This course explores music and the idea of different identity, better known as Other in social science and cultural studies. In music, portraying something foreign (or Other) involves various complex aesthetic and technical concerns. For one thing, it brings up the question of Self: how does it relate to Other? Furthermore, which elements in music could be manipulated into sounding foreign? How does a composer determine the nature of the Other that he/she portrays? Is his/her model based on something real or imagined?
Using these questions as our starting point, we will explore the issue of Otherness in music throughout the semester. The course is divided into five parts. Part I (Romantic Other) and Part II (exotic Other) deal with an imagined Other, and how the imagination relates to Romanticism, Imperialism, and Exoticism. Part III (The racial Other in America) and Part IV (The Other gender) concern Otherness in race and gender. We will discuss how African American culture is reinterpreted and integrated in America’s cultural context, and how gender plays a role in the composition and performance of classical music and dance. Part V (Aesthetic Other) explores the issue of avant-garde music in the 20th century: how and why some progressive composers chose to pose as Other in the context of Western art music. We will conclude with a discussion of Other from the perspective of Other: how may the use of Other music incur legal issues such as ownership and copyright?
This course explores music and the idea of different identity, better known as Other in social science and cultural studies. In music, portraying something foreign (or Other) involves various complex aesthetic and technical concerns. For one thing, it brings up the question of Self: how does it related to Other? Furthermore, which elements in music could be manipulated into sounding foreign? How does a composer determine the nature of the Other that he/she portrays? Is his/her model based on something real or imagined?
Using these questions as our starting point, we will explore the issue of Otherness in music throughout the semiconductor. The course is divided into five parts. Part I (Romantic Other) and Part II (exotic Other) deal with an imagined Other, and how the imagination relateds to Romanticism, Imperialism, and Exoticism. Part III (The racial Other in America) and Part IV (The Other gender) concern Otherness in race and Gender. We will discuss how African American culture is reinterpreted and integrated in America’s cultural context, and how gender plays a role in the composition and performance of classical music and dance. Part V (Aesthetic Other) explores the issue of avant-garde music in the 20th century: how and why some progressive composers choose to pose as Other in the context of Western art music. We will conclude with a discussion of Other from the perspective of Other: how may the use of Other music incur legal issues such as ownership and copyright?
Bellman, Jonathan. The Exotic in Western Music. Boston: Northeastern University
Press, 1998.
Born, Georgina, and David Hesmondhalgh, eds. Western Music and Its Others:
Difference, Representation, and Appropriation in Music. Berkley: University of California Press, 2000.
Butler, Judith. Gender Trouble: Feminine and the Subversion of Identity. New York:
Routledge, 1990.
Locke, Ralph P. Musical Exoticism: Images and Reflections. Cambridge: Cambridge
University Press, 2009.
Lampert, Philip. Ives Studies. Cambridge: Cambridge University Press, 1997.
McClary, Susan. Feminine Endings: Music, Gender, and Sexuality. University of
Minnesota Press, 1990.
Reich, Nancy. Clara Schumann: The Artist and the Woman. Ithaca, NY: Cornell
University Press, 2001.
Said, Edward W. Orientalism. New York: Penguin, 1995.
Strunk, Oliver, ed. Sources Readings in Music History. New York: Norton, 1998.
Tillard, Francoise. Fanny Mendelssohn. Trans. Camille Naish. Portland, OR: Amadeus
Press, 1996.
Weiss, Piero and Richard Taruskin. Music in the Western World: A History in
Documents. New York: Schirmer, 1984.
Bellman, Jonathan. The Exotic in Western Music. Boston: Northeastern University
Press, 1998.
Born, Georgina, and David Hesmondhalgh, eds. Western Music and Its Others:
Difference, Representation, and Appropriation in Music. Berkley: University of California Press, 2000.
Butler, Judith. Gender Trouble: Feminine and the Subversion of Identity. New York:
Routledge, 1990.
Locke, Ralph P. Musical Exoticism: Images and Reflections. Cambridge: Cambridge
University Press, 2009.
Lampert, Philip. Ives Studies. Cambridge: Cambridge University Press, 1997.
McClary, Susan. Feminine Endings: Music, Gender, and Sexuality. University of
Minnesota Press, 1990.
Reich, Nancy. Clara Schumann: The Artist and the Woman. Ithaca, NY: Cornell
University Press, 2001.
Said, Edward W. Orientalism. New York: Penguin, 1995.
Strunk, Oliver, ed. Sources Readings in Music History. New York: Norton, 1998.
Tillard, Francoise. Fanny Mendelssohn. Trans. Camille Naish. Portland, OR: Amadeus
Press, 1996.
Weiss, Piero and Richard Taruskin. Music in the Western World: A History in
Documents. New York: Schirmer, 1984.
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| attendance & participationattendance & participation attendance & participation |
25 | |
| quiz(zes) & examsquiz(zes) & exams quizzes) and exams |
50 | |
| presentation presentation presentation |
25 |
