MAS 401-02 Style and Literature Spring 2018

“If there is something to be interpreted, the interpretation must speak of something which must be found somewhere,
and in some way respected.” -- Umberto Eco

Instructor
Linda Berna
312.341.3785
lberna@roosevelt.edu
Room 926; office hours as posted or by appointment

Class Meeting Time

9:30-10:45 TT, Room 925

Course Materials
All readings, reference materials and scores will be distributed in class, posted on the MAS 401-02 Blackboard site, or
available through IMSLP (http://imslp.org/) or JSTOR. If you have difficulty accessing Blackboard or any other online
content, you must notify me immediately. It is not acceptable to inform me of such difficulties at the class meeting for
which the material was assigned.

Recommended:
Kate L. Turabian, A Manual for Writers of Research Papers, Theses, and Dissertations, 8th ed. (Chicago: University of
Chicago Press, 2013).

Course Description and Objectives

This course lays the groundwork and provides a structure for your scholarly-performative work over the next two years,
which ultimately culminates in your final semester with your graduate recital and your comprehensive review. We will
proceed from the premise that performance is analysis and analysis is performative. You will explore essential concepts
of criticism and interpretation, by engaging with a wide range of topics approached through diverse perspectives. You
will develop, construct and present your own analytical and interpretive strategies for musical topics and works of your
choice; and write analytically on published scholarship. It is hoped that you will become comfortable in navigating
multivocality, ambiguity, and tension as you contemplate, experience, and engage in the art and practice of music.

MAS 401 carries 3 semester hours of credit. Content and activities serve Roosevelt University’s three learning goals for
all students: effective communication; knowledge of discipline-focused content; awareness of social justice and
engagement in civic life.

Course Requirements and Grade Distribution

Attendance and Participation (15%)
Attendance is expected at every class meeting, with active engagement as evidenced by preparation of readings,
listening assignments, and other tasks, as well as participation in discussions. Please email me ahead of time if you
must miss class because of illness or family obligations. Accommodations for religious observance will conform to
Roosevelt University’s official policy. If you are ill on the day an assignment is due or you are scheduled to present,
you must provide a dated doctor’s note before I will consider the possibility of making up the work.

Annotated Bibliography (15%)

You will prepare an annotated bibliography of the articles and essays indicated in boldface type on the calendar. Details
to be distributed at a later date.

Oral Exam (10%)

The oral exam tests your knowledge of the approaches/strategies/perspectives discussed in selected readings. You will
briefly but thoroughly summarize two articles, and then apply their ideas as specifically as possible to music in your
repertoire. Details to be distributed at a later date.

Project One (10%)

Mapping, charting, and graphing activity. Details to be distributed at a later date.

Project Two (20%)

Engagement with a general audience. Details to be distributed at a later date.

Project Three (30%)

Hermeneutic presentation and essay. Details to be distributed at a later date.

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Written exercises, or responses to readings or assigned works, may be required in preparation for class discussion. If
these are submitted, they will be returned with comments.

Grading Scale
93-100% A 77-79% C+
90-92% A- 73-76% C
87-89% B+ 70-72% C-
83-86% B 60-69% D
80-82% B- 0-59% F

Grading Policies
Withdrawal and curriculum policies of Roosevelt University and The Music Conservatory will be followed.
• Withdrawal is possible only through March 24, 2018.
• A, A-, B+, B, and B- are the only satisfactory grades at the graduate level. Grades of C+, C, and C- are
considered unsatisfactory and may not apply towards a student’s graduation requirement.
• The Incomplete is not an alternative to a failing grade.

Other Important Information

Students with disabilities or other conditions requiring special accommodations must notify me during the first two
weeks of the semester and must also contact the Director of the Academic Success Center/Office of Disability Services.

Policies on academic integrity are published in the Music Conservatory Student Handbook as well as the Roosevelt
University Student Handbook. For any instance of academic dishonesty (cheating, plagiarism, facilitation of same, or
other questionable practices), the student will receive a grade of zero and may be subject to academic disciplinary
charges.

Written assignments must be word-processed in 12-point type, double-spaced with standard margins. Diagrams and
other graphic representations and analyses may be hand-drawn in ink. Written assignments must be emailed, or printed
out and ready to submit, at the beginning of class on the specified due date.

Cell phones, music players, and other personal electronic devices must be turned off during class time. Laptops and
iPads may be used in class, but only for note-taking, accessing readings in electronic format, or presenting. Each use of
electronic devices for non-course content and activities will result in a deduction of 3 points on your course average.

Calendar

Week 1 Introduction
1/16 Mark Whale, “How Universal is Beethoven? Music, Culture, and Democracy,” Philosophy of Music
Education Review 23/1 (Spring 2015): 25-47.
1/18 Andy Bennett, “Identity: Music, Community, Self,” in The Routledge Reader on the Sociology of Music,
John Shepherd and Kyle Devine, eds. (New York: Routledge, 2015): 143-151.
Nicholas Cook, “Performing Poland,” in Beyond the Score: Music as Performance (New York: Oxford
University Press, 2013): 157-166.

Week 2 Analysis and Meaning

1/23 Lawrence Kramer, “Analysis Worldly and Unworldly,” The Musical Quarterly 87/1 (Spring 2004):
119-139.
1/25 Marion Guck, “Analysis as Interpretation: Interaction, Intentionality, Invention,” Music Theory
Spectrum 28/2 (Fall 2006): 191-209.

Week 3 Analysis and Performance

1/30 John Rink, “Translating Musical Meaning: The Nineteenth Century Performer as Narrator,” in
Rethinking Music, Nicholas Cook and Mark Everist, eds. (Oxford: Oxford University Press, 1999):
217-238.
Edward T. Cone, “The Pianist as Critic,” in The Practice of Performance: Studies in Musical
Interpretation, John Rink, ed. (Cambridge: Cambridge University Press, 1995): 241-253.
2/1 Umberto Eco, “Intentio Lectoris: The State of the Art,” in The Limits of Interpretation (Bloomington: Indiana
University Press, 1990): 44-63.
Mapping, charting and graphing

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Week 4 Interdisciplinary Relationships
2/6 Thomas Tolley, “Haydn and Goya,” in Painting the Cannon’s Roar: Music, the Visual Arts and the Rise
of an Attentive Public in the Age of Haydn (Aldershot: Ashgate Publishing Ltd., 2001): 97-123.
2/8 Elaine Sisman, “Rhetorical Truth in Haydn’s Chamber Music: Genre, Tertiary Rhetoric, and the
Opus 76 Quartets,” in Haydn and the Performance of Rhetoric, Tom Beghin and Sander M. Goldberg,
eds. (Chicago: University of Chicago Press, 2007): 281-326.

Week 5
2/13 Project One Presentations
2/15 Richard Taruskin, “Setting Limits,” in The Danger of Music and Other Anti-Utopian Essays (Berkeley:
University of California Press, 2009): 447-465.

Week 6 The Past

2/20 Caroline Bithell, “The Past in Music: An Introduction,” Ethnomusicology Forum 15/i (2006): 3-16.
2/22 Jann Pasler, “Concert Programs and Their Narratives as Emblems of Ideology,” in Writing Through
Music (Oxford: Oxford University Press, 2008): 365-416.

Week 7 The Text

2/27 Stanley Boorman, “The Musical Text,” in Rethinking Music, 402-423.
3/1 Marjorie Hirsch, “Mirrors, Memories, and Mirages: Songs-Within-Songs in Schubert’s Lieder,”
Journal of Musicological Research 26 (2007): 1-32.

Week 8 Music and Narrative

3/13 Carolyn Abbate, “Music’s Voices,” in Unsung Voices: Opera and Musical Narrative in the 19th Century
(Princeton: Princeton University Press, 1991): 3-29.
3/15 Matthew McDonald, “Silent Narration? Elements of Narrative in Ives’s The Unanswered Question,”
19th Century Music 27/3 (Spring 2004): 263-286.

Week 9
3/20 Project Two Presentations
3/22 Project Two Presentations
Christopher Small, “Prelude: Music and Musicking,” in Musicking: The Meanings of Performing and
Listening (Middletown, CT: Wesleyan University Press, 1998): 1-18.

Week 10 Gender
3/27 Suzanne G. Cusick, “Gender, Musicology, and Feminism,” in Rethinking Music, 471-498.
3/29 Ruth Solie, “Whose Life? The Gendered Self in Schumann’s Frauenliebe Songs,” in Music and Text:
Critical Inquiries, Steven Paul Scher, ed. (Cambridge: Cambridge University Press, 1992): 219-240.

Weeks 11-12 Gesture

4/3 Robert Hatten, Interpreting Musical Gestures (Bloomington: Indiana University Press, 2004): 97-132.
4/5 Eric McKee, “Musical Topics: The Sacred Chorale in the Instrumental Music of Beethoven,” College
Music Symposium 47 (2007): 23-52.
4/10 No class
4/12 Naomi Cumming, “The Subjectivities of ‘Erbarme Dich,’” Music Analysis 16/i (1997): 5-44.

Oral Exams
4/12, 4/13

Weeks 13-14
4/17 Final Annotated Bibliography due
Catch-up, Wrap-up, Questions Urgent or Lingering
4/19 Project Three Presentations
4/24 Project Three Presentations
4/26 Project Three Presentations

Week 15
5/3 Project Three Paper due