MUSIC AND THE VISUAL ARTS (FA 49D.01) SYLLABUS

Lecturer: Rana Gediz İren (rana.iren@boun.edu.tr) Fall 2019

Tuesday, JF 333, 14.00-17.00 Bogaziçi University, Istanbul

Course Description This course gives a broad overview of Western art music (a.k.a. Classical Music) from the Middle Ages to the 20th Century, using an interdisciplinary approach. The course will concentrate on the masterpieces of music from each time period, which will be studied within their historical and cultural contexts and in relation to the representative examples of visual arts (painting, sculpture and architecture) of their times. The class aims to awaken and encourage an appreciation of Western art music and to allow students to draw comparisons and enjoy the connections between different art forms. No previous musical knowledge is needed. Course Objectives

• Learn new musical repertoire and new pieces of visual art • Grasp the historical trajectory of both Western art music and of the visual arts • Learn how to think critically of arts as dynamic cultural products

Course Material Musical examples will be heard and videos will be watched in each class. I will assign readings or some listening as homework most weeks. None of this will take more than half an hour of your time per week.

Required Reading Joseph Kerman and Gary Tomlinson, Listen, 7th edition, Bedford/St. Martin’s Press, 2011.

Craig Wright, The Essential Listening to Music, 6th edition, Cengage Learning, 2013.

E. H. Gombrich, The Story of Art, Phaidon Press. Evaluation 1. Mid-term exam (30%)

2. Final exam (30%)

3. Assignment (20%)

4. Attendance and in-class participation (20%)

Assignment Response Paper on a live classical music concert that you will attend at a venue of your choice (Albert Long Hall, Süreyya Opera, Cemal Resit Rey, Lütfi Kırdar, etc.).

1. The assignment must be turned in as a hard copy in class when its due, on the 26th of November. 2. The assignment provides you with a chance to share your own thoughts and ideas. I therefore strongly urge

you to refrain from plagiarism.

Course Policies As this is a multidisciplinary course, no book alone will cover the entire course material. You are advised to read the chapter on each period for both visual arts and music of the relevant books listed above, but you will only be examined on the material covered in class. It is therefore essential that you take notes in class. Most weeks a reading will be assigned, and you are expected to read this and prepare for a class discussion. Please raise questions and offer comments at any time, as in-class participation is an important component of the course. Attendance is required and will be figured into the final grade. Please note that we will have 12 classes this term, as Tuesday, 29th of October is a national holiday. There will be a mid-term exam on the 12th of November 2019 and a final exam on the university appointed day and time, either on the 19th or 20th of December 2019. The mid-term exam will cover all material presented until the exam; the final exam everything after the mid-term exam (but drawing on what you should have assimilated through the entire course). The exams will consist of:

1. A listening section, for which a list will be given a week before each exam.

2. A multiple choice section.

3. A terminology section. Handouts given in each class will list all the relevant terminology.

If you miss an exam, a make-up exam can only be offered if you provide a Doctor’s report.

Class Schedule

Class 1 : Introduction: Syllabus and course overview Introduction, discussion of syllabus, course overview. Reflect on the common elements and differences between visual arts and music. The beginnings – Greek and Roman heritage. Basic introduction to the elements of music: Instrumentation, Harmony Tonality, Melody, Rhythm and Metre. Listening:

Excerpts from:

Ø Promenade. 1. The Gnome from Pictures at an Exhibiton, Modest Mussorgsky (1874) Ø The Sugar Plum Fairy, Act II, from The Nutcracker, Pyotr Ilyich Tchaikovsky (1892) Ø Epitaph of Seikilos, (1st Century) Ø Stasimon of Orestes, (5th Century BC) Ø Bolero, Maurice Ravel (1928)

Class 2 : The Middle Ages The role of the church in arts - a highly religious art, characterised by iconographic paintings illustrating scenes from the Bible, manuscript illumination, church architecture and sculpture. Gregorian chant, development of notation in churches and monasteries. Architecture of Gothic cathedrals and the parallels between the development of Gothic architecture and polyphony in France. Ars subtilior. Listening:

Ø Anonymous, Gregorian Chant Puer Natus est Nobis Ø Anonymous, Gregorian Chant Ut Queant Laxis Ø Anonymous, Gregorian Chant Viderunt omnes Ø Leoninus, Viderunt omnes (Notre Dame de Paris) (c. 1160) Ø Perotinus, Viderunt omnes (Notre Dame de Paris) (c. 1198) Ø Guillaume de Machaut, Kyrie from the Messe de Notre Dame (Cathedral de Reims) (c. 1364) Ø Baude Cordier, Belle, Bonne, Sage (14th C.) Ø Jacob Senleches, La harpe de melodie (14th C.)

Class 3 : The Renaissance The Renaissance in arts and its reflection to music in Italy. Court patronage, co-existence of musicians, architects and artists. Leonardo da Vinci, Michelangelo and Raphael. Architects Alberti, Brunelleschi and Bramante. Guillaume Dufay’s Nuper Rosarum Flores and the Cathedral of Florence. ‘Cori Spezzati': Venetian Polychoral Music. Palladio’s villas in the Veneto. The Sistine Chapel in the Vatican and Palestrina and de Victoria’s music. Listening:

Ø Guillaume Dufay, Nuper Rosarum Flores (1436) Ø Guillaume Dufay, Lamentatio sanctae matris ecclesiae Constantinopolitanae (1454) Ø Heinrich Isaac, Quis dabit capiti meo aquam (Lament on the death of Lorenzo de' Medici) (1492) Ø Jacques Arcadelt, Il Bianco e dolce cigno (The White and Sweet Swan) (b. 1538) Ø Josquin des Prez, Ave Maria…Virgo serena (c.1475) Ø Josquin des Prez, Missa Pange Lingua - Kyrie (1515) Ø Giovanni Pierluigi da Palestrina, Missa Papae Marcelli - Kyrie (1557) Ø Tomas Luis de Victoria, O magnum mysterium (1572) Ø Giovanni Gabrieli, Salvator Noster a 15 voci, in 3 cori (Our Saviour for 15 voices in 3 choirs) (b. 1615)

Class 4 : The Baroque Period I: Early Baroque - The birth of Opera, Oratorio and Cantata. Italian court patronage, the academies and the development of monody. Drama, movement and expressivity in visual arts: Caravaggio, Velazquez, Bernini, Borromini. New musical genres in the early 1600s in Italy: Music for the courts (opera and cantata) and music for the prayer hall (oratorio). Public Opera in the 17th Century in Venice. The French Tragedie en musique in the context of Louis IVth's palaces and André Le Notre’s garden designs for Versailles and Chantilly. Listening:

Ø Excerpts from Claudio Monteverdi, Orfeo (1607) o Toccata o Vi ricorda o boschi ombrosi o Ahi, caso acerbo! o Tu sei morta o E la virtute un raggio

Ø Monteverdi or colleague, Pur ti Miro from L’Incoronazione di Poppea (1642) Ø Giacomo Carissimi, Historia di Jephta (1648) Ø Francesco Cavalli, Giasone, Delizie contente (1649) Ø Luigi Rossi, Occhi Belli (c.1640) Ø Jean-Baptiste Lully, Armide (1686)

o Ouverture o Les plaisirs ont choisi pour asile Act 5, Scene 2

Class 5 : The Baroque Period II: The High Baroque Music for different performance contexts and spaces, the different cases of J.S Bach, Vivaldi and Handel. Vivaldi in Venice at the Pietà. J.S. Bach in Weimar, Köthen and Leipzig. Handel’s music for the Opera and the conception of Oratorios for London. Listening:

Ø Antonio Vivaldi, Gloria in excelsis Deo 1st Mov. (1715) Ø Antonio Vivaldi, Four Seasons, Spring 1st Mov. Op. 8 RV 269 (c. 1720) Ø Antonio Vivaldi, Four Seasons, Winter 1st Mov. Op. 8 RV 269 (c. 1720) Ø Antonio Vivaldi, from Farnace, Gelido in ogni veno (Frozen in every vein) (1727) Ø J.S. Bach, The Toccata and Fugue in D minor, BWV 565 (c. 1710) Ø J.S. Bach, Brandenburg Concerto No. 4 in G major, 1st Mov. BWV 1049 (1721) Ø J.S. Bach, Ich habe genug, BWV 82 (1727) Ø J.S. Bach, Matthaus Passion, Erbarme Dich BWV 82 (1727) Ø Georg Friderich Handel, Rinaldo (1711)

§ Cara Sposa § Lascia ch'io pianga

Ø Georg Friderich Handel, Giulio Cesare in Egitto (Julius Ceasar) V’adoro Pupille (I adore you, pupils) (1724) Ø Georg Friderich Handel, Hallelujah chorus from the Messiah HWV 56 (1742)

Class 6 : Classical Period The Enlightenment, balance, clarity and elegance in music, parallel to Neoclassical art and architecture, including Canova’s sculptures and Jacques-Louis David's paintings. Sonata, symphony and the sonata form. Haydn’s early symphonies composed at the Esterhazy Palace (Neoclassical Architecture). Mozart, the piano concerto and the Singspiel. Transition from Classical to Romantic music with Beethoven. Listening:

Ø Joseph Haydn, Symphony No. 6 in D major Le matin (Morning). (Hoboken 1/6) (1761) Ø Joseph Haydn, Symphony No. 94 in G Major (Surprise) II. Andante Ø Joseph Haydn, Symphony No. 45 in F♯ minor (Farewell) IV. Finale Ø Wolfgang Amadeus Mozart, Piano Concerto No. 20 in d minor I. Allegro (1785) Ø Wolfgang Amadeus Mozart - Concerto for Piano and Orchestra No. 23 in A major K 488 2. Adagio (1786) Ø Wolfgang Amadeus Mozart, The Magic Flute, Hell’s Revenge (1791) Ø Ludwig van Beethoven, Sonata No. 14 “Moonlight” I. Adagio sostenuto and III. Presto agitato Ø Ludwig van Beethoven - Symphony No. 5 in c minor, Op. 6, I and IV. (1808) Ø Ludwig van Beethoven, Symphony No. 9 "Choral" (Finale) (1824)

Class 7 : Mid- term Exam Class 8 : Romanticism I Expansive symphonies, virtuosic piano music, passionate songs which took inspiration from art and literature. Delacroix’s paintings of themes from Romantic poetry. Caspar David Friedrich and J.M.W. Turner, John Constable’s romantic landscape painting. First class to concentrate on songs and piano works. Schubert, Mendelssohn, Schumann and Brahms’ lieder. Chopin, Schumann and Liszt’s music for the piano. Listening:

Ø Franz Schubert, Erlkönig, D. 328 (1815) Ø Felix Mendelssohn, Auf Flügeln des Gesanges (On Wings of Song) (1834) Ø Robert Schumann, Im wunderschönen Monat Mai from Dichterliebe Op. 48 (1840) Ø Johannes Brahms Wie Melodien zieht es mir Opus 105 N. 1 (1888) Ø Frédéric Chopin Nocturne Op. 9 No. 2 (1830-32) Ø Frédéric Chopin Mazurka No. 5, Op. 7 No. 1 (1830-32) Ø Robert Schumann, Träumerei from Kinderszenen, Op. 15 No. 7 (1838) Ø Franz Liszt - Consolation No. 3, S. 172 (1849-50) Ø Johannes Brahms, Hungarian Dances No. 5 (1869)

Class 9 : Romanticism II Expansive symphonies after Beethoven’s 9th, the contributions of Brahms and Mahler. Wagner and the Gesamtkunstwerk - Festspielhaus Bayreuth. Verdi and nationalism in music in Italy. Listening:

Ø Richard Wagner, Tannhauser - Overture (1845) Ø Richard Wagner, Tristan und Isolde - Prelude to Act 1 (1857-1859) Ø Richard Wagner, Der Ring des Nibelungen (The Ring of the Nibelung) - Die Walküre (The Valkyrie), WWV 86B -

The Ride of the Valkyries (1870) Ø Giuseppe Verdi, Va Pensiero, Nabucco (1842) Ø Giuseppe Verdi, La Traviata, Brindisi (1853) Ø Johannes Brahms, Symphony no. 1 in c minor Op. 68, 1 and IV (1876) Ø Johannes Brahms, Symphony no. 3 in F major Op. 90, III. Poco Allegretto (1883) Ø Gustav Mahler - Symphony no. 5, c sharp minor, IV. Adagietto (1901-2)

Class 10 : Impressionism Impressionism in fine arts, Monet, Degas, Pissarro and Renoir. The influence of the Gamelan and of Japanese prints. The French composers Claude Debussy, Gabriel Fauré and Maurice Ravel’s music in relation with French “Symbolist” literature - Verlaine, Mallarmé, etc. A pre-cursor to Modernism: Art Nouveau. Listening:

Ø Claude Debussy, Pagodes from Estampes (Prints), L.100 (1903) Ø Claude Debussy, Nuages (Clouds) from Nocturnes L. 91 (1899) Ø Claude Debussy, Prélude à l’après-midi d’un faune (1894) Ø Gabriel Fauré Clair de lune, Op. 46 No 2 (1887) Ø Maurice Ravel, Oiseaux Tristes (Sad birds) from Miroirs (Mirrors) (1904-1905)

Class 11 : Modernism The two World Wars - new art experiments: New forms to express modern life. The German Expressionists and Strauss’s Salome. The Austrian Expressionists and the 2nd Viennese School (Arnold Schoenberg, Alban Berg, Anton Webern) Kandinsky’s relationship with Schoenberg. Paris, Fauvism, Cubism and the Ballets Russes (Matisse and Picasso’s relationship with Diaghilev). Stravinsky and Le Sacre du printemps (1913). Musical Responses to WW2. Listening:

Ø Richard Strauss, Dance of the Seven Veils from Salome (1905) Ø Arnold Schoenberg, Three Piano Pieces, Opus 11, I and III (1909) Ø Alban Berg, Wozzeck (1922) Ø Anton Webern, Symphonie, Opus 21, I. (1928) Ø Igor Stravinsky, The Rite of Spring, Part 1. Adoration of the Earth: The Augurs of Spring: Dance of the Young Girls

(1913) Ø Olivier Messiaen, Quartet for the End of Time, I. Crystal Liturgy (1941) Ø Richard Strauss, Metamorphosen (1945) Ø Krzysztof Penderecki, Threnody to the Victims of Hiroshima (1960) Ø Benjamin Britten, Lacrimosa from The War Requiem (1962)

Class 12 : 20th Century New sound materials, electronic music - Space as a compositional parameter: The Philips Pavilion. Abstract Expressionism and indeterminacy in music. Ligeti and new sonorities. Postmodernism in architecture and music. Minimalism in visual arts and music. Opera, film and sacred music at the end of the 20th Century. Listening:

• Iannis Xenakis, Metastaseis (1953-54) • Edgar Varèse, Poème électronique (1958) • György Ligeti, Atmospheres (1961) and Kyrie (from Requiem (1963-5) • John Cage, Aria (1960) • John Cage, 4’33’ (1952) • John Cage, Ryoanji (1983-1985) • Alfred Schnittke, Symphony No 1 (1974) • Steve Reich, Electric Counterpoint (1987) • John Adams, Short Ride in a Fast Machine (1986) • Philip Glass, Violin Concerto No. 2 ‘The American Four Seasons’ (2009) • Max Richter, Recomposed by Max Richter: Vivaldi - The Four Seasons (2012) • Max Richter, The Shores of Scotland from Mary Queen of Scots (2018) • Anna Meredith, Varmints (2016) • Kaija Saariaho, L'Amour De Loin (2000)

Optional Reading

Music Boran, İlke and Yıldız Şenürkmez, Kıvılcım. 2015. Kültürel Tarih Işığında Çoksesli Batı Müziği. Yapı Kredi Yayınları. Burkholder, P., Grout, D.J., 2010. Palisca, C. A History of Western Music, W. W. Norton & Company. Büke, Aydın. 2012. Romantizmin Işığı Clara. Can Yayınları. Büke, Aydın. 2012. Mozart, bir Yaşam Öyküsü. Can Yayınları. Isserlis, Steven, 2001. Why Beethoven Threw the Stew. Faber and Faber Ltd. (Also available in Turkish though Pan Yayıncılık). Isserlis, Steven, 2006. Why Handel Waggled His Wig. Faber and Faber Ltd. (Also available in Turkish though Pan Yayıncılık). Gloag, Kenneth, 2012. Postmodernism in Music. Cambridge: Cambridge University Press Griffiths, Paul. 2006. A Concise History of Western Music. Cambridge University Press. Ross, Alex. 2009. The Rest is Noise: Listening to the Twentieth Century. Picador. Ziegler, Robert (ed.) 2013. Music: The Definitive Visual History, DK.

Fine Arts, Architecture and Music Ausoni, Alberti. 2009. Music in Art, Guide to Imagery. Getty Publications. Batchelor, David. 1997. Movements in Modern Art, Minimalism. Tate Gallery, UK. Bandur, Markus, 2001. Aesthetics of Total Serialism: Contemporary Research from Music to Architecture, Basel : Birkhèauser Benedict, Michael (ed.), 2014. Music in Architecture, Architecture in Music. Centre for American Architecture and Design. The University of Texas at Austin. Celant, Germano (ed). 2014. Art or Sound. Milano: Fondazione Prada. Coleman, Patrick (ed.) 2015. The Art of Music. New Haven: Yale University Press. Droste, Magdalena. 2011. Bauhaus 1919-1933. Taschen. de Jong, Klaas (ed.), 2012. Music, Space and Architecture, Amsterdam : Amsterdam Academy of Architecture Howard, Deborah and Moretti, Laura, 2009. Sound and space in Renaissance Venice: architecture, music, acoustics. New Haven : Yale University Press İstanbul Modern. 2014. Çok Sesli: Türkiye’de Görsel Sanatlar ve Müzik Janson, H.W. and Kerman, J. A History of Art and Music. Prentice Hall, New York Kanach, Sharon, 2008. Music and Architecture: Architectural Projects, Texts, and Realizations / Iannis Xenakis ; compilation, translation, and commentary Hillsdale, N.Y. : Pendragon Press Kılıçaslan, Hare and Tezgel, Işık Ece, 2012. Architecture and Music in the Baroque Period, Procedia - Social and Behavioral Sciences 51 pp. 635 – 640 Little, Stephen, 2004. …isms: Understanding Art. A&C Black Visual Arts, Herbert Press: London Melvin, Jeremy, 2006. …isms: Understanding Architectural Styles. Universe. Muecke, Mikesch W. 2007. Resonance: Essays On The Intersection of Music and Architecture, Ames, Iowa : Culicidae Architectural Press Shaw-Miller, Simon. 2002. Visible Deeds of Music: Art and Music from Wagner to Cage. Yale University Press. Trachtenberg, Marvin. 2001. Architecture and Music Reunited: A New Reading of Dufay's "Nuper Rosarum Flores" and the Cathedral of Florence, Renaissance Quarterly, 10/2001, Vol.54, Issue 3 Wieseman, Marjorie. Vermeer and Music. The Art of Love and Leisure. National Gallery Company, London. Wold, Milo and Cykler, Edmund. 1955. An Introduction to Music and Art in the Western World. C Brown Company Publishers – Dubuque, Iowa Vergo, Peter. 2005. That Divine Order. Phaidon Press. Vergo, Peter. 2012. The Music of Painting: Music, Modernism and the Visual Arts from the Romantics to John Cage. Phaidon Press. Online Sources Classic FM: http://www.classicfm.com/discover-music/periods-genres/ BBC: http://www.bbc.co.uk/programmes/articles/2FvDWTYSlVmCstDqy5LccTy/discovering-the-great-composers The Met’s Heilbrunn Timeline of Art History: http://www.metmuseum.org/toah/