[Smt-talk] Boulez And World War II

Thu May 22 14:05:12 PDT 2014

Dear Carson, Stephen, Ildar,

Thanks for you helpful contributions.
Dutch composer Louis Andriessen, who was befriended with Berio from the late 50-ties onwards and talked about him last year during a Sequenza-day at our conservatoire, said then that they (Darmstadt composers) just did everything the nazi’s didn’t like. I don’t know on the basis of what he said this -and what the Nazi’s liked or didn’t isn’t that simple- and what it exactly meant, but I hope to ask him soon. Thanks again and best wishes,

Patrick van Deurzen
Royal Conservatoire The Hague
Conservatoire Rotterdam (Codarts)
patrickv at ndeurzen.nl
www.patrickvandeurzen.nl

Op 22 mei 2014, om 21:10 heeft smt-talk-request at lists.societymusictheory.org het volgende geschreven:

> Send Smt-talk mailing list submissions to
> 	smt-talk at lists.societymusictheory.org
> 
> To subscribe or unsubscribe via the World Wide Web, visit
> 	http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org
> 
> or, via email, send a message with subject or body 'help' to
> 	smt-talk-request at lists.societymusictheory.org
> 
> You can reach the person managing the list at
> 	smt-talk-owner at lists.societymusictheory.org
> 
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Smt-talk digest..."
> 
> 
> Today's Topics:
> 
>   1. Re: Core music theory courses for undergraduates
>      (Stephen Jablonsky)
>   2. Re: Boulez And World War II (Ildar Khannanov)
> 
> 
> ----------------------------------------------------------------------
> 
> Message: 1
> Date: Thu, 22 May 2014 10:30:31 -0400
> From: Stephen Jablonsky <jablonsky at optimum.net>
> To: Zachary Cairns <cairnsz at umsl.edu>
> Cc: Anna Gawboy <gawboy.2 at osu.edu>,
> 	"<smt-talk at lists.societymusictheory.org>"
> 	<smt-talk at lists.societymusictheory.org>
> Subject: Re: [Smt-talk] Core music theory courses for undergraduates
> Message-ID: <D9D5F4D5-B351-486C-BCEA-EB23FA9FBA28 at optimum.net>
> Content-Type: text/plain; charset="us-ascii"
> 
> I am wondering how much class time is devoted to the study and performance of rhythm. We do a great deal with sight singing and keyboard, but I have always felt we too often bypass the most fundamental of musical parameters. When I was an undergrad there was only the Robert Starer rhythm book and it really never did the trick. Since then there have been a few good books published, including my All-Star Rhythm & Pitch Book, that address this critical area of student development. I know from 50 years of teaching that students need this kind of work and find it terribly rewarding. I am always amazed at how much the students who use my book learn in one semester. They seem to move much faster into complicated rhythms than we did back in the Jurassic Period.
> 
> 
> Dr. Stephen Jablonsky, Ph.D.
> Music Department Chair
> The City College of New York
> Shepard Hall Room 72
> New York NY 10031
> (212) 650-7663
> music at ccny.cuny.edu
> 
> America's Greatest Chair 
> in the low-priced field
> 
> 
> 
> 
> 
> 
> 
> On May 21, 2014, at 6:55 PM, Zachary Cairns <cairnsz at umsl.edu> wrote:
> 
>> Anna,
>> 
>> Thanks for asking this question -- I've been very interested to read everyone's replies so far!
>> 
>> At University of Missouri - St. Louis, our undergraduate core is a four-semester sequence.  The written and aural components are taught in separate classes, by separate professors. But their curricula are linked, on a weekly basis, as much as is possible.  As such, students cannot progress in the course sequence until they have earned a C or better in both areas (a student may not be enrolled in Theory III and Aural Training I simultaneously).  Keyboard skills are taught in a separate class, and are unfortunately isolated.
>> 
>> Written theory -- meets 2 days a week, for 75 minutes per day, and the students earn three credits for this class each semester.  
>> Aural theory -- meets 2 days a week, for 50 minutes per day, and the students are shortchanged by only earning one credit for this class (a common criticism on course evaluations...)
>> Keyboard skills -- meets 2 days a week, for 50 minutes per day, one credit here, as well.
>> 
>> I should mention that our four-semester sequence is exclusively devoted to tonal theory.  We have a separate class for post-tonal theory (2 days a week, 50 minutes per day, two credits), but it is (unfortunately) not required of all students.
>> 
>> Hope this information is helpful.  Best of luck with your curricular changes!
>> Zac
>> 
>> 
>> 
>> 
>> 
>> On Wed, May 21, 2014 at 11:00 AM, David Feurzeig <mozojo at gmail.com> wrote:
>>> Are theory and aural skills integrated or taught in separate classes? Are keyboard skills included or taught separately?
>> 
>> There is an excellent overview of pedagogical pros and cons in Michael R. Rogers' "Teaching Approaches in Music Theory".
>> 
>> Having gone through three revisions at three very different institutions, I believe these perennial questions are always important to ponder, but have no right answers.
>> 
>> While the background of the typical student may have changed in the last few decades, which might affect the choices a particular department makes, the issues Rogers considers are much the same now as ever.
>> 
>> David Feurzeig
>> The University of Vermont
>> _______________________________________________
>> Smt-talk mailing list
>> Smt-talk at lists.societymusictheory.org
>> http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org
>> 
>> 
>> 
>> -- 
>> ______________________________
>> Zachary Cairns
>> Assistant Professor of Music Theory
>> University of Missouri - St. Louis
>> office: 310 Music Building
>> office phone: (314) 516-5999
>> cairnsz at umsl.edu
>> _______________________________________________
>> Smt-talk mailing list
>> Smt-talk at lists.societymusictheory.org
>> http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org
> 
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL: <http://lists.societymusictheory.org/pipermail/smt-talk-societymusictheory.org/attachments/20140522/bf6265eb/attachment.html>
> 
> ------------------------------
> 
> Message: 2
> Date: Thu, 22 May 2014 07:33:21 -0700 (PDT)
> From: Ildar Khannanov <solfeggio7 at yahoo.com>
> To: Stephen Jablonsky <jablonsky at optimum.net>,	CARSON FARLEY
> 	<ccfarley at embarqmail.com>
> Cc: "smt-talk at lists.societymusictheory.org"
> 	<smt-talk at lists.societymusictheory.org>
> Subject: Re: [Smt-talk] Boulez And World War II
> Message-ID:
> 	<1400769201.18945.YahooMailNeo at web125303.mail.ne1.yahoo.com>
> Content-Type: text/plain; charset="iso-8859-1"
> 
> Dear Stephen and the List,
> 
> the question of Boulez and WWII is extremely important. I have given papers at several conferences on the topic of Stockhausen and WWII. He also avoids mentioning the war, although in at least three interviews, one with Adorno, he was cornered and had to respond. It is obvious that both were the children of WWII and music, a non-verbal witness, testifies to the opposite of Boulez' and Stockhausen's public stance. I focused on Le Carre in my analysis. This composition was inspired by flying a four-engine airplane (remember Goering's failed attempts to build a 4-engined bomber) ! And the sitting diagram, provided by Stockhausen, reminds of the military maps of the Blitz Krieg. 
> 
> Avant-garde was the result of technological advancements that were accelerated by military technology of WWII.
> 
> Best,
> 
> Ildar Khannanov
> Peabody Institute, Johns Hopkins University
> solfeggio7 at yahoo.com
> On Thursday, May 22, 2014 12:08 AM, Stephen Jablonsky <jablonsky at optimum.net> wrote:
> 
> 
> 
> I was a student of Boulez at Harvard in 1963 and we have been friends ever since. I have spent hundreds of hours with him and I can report that he never spoke about WWII or even his life in Montbrison. I had met his sister on a number of occasions and even spent a week at her house in Provence so we did talk about her. On only two occasions did he ever mention his brother.
> 
> 
> Dr. Stephen Jablonsky, Ph.D.
> Music Department Chair
> The City College of New York
> Shepard Hall Room 72
> New York NY 10031
> (212) 650-7663
> music at ccny.cuny.edu
> 
> America's Greatest Chair?
> in the low-priced field
> 
> 
> 
> 
> 
> 
> 
> On May 21, 2014, at 10:28 PM, CARSON FARLEY <ccfarley at embarqmail.com> wrote:
> 
> I've just recently finished two books on Boulez including a collection of his writings "Pierre Boulez Orientations" by Harvard University Press and "Rationalizing Culture - IRCAM, Boulez, and the Institutionalization of the Musical Avant-Garde" by University Of California Press (Georgia Born). ?There is little mention at all of WWII in either book, nor reference to it in either index. ?Possibly you will find the two books useful for further research on the subject of Boulez.??
>> 
>> 
>> Carson Farley
>> Composer/cellist/theorist
>> University of Washington Alumnus_______________________________________________
>> Smt-talk mailing list
>> Smt-talk at lists.societymusictheory.org
>> http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org
> 
> 
> _______________________________________________
> Smt-talk mailing list
> Smt-talk at lists.societymusictheory.org
> http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL: <http://lists.societymusictheory.org/pipermail/smt-talk-societymusictheory.org/attachments/20140522/913a69e1/attachment-0001.htm>
> 
> ------------------------------
> 
> Subject: Digest Footer
> 
> _______________________________________________
> Smt-talk mailing list
> Smt-talk at lists.societymusictheory.org
> http://lists.societymusictheory.org/listinfo.cgi/smt-talk-societymusictheory.org
> 
> 
> ------------------------------
> 
> End of Smt-talk Digest, Vol 64, Issue 46
> ****************************************