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2010/1 Module Catalogue
 Module Code: MUS3018 Module Title: PLURALISM IN WESTERN MUSIC
Module Provider: Music and Sound Recording Short Name: MU3.PLURAL20
Level: HE3 Module Co-ordinator: GOSS SM Dr (Music Record)
Number of credits: 20 Number of ECTS credits: 10
 
Module Availability

Autumn Semester
Assessment Pattern
Components of Assessment
Method(s)
Percentage weighting
Coursework
Two essays (25% each) and the preparation and execution of a short presentation at one of the seminar sessions (10%)
60%
Examination
A two-hour paper. Questions will cover the entire course.
40%
Module Overview
Prerequisites/Co-requisites
Module Aims
To develop awareness of, and ability to critique, the representations of pluralist influences (e.g. popular music, the music of other cultures and the music of the distant past) within 20th-century Western music.
Learning Outcomes
Upon completion of this module you should be able to:
  • Identify and discuss the musical techniques used by Western composers to integrate a wide variety of disparate influences.
  • Discuss aspects of post-modern theory and practice in relation to music and the other arts.
  • Identify the musical and aesthetic justifications for the inclusion of quotations and stylistic references in particular works.
Engage critically with the works studied and develop critical techniques to apply to other 20th century music from a wide range of styles and genres.
Module Content

The study and discussion of set works by a variety of 20th-century musicians in musical-analytical and aesthetic terms.
Methods of Teaching/Learning
10 one-hour lectures, 10 one-hour small group seminars and tutorial support
 
Students should spend their own time in getting to know the repertoire and the literature surrounding it and in engaging critically with both.
Selected Texts/Journals
Essential Reading:
 
Jencks, Charles, 1996: What is Post-Modernism? (London; New York: Academy Editions, St. Martin's Press)
 
Metzer, David, 2003: Quotation and Cultural Meaning in 20th Century Music (Cambridge University Press)
 
Meyer, Leonard B, 1967/1994: Music, The Arts and Ideas (The University of Chicago Press)
 
Recommended Reading:
 
Appignanesi, Richard & Garratt, Chris, 1995:Postmodernism for Beginners. (London: Icon Books)
 
Cook, Nicholas, 1998: Music, A Very Short Introduction (Oxford University Press)
 
Jencks, Charles, (ed) 1992: The Post-modern reader (London; New York: Academy Editions, St. Martin's Press)
 
Lochhead, Judy & Auner, Joseph (eds.) 2002: Postmodern Music, Postmodern Thought, (London; New York: Garland: Routledge)
 
Osmond-Smith, David, 1985: Playing on Words: a guide to Luciano Berio’s Sinfonia (London: Royal Musical Association)
 
Rochberg, George, 1984: The aesthetics of survival (The University of Michigan Press)
 
Sim, Stuart (ed.) 2001: The Routledge Companion to Postmodernism. (London; New York: Garland: Routledge)
 
Straus, Joseph N., 1990: Remaking the Past (Harvard University Press)
 
Suggested Reading:
 
Bertens, Hans and Joseph Natoli (eds) 2002: Postmodernism, The Key Figures. (Oxford; Malden, Mass.: Blackwell)
 
Burkholder, J. Peter, 1995: All Made of Tunes (Yale University Press)
 
Cook, Nicholas     & Mark Everist (eds.), 1999: Rethinking Music (Oxford University Press)
 
Cross, Jonathan, 1998: The Stravinsky Legacy (Cambridge University Press)
 
Lambert, Philip (ed.), 1997: Ives Studies (Cambridge University Press)
 
McLuhan, Marshall, 1964: Understanding Media: The Extensions of Man (London : Routledge & Kegan Paul)
 
Miller, Simon (ed.), 1993: The last post: music after modernism (Manchester University Press)
Last Updated

15.02.2010