions in the twentieth century are viewed and the works of Ethel Smyth, Lili Boulanger, Elisabeth Lutyens, Germaine Tailleferre, are assessed.

Weeks 15 and 16 Contemporary Women Composers II

Ruth Crawford Seeger, Elizabeth Maconchy, Thea Musgrave, Sofia Gubaidulina, Roxanna Panufnik, Pauline Oliveros, Olga Neuwirth, Magret Wolf, Judith Weir, the Genesis Opera Project and Tête-à-tête Opera are assessed.


Specified texts




Feedback



5

Indicative Reading Arblaster, A. Viva la libertà London: Verso, 2000

Balthazar, Scott L. (Ed.). The Cambridge Companion to Verdi CUP, 2004

Blackmer, C. E. & Smith P. J. (Eds.) En Travesti Columbia University Press, 1995

Bronfen, Elisabeth. The Knotted Subject, Hysteria and its Discontents Princeton University Press, 1998

Clement, Catherine. Opera and the undoing of women Trans.B. Wing, London: Taurus and Co, 1997

De Van, Gilles. Verdi’s Theatre Chicago: University of Chicago Press, 1998

Fox, Matthew. Illuminations of Hildegard of Bingen Rochester, VT: Bear & Co. 2003

Green, Lucy. Music, Gender and Education Cambridge: CUP, 1997

Hartnoll, Phyllis. A Concise History of the Theatre London: Thames & Hudson, 1998

Hickman, Kate. Courtesans Harper Perennial, 2004

John, Nicholas (Ed.) Carmen ENO Guide 15. London: John Calder, 1982

- Fidelio ENO Guide No. 4, London: John Calder, 1986

- La Traviata ENO Guide, London: John Calder, 1981

- Violetta and her sisters London: Faber & Faber, 1994

Kenyon, Olga. 800 Years of Women’s Letters Sutton Publishing, 1995

Koestenbaum, Wayne The Queen’s Throat Da Capo Press, 2001

Lange, Robert. Gender Identity and Madness in the Nineteenth-Century Novel Edwin Mellen Press, 1998

Leppert, Richard. The Sight of Sound University of California Press, 1995

Letzter, J. & Adelson, R. Women Writing Opera University of California Press, 2001

McClary, Susan. Feminine Endings University of Minnesota Press, 2002

Ruether, Rosemary Radford. Women and Redemption SCM Press, 1998

Showalter, Elaine. The Female Malady London: Virago, 1987

Smart, Mary Ann (Ed.). Siren Songs Princeton University, 2000

Sova, D. B. Banned Plays New York: Checkmark Books, 2004

Wheelwright, Julie. Amazons and Military Maids London: Pandora, 1989

Woolf, Virginia. A Room of One’s Own London: Penguin, 2004





Jan 2012





Title Opera Since World War II

Module code OS608

Credit rating 20

Level 6






ECT* 10


2. AIMS

The module aims to: enable you to understand the varieties of contemporary musical, dramatic and film language and their relation to opera allow you to place contemporary operatic developments in a cultural-historical and social context develop your analytical skills in dealing with the wide variety of post-war operatic material encourage you to develop their own critique of post-war opera.


Since the World War II opera has changed, diversified and been radically rethought. Moreover, it has been strongly influenced by new departures in drama and by the new visual language of film and television; it has found new forms, new spaces and new functions. This module is designed to establish the knowledge and theoretical models necessary to analyse contemporary operas in their historical and social contexts. It requires students to come to grips with a wide variety of new concepts in both music and drama. The repertoire examined reflects both the established works of the period and more recent developments and includes: Adams Nixon in China, Birtwistle Punch and Judy, Maxwell Davies Eight Songs for a Mad King, Glass Einstein on the Beach, Tippett The Knot Garden, Turnage Greek and Zimmermann Die Soldaten.


2




situate operas within their historical, social and political contexts explain musical concepts such as tonality and serialism and apply them in the study of scores place opera composers, librettists and practitioners in historical and relative contexts explain and discuss significant developments in opera evaluate the main artistic movements, traditions and ideologies that influenced and informed opera at this period demonstrate an awareness of the working contexts and organisation of contemporary opera production




maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments engage in independent scholarly research and discursive written analysis undertake a range of formal assessments to a range of specified briefings (assignments) engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis in research, critical writing performance and music identify the theoretical assumptions informing the writings/practices of others formulate a comprehensive response to a designated assignment deploy advanced skills of critical, contextual, theoretical and performance analysis, and achieve the integration of these in written submissions demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical


3






2000 (+/- 10%) 3000 (+/- 10%)

40% 60%


Semester 1 or 2


Opera Studies


No


4

Content Weeks 1 and 2 Post-War Music: The Avant-Garde

We explore the contradictions and problems caused by the Nazi period and take a non-technical approach to the changes in musical language which followed the revolutionary thinking of Webern. Concepts such as expressionism and extremes of vocal and instrumental virtuosity will be explored and the varied reactions of composers to the crisis of total serialism will be discussed. It will show how Serialism dominated the thinking of a generation of composers and illustrate typical features of the style.

Weeks 3 and 4 The Theatrical Revolution

We explore the impact of modernism and postmodernism in the theatre and its relationship with opera, looking at psychological theatre, alienation and epic theatre, ritual theatre, physical theatre, total theatre, and the theatre of the absurd.

Weeks 5 and 6 Continuing Musical Traditions

We examine the continuing vitality of the romantic legacy, neoclassicism and “number” opera and the impact of popular music, jazz and blues as well as the 1960’s reaction to twelve-note music and minimalism. Throughout the emphasis is on how these varied styles of music work with the different kinds of drama to produce different kinds of synthesis.

Weeks 7 and 8 The Impact of the Mass Media

Film and television have proved to be important media for opera. Film and television techniques and language have influenced not only operatic production techniques but also the way operas are conceived. Audiences have developed new ways of perceiving and interpreting visual and musical stimuli.

Weeks 9 and 10 Music Theatre

Here we attempt definitions of music theatre and look at the physical involvement of music and musicians in the theatrical process. The roots of music theatre in pieces such as Stravinsky’s The Soldier’s Tale and Schoenberg’s Pierrot Lunaire and the experimental roots of 1960’s music theatre in works by Cage and Kagel will be explored.

Weeks 11 and 12 Opera as Social Commentary

Can opera be effective as a means of social commentary given its traditional settings, audience and social cachet? How have contemporary creators of opera approached this problem?

Weeks 13 and 14 Functional Opera

We examine operas created for spaces which are not traditional opera houses and for people who may not expect to find themselves in opera houses. Children’s opera, German Lehrstück, chamber opera, community opera, all have sprung from different backgrounds than the mainstream of opera.

Weeks 15 and 16 Contemporary Opera – An Oxymoron?

Is it possible for a musical-theatrical work to be an opera and be contemporary, speaking of and from our own age? Or is opera an art-form which looks backwards by its very nature? Does the modern age allow any sense of tradition to be developed or is each composer and production team an isolated unit working in an age of total cultural fragmentation? Has the popular musical taken over the operatic tradition? The nature of a poly-cultural society and a pluralistic and poly-stylistic approach to the interpretation of current trends will be explored in a reflection on the themes of this module.


5


Specified texts




Feedback



6

Indicative Reading Arblaster, Anthony. Viva la Libertà New York: Verso, 2000.

Barnes, Jennifer. Television Opera Boydell Press, 2003.

Bentley, Eric. The Playwright as thinker New York: Harcourt Brace, 1987

Bowen, Meirion. Michael Tippett Robson Books, 1997.

Brook, Peter. The Empty Space Harmondsworth: Penguin Books, 1990.

Carner, Mosco. Alban Berg London: Duckworth, 1975.

Clément, C. Opera, or the undoing of women Trans. Wing. London: Taurus, 1997

Cooke, M. (Ed.). The Cambridge Companion to Twentieth Century Opera Cambridge: CUP, 2005

Cooke, Mervyn and Philip Reed. Billy Budd Cambridge: CUP, 1993.

Esslin, Martin. The Theatre of the Absurd Harmondsworth: Penguin, 2001.

Evans, Peter. The Music of Benjamin Britten Oxford: OUP, 1996.

Ewen, David. (Ed.). The World of twentieth-Century Music London: Hale, 1991.

Fearn, R. Italian Opera Since 1945 Harwood Academic Press, 1998

Glass, Philip. Opera on the Beach London: Faber and Faber, 1988

Griffiths, Paul. Modern music and after Oxford: OUP, 1995.

Griffiths, Paul. Encyclopedia of 20th Century Music London: Thames and Hudson, 1986.

Griffiths, Paul. The Rake’s Progress Cambridge: CUP, 1982.

Henze, Hans Werner. Bohemian Fifths Trans. Spencer. Faber & Faber, 1998.

- Music and Politics Trans. Labanyi. London: Faber & Faber, 1982.

John, N. (Ed.). The Operas of Michael Tippett New York: John Calder, 1985.

Kennedy, Michael. Britten London: J M Dent, 1981

Kerman, Joseph. Opera as Drama London: Faber and Faber, 1989

Jampol, J. Living Opera OUP, 2010

Richardson, John. Singing Archaeology Wesleyan University Press, 1999.

Samson, Jim. Music in Transition London: Dent, 2002.

Schebera, Jürgen. Kurt Weill Yale University Press, 1995

Smith Brindle, Reginald. The New Music – the avant-garde since 1945 Oxford: OUP, 1987.

Tambling, Jeremy. Opera, ideology and film Manchester: Manchester University Press, 1987.

Thomson, P. (Ed.). The Cambridge Companion to Brecht Cambridge: CUP, 2006.

White, Eric Walter. Stravinsky, the composer and his works London: Faber and Faber, 1979.

Willett, John. The Theatre of Bertolt Brecht London: Methuen, 1977.





Jan 2012





Title Nationalists

Module code OS609

Credit rating 20

Level 6






ECT* 10


2. AIMS

The module aims to: enable you to make comparative studies of different nationalist movements, their political and social causes, and their cultural formations enable you to examine in detail several operas, analysing their musical and dramatic form and content in relation to their cultural context.

3. BRIEF DESCRIPTION OF THE MODULE This module examines nationalism as a European phenomenon and also examines some influential theories of nationalism by Smith, Kedourie and Greenfeld. Countries examined include Russia, Czechoslovakia, Poland, Hungary and England: in each case both the historical and cultural contexts are considered together with indigenous musical traditions.


2




situate operas within their historical, social and political contexts identify political contexts in which operas are produced and how they impact on the artistic decision-making process. apply musical concepts such as tonality and atonality and apply them in the study of scores place opera composers, librettists and practitioners in historical and relative contexts gain a detailed knowledge of the main ideologies that influenced and informed opera in the late nineteenth- and early twentieth-centuries




maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments engage in independent scholarly research and discursive written analysis undertake a range of formal assessments to a range of specified briefings (assignments) engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis in critical writing locate and discuss primary material within historical and theoretical frameworks identify the theoretical assumptions informing their own work and the writings/practices of others formulate a comprehensive response to a designated assignment deploy advanced skills of critical, contextual, theoretical and performance analysis, and achieve the integration of these in written submissions demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical



3





2000 (+/- 10%) 3000 (+/- 10%)

40% 60%


Semester 1 or 2


Opera Studies


No


4

Content Weeks 1 and 2 Nations and Nationalism

A study of the development of theories of nationhood and nationalism, with reference to the ideas of Herder and Fichte, and modern concepts of nationalism as explored by historians such as Smith, Kedourie and Greenfeld, leading to a special consideration of Germany and early Romanticism.

Weeks 3 and 4 Russia I: Glinka - the ‘acorn’ and the ‘oak’

An introduction to the Russian nationalist context, with an emphasis on the work of the poet Alexander Pushkin and then a detailed study of Mikhail Glinka.

Weeks 5 and 6 Russia II: History, language and music

An introductory study of Dargomïzky leads to a detailed look at Mussorgsky.

Weeks 7 and 8 Russia III: Reality and Fantasy - and Epilogue

We look at two contrasted composers and operas: Tchaikovsky and Rimsky-Korsakov.

Weeks 9 and 10 Czechoslovakia I: Founding Fathers

We consider the two great names in Czech opera - Dvořák and Smetana - and the range of their work: epic, mythical and domestic.

Weeks 11 and 12 Czechoslovakia II: Janáček

A study of the two major operas by Janáček whose works have slowly become one of the major forces in the modern operatic repertoire.

Weeks 13 and 14 Two cases: Hungary and Poland

Here we look at two operas, one by each of Bartók and Szymanowski and sets them in their broader political context as test cases of how far the term “nationalist composer” can be taken.

Weeks 15 and 16 The Land with rather a Lot of Music

We consider England and the notion of a national musical revival.


Specified texts




Feedback



5

Indicative Reading Bartlett, Rosamond. Wagner in Russia Cambridge University Press, 1995

Beedell, A. V. The decline of the English musician 1788-1888 OUP, 1992

Brown, D. Mikhail Glinka London: Oxford University Press, 1974

Brown, David. Moussorgsky His Life and Works Oxford University Press, 2002

Brown, D. Tchaikovsky 2 Vols. London: Gollancz, 1992

Chalmers, K. Béla Bartók London: Phaidon Press Ltd, 1995

Cooke, Mervyn. Twentieth-century Opera Cambridge: CUP, 2005

Davies, Norman. Heart of Europe: the Past in Poland’s Present OUP, 2001

Day, James. Englishness in music London: Thames, 1999

Emerson, C. and R. W Oldani. Modest Mussorgsky and Boris Godunov: Myths, Realities, Reconsideration Cambridge University Press, 1994.

Ewans, M. Janáček’s Tragic Operas London: Faber and Faber, 1977

Figes, O. Natasha’s Dance – a cultural history of Russia London: Penguin, 2002

Foreman, L. Bax: a composer and his times London: Boydell, 2007

Garden, E. & Gotteri, N. (Eds.). “To My Best Friend”: Correspondence Between Tchaikovsky and Nadezhda von Meck 1876-1878 OUP, 1993

Gasparov, B. Five Operas and a Symphony Yale, 2005

Gellner, E. Nations and Nationalism Blackwell, 2006

Gillies, M. Bartók Remembered London: Faber and Faber, 1990

Gooding, J. Rulers and Subjects London: Arnold, 1996

Greenfeld, Liah. Nationalism: 5 Roads to Modernity Harvard, 1992

Hobsbawm, Eric. The Age of Empire 1875-1914 London: Weidenfeld and Nicholson, 1987

- Nations and nationalism since 1780 CUP, 1992

Hold, Trevor. Parry to Finzi London: Boydell Press, 2002

Hughes, Meirion. The English musical renaissance and the press, 1850-1914: watchmen of music Ashgate, 2002

John, N. The Stage Works of Béla Bartók London: Calder, 1991

Kedourie, E. Nationalism Blackwell, 1993

Maes, F. A history of Russian Music Trans. Pomerans University of California Press, 1996

Meyer, Steven. Carl Maria von Weber and the Search for a German Opera Indiana, 2003

Morra, Irene. Twentieth-Century British Authors and the Rise of Opera in Britain London: Ashgate, 2007

Morrison, S. Russia and the Symbolist Movement University of California Press, 2002

Őzkirimli, U. Theories of Nationalism: a critical introduction London: Macmillan, 2000

Pipes, R. Russia under the Old Regime Harmondsworth: Penguin Books, 1995

Said, Edward. Orientialism New York: Vintage, 1979

Samson, Jim. London: Kahn & Averill, 1981

Smith, D.A. & Smith, A. Nationalism and Modernism Routledge, 1998

Taruskin, R. Defining Russia Musically Princeton, 2007

Tyrell, John. Czech Opera Cambridge University Press, 1988

Vaughan Williams, U. R. V. W: A Biography London: OUP, 1964

Vitale, Serena. Pushkin’s Button University of Chicago Press, 2000

White, E. W. Stravinsky: the Composer and his Works London: Faber and

Faber, 1979


6





Feb 2012





Title Shakespeare in Opera

Module code OS610

Credit rating 20

Level 6






ECT* 10


2. AIMS

The module aims to: enable you understand the ways in which Shakespeare’s work influenced opera give you an understanding of Shakespeare’s dramaturgy allow you to place Shakespearian opera in a cultural, historical and social context enable you to use that understanding to identify the nature of the artistic decisions made by composers in their adaptations develop your analytical skills in dealing with texts and interpretation enable you to use Shakespeare as the basis for comparative operatic analysis


This module explores the influence on opera of the dramatist whose plays have proved to be the most popular single source for opera settings – William Shakespeare. We will examine the ways in which different eras have interpreted Shakespeare and analyse why they took those particular approaches. This involves gaining an appreciation of the ways in which Shakespeare’s own approach to theatre has influenced subsequent artists. The impact of Shakespeare on the long nineteenth century is a particular focus of the module.


2




situate operas within their historical, social and political contexts apply musical concepts such as keys and tonality to the study of scores place opera composers, librettists and practitioners in historical and relative contexts evaluate judgements of taste and value in a range of critical domains explain and discuss significant developments in opera




maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis in research, critical writing performance and music discuss primary material within historical and theoretical frameworks undertake relevant research and make effective use of supporting primary and secondary evidence and source formulate a comprehensive response to a designated assignment deploy advanced skills of critical, contextual, theoretical and performance analysis, and achieve the integration of these in written submissions demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical




3




2000 (+/- 10%) 3000 (+/- 10%)

40% 60%


Semester 1 or 2


Opera Studies


No


4

Content Weeks 1 and 2 Shakespeare’s dramaturgy and the role of music.

We examine what qualities Shakespeare’s plays have to offer for musical theatre and look at the way different periods have taken from Shakespeare from the seventeenth century to eighteenth-century translations and their importance for the Romantic period.

Weeks 3 and 4 Approaches to Shakespeare - text and interpretation.

Three contrasting approaches to Shakespeare are examined - two from the nineteenth century and one from the twentieth. This provides you with a model for analysis of the operatic treatment of the original text.

Weeks 5 and 6 Case studies in tragedy 1: Othello and Otello

Rossini’s amalgam of other sources and Shakespeare’s final Act to produce a hybrid early Romantic opera is contrasted with Verdi and Boito’s search for a clear and true representation of Shakespeare within the operatic framework.

Weeks 7 and 8 Case studies in tragedy 2: Romeo and Juliet

The most famous of Shakespeare’s plays is given a close analysis and compared with operatic versions. Reference will be made to Delius’s A Village Romeo and Juliet. A detailed analysis of the version by Gounod and his approach to Goethe’s Faust will lead to a critical appreciation of mid-nineteenth-century attitudes to the classics.

Weeks 9 and 10 Case studies in tragedy 3: Hamlet and King Lear

We will explore how Hamlet was transformed into a nineteenth-century melodrama with a happy ending by Ambroise Thomas; and King Lear into a twelve-note expressionist drama by Aribert Reimann.

Weeks 11 and 12 Case studies in comedy 1: Berlioz and Britten

We consider the treatment of two comic plays in two operas: Berlioz’s Béatrice et Bénédict and Britten’s A Midsummer Night’s Dream.

Weeks 13 and 14 Case studies in comedy 2: Signor Falstaff

We look at the Falstaff story, found in three plays by Shakespeare, and examine its treatment in the hands of various composers.

Weeks 15 and 16 Shakespeare adapted

We examine the use of a Shakespearean idea to create a radically different work. Examples discussed include Porter’s Kiss me, Kate, Bernstein’s West Side Story.


Specified texts




Feedback



5

Indicative Reading Budden, Julian. The Operas of Verdi: from Don Carlos to Falstaff 3 Vols. London: Cassell,1984

Burton, Humphrey. Leonard Bernstein London: Faber and Faber, 1994

Cooke, Mervyn. Twentieth-century Opera Cambridge: CUP, 2005

Deathridge, John and Carl Dalhaus. The New Grove Wagner London: Macmillan, 2004

Huebner, Stephen. The Operas of Charles Gounod Oxford: OUP, 1990

John, Nicholas (Ed.). The Operas of Michael Tippett ENO Opera Guides No 29 London: Calder, 1985

-Macbeth ENO Guides No 41. London: Calder, 1990

Klein, H., and C. Smith (Eds.). The Opera and Shakespeare Shakespeare Yearbook Vol 4, Lampeter: Edwin Mellen Press, 1994

Morra, Irene. Twentieth-Century British Authors and the Rise of Opera in Britain London: Ashgate, 2007

Muir, K. and S. Schoenbaum. A New Companion to Shakespeare Studies Cambridge: CUP, 2001

Nayor, E. W. Shakespeare and Music Da Capo, 1965

Rushton, Julian. Berlioz: Roméo et Juliette Cambridge: CUP, 1994.

Samson, Jim. The Music of Szymanowski London: Kahn & Averill, 1981

Schmidgall, Gary. Shakespeare and Opera London: OUP, 1990

Swain, Joseph. The Broadway Musical USA: Scarecrow Press, 2002

Vickers, Brian. (Ed.). Shakespeare: The Critical Heritage. Vol. 4. London, 1996.

Wells, Stanley,(Ed.). The Cambridge Companion to Shakespeare Studies Cambridge: CUP, 2001

Wilcox, Michael. Benjamin Britten’s Operas Bath: Absolute Press, 1997





Jan 2012





Title Production, Design and Direction

Module code OS611

Credit rating 20

Level 6






ECT* 10


2. AIMS

The module aims to: enable you to analyse contemporary productions in relation to score and libretto, theatre space, design, singers and audience develop your understanding of the relationship between what happens onstage and the institutional framework and artistic policies of an opera house and its audience enable you to analyse the contribution of particular directors and designers in relation to score and libretto, theatre space, design, singers and audience.


This module concentrates on the conceptual and practical processes of mounting operatic production, the interpretative range available; responsibility to the audience and the interplay between any work and its changing historical circumstances, both artistically and socio-politically. The module adopts two main strategies: The first will consider some of the broader theoretical questions raised by the interpretation of an operatic work for the stage, and the second looks in more detail at specific tendencies in contemporary operatic production, considering the historical context in which they emerged, the theoretical premises which informed them, and the way in which they convey meanings in a modern context. The module will examine the work of specific directors and companies including the work of individuals such as Svoboda, Felsenstein, Wieland Wagner, Peter Hall and Peter Sellars.


2




situate operas within their historical, social and political contexts identify operational contexts in which operas are produced and how they impact on the artistic decision-making process. place opera practitioners in historical and relative contexts evaluate judgements of taste and value in a range of critical domains understand and discuss significant developments in opera acquire an informed awareness of the working contexts and organisation of historical and contemporary opera production

Intellectual skills identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for the study of opera, and apply these in critical assessments identify and apply analytical approaches appropriate for systematic and in-depth historical and contextual inquiry



maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) engage in critical self-assessment respond to the precise terms of a designated assignment develop and apply skills of analysis in performance and production identify the theoretical assumptions informing their own work and the writings/practices of others formulate a comprehensive response to a designated assignment deploy advanced skills of critical, contextual, theoretical and performance analysis, and achieve the integration of these in written submissions





3



2000 (+/- 10%) 3000 (+/- 10%)

40% 60%


Semester 1 or 2


Opera Studies


No


4

Content Weeks 1 and 2 Opera as drama

We will examine the nature of opera as a theatrical medium, surveying and contesting some familiar positions: e.g., Joseph Kerman’s “opera as drama” v. Peter Conrad’s “opera as novel”. We will suggest that the Aristotelian approach to opera as drama which is espoused by Kerman may not be the most appropriate and will look at some alternative theories of performance by which to frame opera as theatre. We will also consider some of the social and institutional issues that dictate these different approaches.

Weeks 3 and 4 Authenticity or Modernisation?

We will examine arguments for and against concepts of authenticity and modernisation in operatic production. We will consider different definitions of authenticity, and demonstrate the difficulties that are raised by each approach, suggesting that since any performing art entails a degree of interpretation the concept of absolute authenticity is impossible.

Weeks 5 and 6 Interpretation

We will examine some basic theories of interpretation, demonstrating that acts of interpretation are unavoidable in any approach to reading or reconstructing a work of art. We will look at some key interpretative methods, in particular, semiotics, and will consider the interpretative implications of an art form in which there are several different communication systems at work.

Weeks 7 and 8 The Performance Conventions of Opera

We will consider the historical development of performance conventions in opera from its origins in the baroque period. We will consider the role of institutions and audiences in determining certain performance conventions, and will demonstrate how understanding these may enhance our understanding.

Weeks 9 and 10 Realism in Opera

We will examine the emergence of theories of realism in opera as they developed during the nineteenth century, looking in particular at the work of Stanislavski in opera, the opulent pictorialism of Visconti and Zeffirelli and the influence of Maria Callas on their work, and the social realism of Felsenstein.

Weeks 11 and 12 Symbolism and Expressionism

We will consider the influence of turn-of-the-century directors and designers such as Appia, Meyerhold and Roller, the radical experiments of the Kroll Opera in 1920s Berlin, and the influence of film in challenging realism and naturalism in opera.

Weeks 13 and 14 Political Approaches

We will examine some key approaches to the political interpretation of opera, from Brecht and Piscator to the re-evaluations of Feminism and consider their impact on modern directors such as Harry Kupfer, Patrice Chéreau and Peter Sellars.

Weeks 15 and 16 Postmodern Production

We offer a basic introduction to theories of deconstruction (e.g., in the writings of Roland Barthes on music and song, Susan Sontag’s (“Against Interpretation”) to provide a framework for looking at the controversially playful work of directors and designers like Richard Jones and the more oblique postmodernism of Robert Wilson.


Specified texts



5



Feedback


Indicative Reading Appia, Adolphe. Music and the Art of the Theatre Routledge, 1993

Bauman, T. and McClymonds, M.(Eds.). Opera and the Enlightenment CUP, 1995

Benjamin, Walter. Understanding Brecht Trans. Bostock London: Verso Books, 2003

Brecht, Stefan. The Theatre of Visions: Robert Wilson Methuen, 1994.

Carlson, Marvin. Places of Performance Ithaca: Cornell, 1993

Millington, B. (Ed.).Wagner in Performance Yale University Press, 1992

Clément, Catherine. Opera, or the Undoing of Women London: I B Taurus, 1997

Cooke, Deryck. I Saw the World End Oxford: OUP, 1979.

Cooke, Mervyn (Ed.). Twentieth-century Opera Cambridge: CUP, 2005

Elam, Keir. The Semiotics of Theatre and Drama London, Methuen, 2002

Foreman, Richard. Unbalancing Acts New York: Pantheon, 1992

Fulcher, Jane. The Nation’s Image: French Grand Opera as Politics and Politicised Ar CUP, 2002

Fuchs, Peter Paul, (Ed.). The Music Theatre of Walter Felsenstein Quartet, 1991

Holmberg, Arthur. Robert Wilson CUP, 2005

Kerman, Joseph. Opera as Drama London: Faber and Faber, 1989

Jameson, Frederic. Postmodernism, or the Cultural Logic of Late Capitalism London: Verso Books, 1991

Mast, G. and Cohen, M. Film Theory and Criticism OUP, 2004.

McClary, Susan. Feminine Endings Minnesota University Press, 1991

Miller, Jonathan. Subsequent Performances London: Faber and Faber, 1986

Schechner, Richard. Performance Theory London: Routledge, 2003

Sontag, Susan. Against Interpretation and other Essays London: Vintage, 1994

Stanislavski, C. and Rumiantsev, P. Stanislavski on Opera Trans. E. R. Hapgood. New York : Theatre Arts Books, 1975

Sutcliffe, Tom. Believing in Opera London: Faber, 1996

Weiss, Piero. Opera – A History in Documents Oxford: OUP, 2002





6


Jan 2012





Title Wagner’s heirs

Module code OS612

Credit rating 20

Level 6






ECT* 10


2. AIMS

The module aims to: help you identify the main characteristics of the Wagnerian legacy direct you towards an understanding of the distinctive contributions of those composers who are best understood in relation to Wagner identify and trace Wagner’s influence through the work of a variety of important Romantic and modernist composers give you the opportunity to analyse and evaluate the work of these composers


This module considers Wagner’s crucial position in the musical and dramatic development of opera. It is concerned with examining and evaluating his impact in providing both a basis for new forms and kinds of opera, as well as imposing a domineering model that frustrated innovation and creativity.



2



situate operas within their historical, social and political contexts explain musical concepts such as atonality and apply in the study of scores place opera composers, librettists and practitioners in historical and relative contexts evaluate judgements of taste and value in a range of critical domains understand and discuss significant developments in opera gain a detailed knowledge of the main artistic movements, traditions and ideologies that influence and informed post-Wagnerian opera




maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis in research, critical writing, performance and music discuss primary material within historical and theoretical frameworks formulate a comprehensive response to a designated assignment deploy advanced skills of critical, contextual, theoretical and performance analysis, and achieve the integration of these in written submissions demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical





3



2000 (+/- 10%) 3000 (+/- 10%)

40% 60%


Semester 1 or 2


Opera Studies


No


4

Content Weeks 1 and 2

We shall start by looking at some reactions by contemporary composers to Wagner’s music and then study some major critical writers and their assessment. The objective is to see the range and strength of Wagner’s impact on late nineteenth-century culture. We shall then go on to look at two composers who can be considered as immediate successors to Wagner: his son Siegfried and his colleague in the last years, Humperdinck.

Weeks 3 and 4 Salome

Here we shall begin a consideration of one of the major opera composers of the first half of the twentieth century and whose music is obviously indebted to Wagner: Richard Strauss. In this and the following two units we shall study his operas, covering the range of his style and development.

Weeks 5 and 6 Der Rosenkavalier

This unit will be devoted to the Strauss/Hofmannsthal partnership.

Weeks 7 and 8 Die Frau ohne Schatten

Finally we shall look at Strauss’ late phase.

Weeks 9 and 10

The focus here will be two composers whose work follows in the same line as Strauss, but with different results: Hans Pfitzner and Korngold.

Weeks 11 and 12

In France, for political as well as artistic reasons, Wagner’s music was greeted with wildly differing critical reactions. In this unit we shall look at Debussy’s Pelléas et Mélisande, which sought to extend music from a critique of Wagner’s methods.

Weeks 13 and 14

In this unit we shall look at the English composer Delius, whose highly individual style nonetheless owes a great deal to Wagner, and whose operas were seen by many of his supporters as a direct parallel to Wagner’s. Weeks 15 and 16

Finally we shall return to the German tradition and examine a work that, at first sight, has nothing at all in common with Wagner: Schoenberg’s Moses und Aron. We may find that it is in these apparently remote works that the real heirs of Wagner are to be found rather than in his more obvious imitators.


Specified texts




Feedback



5

Indicative Reading Adorno, T. In Search of Wagner Trans. Livingstone. London: Verso, 2005

Bailey, Katherine. The Life of Webern CUP, 1998

Beaumont, Antony. Zemlinsky New York: Cornell, 2000

Boyden, Matthew. Richard Strauss London:Weidenfeld & Nicholson, 1999

Carley, L. Delius: A Life in Letters 2 Vols. London: Scolar Press, 1988

Dahlhaus, Carl. Schoenberg and the new music Trans. Puffett & Clayton. CUP,1990

Eisler, H. A Rebel in Music London: Kahn and Averill, 2006

Frisch, Walter (Ed.). Schoenberg and his world Princeton, 1999

Hanslick, E. The Beautiful in Music Trans. Cohen. Kessinger Publishing, 2006

Headlam, Dave. The Music of Alban Berg Yale University Press, 1996

John, N. (Ed.). “Der Rosenkavalier”: Richard Strauss. ENO Guides 8.

London: John Calder, 1993

Kennedy, M. Richard Strauss OUP, 2005.

Nichols, R. and Langham-Smith, R. Claude Debussy: Pelléas et Mélisande CUP, 1989

Nichols, R. Debussy Remembered London: Faber and Faber, 1998

Pople, Anthony (Ed.). The Cambridge Companion to Berg CUP, 1997

Puffett, D. Richard Strauss: “Salome.” CUP, 1989

Redwood, C.(Ed.). A Delius Companion London: John Calder, 1980.

Schoenberg, A. Style and Idea University of California, 1984.

Shawn, Allen. Arnold Schoenberg’s Journey Farrer, Straus & Giroux, 2002

Vaughan Williams, R. National Music and other Essays OUP, 1996

Wilhelm, Kurt. Richard Strauss, an intimate portrait Trans. Whittall London: Thames & Hudson, 1989

Williamson, J. The Music of Hans Pfitzner Oxford: Clarendon Press, 1992





Feb 2012





Title Lieder

Module code OS613

Credit rating 20

Level 6






ECT* 10


2. AIMS

The module aims to: trace the historical development of the Lied develop your ability to read a score develop your understanding of issues of historical and contemporary performance practice


This module deals with European traditions and their varied performance practices equipping you to engage with a related vocal art form similar to, yet very different from, opera. It takes you through the history of the Lied from the seventeenth century to the experimentalism of the second half of the twentieth century focusing on the social and performance contexts as well as the changing aesthetics and concepts of the genre.



2



situate Lieder within their historical, social and political contexts identify contexts in which Lieder were produced and how they impacted on the artistic decision-making process apply basic musical concepts such as keys and tonality in the study of scores place Lied composers in historical and relative contexts evaluate judgements of taste and value in a range of critical domains explain and discuss significant developments in Lieder gain a detailed knowledge of the main artistic movements, traditions and ideologies that influence and inform the Lied in all periods of its history

Intellectual skills identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for the study of opera, and begin to apply these in critical assessments identify and apply analytical approaches appropriate for systematic and in-depth historical and contextual inquiry engage with, apply and integrate complex theoretical analyses in relation to primary and secondary material.



maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments engage in independent scholarly research and discursive written analysis undertake a range of formal assessments to a range of specified briefings (assignments) engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis in research, critical writing, performance and music locate and discuss primary material within historical and theoretical frameworks identify the theoretical assumptions informing their own work and the writings/practices of others formulate a comprehensive response to a designated assignment deploy advanced skills of critical, contextual, theoretical and performance analysis, and achieve the integration of these in written submissions demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical



3





2000 (+/- 10%) 3000 (+/- 10%)

40% 60%


Semester 1 or 2


Opera Studies


No


4

Content Weeks 1 and 2 The 17th- and 18th-century Lied

We will explore the formation of aesthetic principles for German poetry; the continuo Lied; early centres of Lied composition and the Lied in late 18th-century Vienna.

Weeks 3 and 4 The Romantic Lied (1): Schubert

We will explore Schubert’s life and Lieder together with early 19th-century performance practice and current discussions in Schubert scholarship. We will also investigate the song cycle and its various subgenres.

Weeks 5 and 6 The Romantic Lied (2): Schumann and Loewe

We will explore Schumann as a composer and critic, the changes he wrought in the role of the piano part, and look at the situation of Lied composition in the middle of the 19th century.

Weeks 7 and 8 The Romantic Lied (3): Liszt and Wolf

We will investigate Liszt’s Lied transcriptions; changes in 19th-century performance practice and concert life together with Wolf and the changes in the composer-performer-work constellation.

Weeks 9 and 10 The Lied in the Context of European Nationalism

Looking at the background of the nationalist movement in Europe we will explore the Lied and folklore and Brahms' folk song arrangements together with Lied repertories of various European countries.

Weeks 11 and 12 The Lied ca. 1890-1910

We will examine stylistic currents in the arts at the fin de siècle: impressionism, expressionism, symbolism, post-romanticism in the light of the orchestral Lied and Lied cycles.

Weeks 13 and 14 The Lied in France: The romance and the mélodie

Here we will cover the history of the Lied in France during the 19th and 20th centuries from the romances of Mompou to the mélodies of Fauré, Debussy. and Ravel.

Weeks 15 and 16 The Lied in England and the USA

We will survey styles and artistic approaches in England and America

from folk song arrangements of Lied for solo voice and piano to the symphonic song cycle.


Specified texts




Feedback



5

Indicative Reading Brinkmann, R. Schumann and Eichendorff Studien zum Liederkreis Opus 39. Munich, 1997

Byrne, L. Schubert’s Goethe Settings Ashgate, 2003

Correll, L. The Nineteenth Century German Lied Portland, OR, 1993

Ferris, D. Schumann’s Eichendorff Liederkreis and the Genre of the Romantic Cycle OUP, 2000

Frisch, W.M.: The Early Works of Arnold Schoenberg, 1893–1908 Berkeley, 1993

Glauert, A.L. Hugo Wolf and the Wagnerian Inheritance Cambridge, 1999

Gramit, D. “Schubert and the Biedermeier: the Aesthetics of Johann Mayrhofer’s Heliopolis“, Music and Letters, lxxiv (1993): 355–82

Hallmark, R., (Ed.). German Lieder in the Nineteenth Century New York, 1996

Hirsch, M.W. Schubert’s Dramatic Lieder Cambridge, 1993

- Romantic Lieder and the Search for Lost Paradise CUP, 2008

Hold, Trevor. Parry to Finzi London: The Boydell Press, 2002

Kramer, L. Franz Schubert: Sexuality, Subjectivity, Song Cambridge, 1998

Kravitt, E.F. The Lied: Mirror of Late Romanticism New Haven, 1996

Malin, Y. Songs in Motion, Rhythm and Metre in the German Lied OUP, 2010

Meister, B. Nineteenth-Century French Song Bloomington,1980

Miller, R. Singing Schumann OUP, 2005

Parsons, J. The Cambridge Companion to the Lied CUP, 2004

Smeed, J. W. German Song and Its Poetry 1740-1900 London: Croom Helm, 1987

Snyder, L.D. German Poetry in Song: an Index of Lieder Berkeley, 1995

Stein, D. Spillman, R. Poetry into Song OUP 1996

Thomas, R.Hinton. Poetry and Song in the German Baroque OUP, 1963

Tunbridge, Laura. The Song Cycle Cambridge CUP, 2010

Tunley, D. (Ed.). Romantic French Song 1830–1870 New York, 1995

Whitton, K. Lieder: an Introduction to German Song London, 1984

Youens, S. Hugo Wolf: the Vocal Music Princeton, 1992

Youens, S. Schubert’s Poets and the Making of Lieder Cambridge, 1996





Feb 2012





Title Berg

Module code OS614

Credit rating 10

Level 6






ECT* 5


2. AIMS

The module aims to: develop a thorough and multi-faceted understanding of Berg’s operas provide a secure knowledge of the musical techniques used in each opera and their relationship to the work of the Second Viennese School develop an understanding of the work undertaken by Friedrich Cerha in completing Act III of Lulu, and of the critical reaction to this undertaking examine Berg’s relationship to and treatment of the literary sources for his libretti look at some of the problems and possibilities the operas raise in performance.


The module begins by examining the musical and cultural contexts in which Berg worked, his relationship to other composers, including his teacher, Schoenberg, and the development of his musical style up to the composition of Wozzeck. It proceeds to examine the way in which Berg selected and adapted the literary sources for both Wozzeck and Lulu, and then analyses each work in detail, with particular reference to musical form, harmonic language, Serial and other techniques, instrumentation and use of the voice. There is also an examination of Friedrich Cerha’s work in completing Act III of Lulu.


2




situate Berg’s operas within their historical, social and political contexts apply musical concepts such as atonality and in the study of scores place Berg in his historical and relative contexts evaluate judgements of taste and value in a range of critical domains explain and discuss significant developments within Berg’s operas gain a detailed knowledge of the main artistic ideologies that influenced and informed his composition acquire an informed awareness of the working contexts and organisation of historical and contemporary opera production




maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment identify the theoretical assumptions informing their own work and the writings/practices of others demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical





3


Summative (essay based) (Formative assessment will be given on a draft submission)

2500 (+/- 10%) 100%


Semester 1 or 2


Opera Studies


No

Content Weeks 1 and 2 Contexts

We explore the unique cultural context of Vienna and its relevance to Berg’s music, the serial techniques of the Second Viennese School, and his relationship with his teacher Arnold Schoenberg, with particular emphasis on Berg’s developing musical techniques.

Weeks 3 and 4 Libretti

We examine the historical and cultural contexts of Berg’s source material (Büchner and Wedekind) and Berg’s reasons for choosing these works as the basis for operas as well as the structure of the libretti, and its musical implications.

Weeks 5 and 6 Wozzeck

We consider a detailed examination of the work, focusing on its design and structure, and analyse particular scenes in relation to the work of leading Berg scholars such as Douglas Jarman and George Perle.

Weeks 7 and 8 Lulu

We explore a detailed examination of the work and the techniques scholars have used to analyse it. The ‘completion’ of the work by Friedrich Cerha is discussed, and the validity of the three-act version examined. There is also a comparison of scholarly interpretations of the work, and a discussion of its performance history.


Specified texts




Feedback



4

Indicative Reading Adorno, Theodor W. Alban Berg: Master of the Smallest Link trans. Brand and Hailey. Cambridge: Cambridge University Press, 1994

Blackall, E. Wozzeck ENO Guide, 2011

Dace, Wallace. Opera as Dramatic Poetry New York: Vantage Press, 1993

Headlam, D. The Music of Alban Berg New Haven: Yale, 1996

Jarman, Douglas, Alban Berg: Wozzeck CUP, 1989

Jarman, Douglas, Alban Berg: Lulu CUP, 1991

Müller, I. lulu. Literaturbearbeitung und Operndramaturgie: Analyse 2010

Neighbour, Oliver, Paul Griffiths and George Perle, The New Grove Second Viennese School: Schoenberg, Webern, Berg London: Macmillan, 1997.

Perle, George, The Operas of Alban Berg, i: Wozzeck Berkeley, 1989

Perle, George, The Operas of Alban Berg, ii: Lulu Berkeley, 1989

Pople, Anthony (Ed.). The Cambridge Companion to Berg CUP, 1997

Schorske, Carl E. Fin-de-Siecle Vienna: Politics and Culture New York: Vintage, 1980

Simms, Bryan R. (Ed.). Schoenberg, Berg, and Webern Westport: Greenwood, 1999

Timms, E. and Kraus, K. Apocalyptic Satirist: Culture and Catastrophe in Habsburg Vienna Yale, 1989





Feb 2012





Title Britten

Module code OS615

Credit rating 10

Level 6






ECT* 5


2. AIMS

The module aims to: introduce the operas of Benjamin Britten, revealing the diversity of his forms and styles examine the development of Britten’s musical language, analysing his employment of both traditional and modernist compositional techniques investigate the opera libretti in the context of the composer’s professional and personal relationships study Britten’s use of a range of musical and theatrical devices evaluate Britten’s achievement as an opera composer, and to assess his operatic legacy.


This module explores Britten’s operatic achievement through detailed analyses of the scores, libretti and performance histories and considers his relationships with a range of performers and collaborators. Individual operas will be discussed in varying degrees of detail, the aim throughout being to select significant extracts which represent the full range of Britten’s musical and dramatic strengths. The module will focus on topics including musical form, language and technique, the use of the orchestra and dramatic subject matter, setting and characterisation.


2




situate Britten’s operas within their historical, social and political contexts identify financial and operational contexts in which Britten’s operas were produced and how they impacted on the artistic decision-making process apply musical concepts such as keys and tonality in the study of scores place Britten and his librettists in historical and relative contexts




maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments engage in independent scholarly research and discursive written analysis engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment undertake relevant research and make effective use of supporting primary and secondary evidence and source demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical





3



2500 (+/- 10%) 100%


Semester 1 or 2


Opera Studies


No

Content Weeks 1 and 2 Grand Opera: renewing the tradition

We will examine the impact made by Peter Grimes, exploring the way in which Britten drew upon the conventions and resources of the grand opera tradition to create a work in which his unique voice was immediately distinguishable. We will also investigate Britten’s development on Billy Budd and Gloriana.

Weeks 3 and 4 Chamber Opera: ritual and radicalism

We will explore Britten’s use of smaller forms and his experimentation with eclectic instrumental colours, vocal timbre and operatic structure.

Weeks 5 and 6 The music: “traditionalist” or “modernist”?

We will examine Britten’s use of “modernist” techniques and styles within the parameters of “traditional” operatic styles and forms, noting the way in which experimental features and techniques are essential components in his expressive language by focusing on The Turn of the Screw, A Midsummer Night’s Dream and Death in Venice.

Weeks 7 and 8 The drama: “art and life”

We will explore the recurring features − the sea, the “outsider”, figures of “innocence”, patterns of love and forgiveness – that occur in Britten’s work and the musical and dramatic techniques which he employs to represent and evoke such symbols and ideas.


Specified texts





4

Feedback


Indicative Reading Banks, Paul,(Ed.). Britten's Glorian. The Boydell Press, 1993

Banks, Paul. The Making of Peter Grimes The Boydell Press, 2000

Brett, Philip. Peter Grimes Cambridge: CUP, 1983

- Queering the Pitch Routledge, 2006

Britten, B. Billy Budd Overture opera Guides, 2012

Carpenter, Humphrey. Benjamin Britten: A Biography London: Faber, 2003

Cooke, M. and Brett, P. Benjamin Britten: Billy Budd CUP, 1993

Cooke, Mervyn. Britten and the Far East The Boydell-Press, 1998

Evans, Peter. The Music of Benjamin Britten Oxford: OUP, 1996

Fortune, N. (Ed.). Music and Theatre, CUP, 2005

Headington, Christopher. Peter Pears London: Faber, 1992

Howard, P. Benjamin Britten: The Turn of the Screw CUP, 1985

Jed, Stephanie H. Chaste Thinking: The rape of Lucretia and the birth of humanism Indiana University Press, 1989

Matthews, D. Britten: Life and Times Haus Publishing, 2003

Mitchell, Donald. Britten and Auden in the Thirties London: Faber, 2000

Mitchell, D. and Reed, P. (Eds.). Letters from a Life: Selected Letters and Diaries of Benjamin Britten 2 Vols. London: Faber, 1998.

Morra, Irene Twentieth-Century British Authors and the Rise of Opera in Britain London: Ashgate, 2007

Reed, P. and Cooke, M. Billy Budd CUP, 1993

-Letters from a Life Boydell, 2010

Seymour, Claire. The operas of Benjamin Britten The Boydell Press, 2004.

Tambling, Jeremy. Opera, Ideology and Film Manchester University Press, 1987

Whittall, Arnold. The Music of Britten and Tippett CUP, 1990

Wilcox, Michael. Benjamin Britten’s Operas Absolute Press, 1997





Jan 2012





Title Myth in Opera

Module code OS616

Credit rating 10

Level 6






ECT* 5


2. AIMS

The module aims to: develop your understanding of myth and its importance for the history of opera enable you to use a variety of approaches when analysing works based on myth assess myth’s influence on dramatic design and musical content explore the cultural and musical reasons underlying a composer’s/librettist’s choice and treatment of myth.

3. BRIEF DESCRIPTION OF THE MODULE This module investigates the meaning of myth and how it has been used across the centuries by explaining its attraction for composers and developing methods for analysing works. Works considered include: Mozart Don Giovanni, Cavalli La Didone, Purcell Dido and Aeneas, Berlioz Les Troyens, Tippett King Priam.



2



situate operas within their historical, social and political contexts apply musical concepts such as keys and tonality in the study of scores place opera composers, librettists and practitioners in historical and relative contexts acquire an informed awareness of the working contexts and organisation of historical and contemporary opera production




maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical






2500 (+/- 10%) 100%



3

Semester 1 or 2


Opera Studies


No

Content Weeks 1 and 2 Studying myth

Here we look at definitions of myth, its functions and the ways in which myths are used and studied. We consider how attitudes towards myth have changed and why myths have inspired so many artworks.

Weeks 3 and 4 The myth of Don Giovanni

We survey the history of the Don Juan myth before exploring in more depth its operatic recreation by Mozart and Da Ponte. Particular emphasis is given to the prodigious critical interest in the myth and how this affects interpretation of the opera.

Weeks 5 and 6 The Dido myth

We compare the responses of Cavalli, Purcell and Berlioz to the myth immortalised in Virgil’s Aeneid especially looking at the character of Dido. We also consider myth’s relationships with the classical ideal and history, and issues of gender.

Weeks 7 and 8 Tippett and myth

We investigate why subject matter with a mythical element was so important to Tippett. Beginning with an exploration of the Jungian aspects of The Midsummer Marriage, we go on to compare the plot and characterisation of King Priam with Homer’s Iliad.


Specified texts




Feedback



4

Indicative Reading Bianconi, L. & Pestelli, G. (Eds.). Opera in Theory and Practice, Image and Myth University of Chicago, 2003

Bowen, Meirion, (Ed.). Tippett on Music Oxford: Clarendon Press, 1995

Michael Tippett London: Robson Books, 1998

Burden, Michael, (Ed.). A Woman Scorn’d: Responses to the Dido Myth London: Faber, 1998

Castles-Onion, B. losing the Plot in Opera Metro Publishing, 2009

Emerson, C. Modest Musorgsky and Boris Gudonov: Myths, Realities and Reconsiderations CUP, 1994

Feldman, M. Opera & Sovereignty: Transforming Myths in 18th Century Italy University of Chicago, 2011

Forment, B. (Dis)embodying Myths in Ancien Régime Opera Leuven University Press, 2012

Gasparov, Boris. Five Operas and a Symphony Yale: University Press, 2005

Graf, Fritz. Greek Mythology: An Introduction Trans. Marier. John Hopkins University Press, 1993

Graves, Robert The Greek Myths 2 vols London: Penguin, 1992

Harris, Ellen T. Henry Purcell’s Dido and Aeneas Oxford: Clarendon 1987

John, Nicholas, (Ed.). Don Giovanni ENO Guide 18. Calder, 1983

- The Operas of Michael Tippett ENO Guide 29. Calder, 1985

Jones, Richard Elfyn. The Early Operas of Michael Tippett Edwin Mellen Press, 1996

Kerman, Joseph. Opera as Drama London: Faber, 1989

Noske, Frits. The Signifier and the Signified Oxford: Clarendon Press, 1990.

Righter, William. Myth and Literature Routledge, 1975

Rushton, Julian. W. A. Mozart: “Don Giovanni” CUP, 1981

Russell, Charles C. The Don Juan Legend before Mozart University of

Michigan Press, 1993

Smeed, J. W. Don Juan: Variations on a Theme Routledge, 1990

Steptoe, Andrew. The Mozart-Da Ponte Operas OUP, 1988

Whittall, Arnold. The Music of Britten and Tippett CUP, 1990

Zipes, J. Fairy Tales and the Art of Subversion Routledge, 2012

- The irresistible Fairy Tale: The Cultural and Social History of the Genre Princeton, 2012





Feb 2012





Title Puccini

Module code OS617

Credit rating 10

Level 6






ECT* 5


2. AIMS

The module aims to: examine common perceptions of Puccini in biographies and other critical writings enable you to understand the cultural context from which these writings emerged explore literary realism and to understand its influence on late-nineteenth-century Italian opera explore the exotic and its representation in late-nineteenth-century and early-twentieth-century literature, art and music engage with scholarly debates on the authenticity of Puccini’s use of local colour enable you to understand Puccini’s musico-dramatic techniques and how he expanded the boundaries of Italian opera


The modules seeks to find answers to the questions of who Puccini was and whether we should believe his critics who claimed his works were of high emotional intensity which lacked profundity of content. The module goes on to explore the literary beginnings of realism in the works of Balzac, Zola and others, and its infiltration into Italian opera, defining features of the verismo tradition and looking at Manon Lescaut and La bohème in which features of Romanticism and verismo coexist and the extent to which Tosca is a product of this tradition. It also examines scholarly debates on the authenticity of Puccini’s use of local colour and the broader impact of this on perceptions of his relationship with Eastern culture.


2




situate Puccini’s operas within their historical, social and political contexts identify financial, political and operational contexts in which operas are produced and how they impact on the artistic decision-making process apply musical concepts such as keys and tonality in the study of scores place Puccini and his librettists in historical and relative contexts acquire an informed awareness of the working contexts and organisation of historical and contemporary opera production




maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical




3




2500 (+/- 10%) 100%


Semester 1 or 2


Opera Studies


No

Content Weeks 1 and 2 Puccini and Realism

We explore the literary beginnings of realism in the works of Balzac, Zola and others, and its infiltration into Italian opera and also consider the defining features of the verismo tradition including its impact on musical material and structure and the extent to which Tosca is a product of this tradition.

Weeks 3 and 4 Puccini and the Exotic

We begin begin with a broad introduction to the exotic and its representation in late nineteenth- and early twentieth-century culture. Focussing on Madama Butterfly as well as the chinoiserie of Turandot, we examine the means through which Puccini created an exotic setting and atmosphere.

Weeks 5 and 6 Puccini’s musico-dramatic techniques

Focussing on Manon Lescaut, La bohème and Tosca we explore Puccini’s musico-dramatic techniques and how he expanded the boundaries of Italian opera. Various aspects of his compositional technique will be addressed: including his use of recurrent melodies to achieve dramatic unity and their role in articulating the drama as well as his use of harmony and the orchestra for dramatic and expressive purposes.

Weeks 7 and 8 Puccini on Stage

We examine the performance history of Puccini’s operas and consider the problems posed for contemporary singers as well as the role Puccini himself played in staging his operas.


Specified texts



4



Feedback


Indicative Reading Ashbrook, William. The Operas of Puccini London, 1969

Atlas, Allan. ‘Stealing a Kiss at the Golden Section: Pacing and Proportion in the Act I Love Duet of La bohème’ in Acta Musicologica 75:2003

Bellman, J. The exotic in western music Northeastern University Press, 1998

Budden, Julian. Puccini: His Life and Works OUP, 2002

Carner, Mosco. Tosca CUP, 1985

DiGaetani, John Louis. Puccini the Thinker New York, 2001

Girardi, Michele. Puccini: His International Art Trans. Laura Basini, Chicago, 2000

Greenfield, Howard. Puccini: A Biography London, 1981

Groos, Arthur and Roger Parker (Eds.). Giacomo Puccini: La bohème CUP, 1986

John, N. Madama Butterfly ENO Guide 26 London: Calder, 1984

Johnson, V. , Fulcher, J. and Ertman, T. (Eds.). Opera and Society in Italy and France from Monteverdi to Bourdieu CUP, 2007

Rutherford, Susan. The Prima Donna and Opera, 1815-1930 CUP, 2006

Specht, Richard. Giacomo Puccini: The Man His Life His Work Trans. Phillips, New York, 1933

Weaver, W. and Puccini, S.(Eds.). The Puccini Companion New York, 1994

Wisenthal, Jonathan (Ed.). A Vision of the Orient: Texts, Intertexts, and Contexts of Madame Butterfly University of Toronto Press, 2006

Wilson, Alexandra, The Puccini Problem: Opera, Nationalism and Modernity CUP, 2007





Feb 2012