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HU Credits:
2
Degree/Cycle:
2nd degree (Master)
Responsible Department:
musicology
Semester:
2nd Semester
Teaching Languages:
Hebrew
Campus:
Mt. Scopus
Course/Module Coordinator:
Dr. Julia Kreinin
Coordinator Office Hours:
Wednesday 14-15
Teaching Staff:
Prof Julia Kreinin
Course/Module description:
For more than 250 years from his death, Bach remains the mostly influential European composer. At the same time, his followers have given very different interpretations of his aesthetics and composition principles. In the course, versatile understanding and development of Bach’s legacy will be analyzed and discussed.
Course/Module aims:
The main aim is to investigate the phenomenon of influence as a specific type of Rorschach psychological test. Very often, the composer’s interpretation of Bach’s legacy may be interpreted as his own self-portrait, which was done without any intention to do so.
Learning outcomes - On successful completion of this module, students should be able to:
The ability to compare composition principles of Bach and his followers, to observe the difference between Bach and later composers and to comment the reasons for it.
Attendance requirements(%):
80%
Teaching arrangement and method of instruction:
While comparing Bach’s and his followers’ works of the same genre, to analyze the composers’ statements in parallel with their musical opuses, in order to understand their subjective points of view versus their creative methods.
Course/Module Content:
1. Was Bach a forgotten composer? Bach and Viennese classics.
2. Bach and Beethoven: dialogue of giants.
3. Mendelssohn and Schumann: to open Bach to the romantic generation.
4. Liszt and Wagner as spiritual descendants of Bach: innovation versus tradition.
5. Brahms: the roots of the “first neoclassicism”?
6. The composers of the first neoclassic generation: Busoni and Reger.
7. The second neoclassic generation: Stravinsky and Hindemith.
8. Hindemith’s Ludus Tonalis versus Bach’s Well-Tempered Clavier.
9. Bach and the Second Viennese School: Schoenberg and Webern as co-authors of Bach.
10. Shostakovich’s 24 Preludes and fugues: Homage to Bach?
11. Music from the former USSR and Bach’s legacy: a continuing influence and interlocution.
12. Penderecki versus Kagel and Golijov: Passion’s genre restoration?
13. Bach’s image as seen by posterity: forefather, ideal, or mythos?
Required Reading:
1. Kindermann, William. Bachian Affinities in Beethoven. In: Bach Perspectives, volume three, ed. by M. Marissen, University of Nebraska Press, 1998, pp. 90-108.
2. Sposato, Jeffrey S. The St. Matthew Passion Revival. In: Sposato, Jeffrey S. The Price of Assimilation: Felix Mendelssohn and the Nineteenth-Century Anti-Semitic Tradition. Oxford University Press, 2006, pp. 38-57.
3. Wolff, Christoph. Brahms, Wagner and the Problem of Historicism in Nineteenth-Century Music: An Essay. In: Brahms Studies, ed. George G. Bozarth, Oxford, 1990, pp. 7-11.
4. Frisch, Walter. Bach, Brahms and the Emergence of Musical Modernism. Bach Perspectives, volume three, ed. by M. Marissen, University of Nebraska Press, 1998, pp. 109-131.
5. Mitchell, Donald. 1) Max Reger: An introductory Musical Portrait. 2) The Case of Max Reger I – II, in: Mitchell, Donald, Cradles of the New, Writings on Music 1951-1991, London, 1995, pp. 41-45, 61-66.
6. Zenck, Martin. Reinterpreting Bach in the nineteenth and twentieth centuries. In: The Cambridge Companion to Bach. Cambridge University Press, 1997, pp. 230-240 (“Liszt and his influence; Ferruccio Busoni”).
7. Hindemith, Paul. Johann Sebastian Bach: Heritage and Obligation. New Haven, Conn.: Yale University Press, 1952, pp. 25-44.
8. Hinton, Steven. Hindemith, Bach and the Melancholy of Obligation.
Bach Perspectives, volume three, ed. by M. Marissen, University of Nebraska Press, 1998, pp. 133-150.
9. A. Schoenberg. Bach. In: A. Schoenberg. Style and Idea. London, 1975, p. 393-397.
A. Schoenberg. My evolution (2). Ibid., pp. 172-174.
10. C. Dahlhaus. Analytical instrumentation: Bach’s six-part ricercar as orchestrated by Anton Webern. In: Schoenberg and the New
Music.
Cambridge University Press, 1987, p.181-191.
11. Wilson, Elisabeth. The final years of Stalinism. In: E. Wilson. Shostakovich: A life remembered. London, 1994, pp. 247-258.
12. Mirka, Danuta. Passion According to Penderecki. In: Siglind Bruhn (Ed.), Voicing the Ineffable: Musical Representations of Religious Experience, Hillsdale, NY: Pendragon Press, 2002, pp. 189-202.
13. Straus, J. Toward a Theory of Musical Influence. In: Joseph N. Straus. Remaking the past: musical modernism and the influence of the tonal tradition. Cambridge, Mass.: Harvard University Press, 1990, pp. 1-18.
Additional Reading Material:
1. Bach Perspectives (7 volumes). University of Nebraska Press, 1995-2007. 2. Bach’s Changing World: Voices in the Community. Rochester, 2007.
3. Bach und die Nachwelt, Band 1-4. Laaber, 1997- 2005.
4. Johann Sebastian Bach und die Gegenwart: Beitrӓge zur Bach-Rezeption 1945-2005. Hrsg. Von Michael Heinemann und Hans-Joahim Hinrichsen.
Course/Module evaluation:
End of year written/oral examination 0 %
Presentation 0 %
Participation in Tutorials 25 %
Project work 0 %
Assignments 25 %
Reports 0 %
Research project 50 %
Quizzes 0 %
Other 0 %
Additional information:
The phenomenon of influence will be examined in the context of modern discussions on the subject.
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