|
HU Credits:
2
Degree/Cycle:
1st degree (Bachelor)
Responsible Department:
Musicology
Semester:
2nd Semester
Teaching Languages:
Hebrew
Campus:
Mt. Scopus
Course/Module Coordinator:
Professor Ruth HaCohen
Coordinator Office Hours:
By appointment
Teaching Staff:
Prof Ruth Hacohen
Course/Module description:
In the course we will discuss the voice concept and its various manifestations in the operatic music drama. On this basis we will examine the emotional map that the operatic world generates, and the fictional community that populate many operas, in its reciprocation with the historical community of reception. In addition to recorded productions of operatic works, we will watch together live performances in Jerusalem and Tel Aviv.
Course/Module aims:
Acquiring tools for watching and analyzing this complicated art form, acquaintance with variety of operatic genres and styles and close look into a few key works. Tracing the way opera copes with critical performative and emotional challenges in relation to the individual and the collective (community) from historical and contemporary points of view.
Learning outcomes - On successful completion of this module, students should be able to:
Follow operatic works along its various dimensions, while paying attention to the transpiring emotional and communal-political drama in various styles and periods; analyze musico-dramatically operatic swaths of different kinds.
Attendance requirements(%):
90%
Teaching arrangement and method of instruction:
Acquaintance with the studied works, the original story (if exists), reading of libretto and watching the entire opera (beforehand) and parts in class. Study of every opera will be accompanied by relevant texts.
Course/Module Content:
A tentative program (the list is longer than will be actually studied):
First Unit:
The interactions between voice, emotions and community, a theoretical and historical overview.
Second Unit:
A deep examination of a few operas which highlight the relations between the individual and the community, along a historical axis. For example (the list can change):
Monteverdi Orfeo, Lully Cadmus and Hermione, Mozart, Magic Flute, and/ or La Clemenza di Tito, Halevy, The Jewess, Verdi, Simon Boccanegra, Wagner, The Meistersinger from Nurenberg, Gershwin Porgy and Bess, Britten, Peter Grimes.
Required Reading:
Will be published in the course's moodle close to its opening.
Additional Reading Material:
Carolyn Abbate and Roger Parker, A History of Opera New York, 2012
Joseph Kerman. Opera as Drama, (New York, 1952) ML 1700 K47
The Concise Oxford Dictionary of Opera ML102O6R67
Grove:
Stanley Sadie, ed., History of Opera. London, 1989. ML 1700 H58
David Kimbell, Italian Opera (Cambridge: Cambridge UP, 1991). ML 1733 K55
David J. Levin (ed.) Opera through Other Eyes (Stanford; Stanford 1994 UP). ML 1700L48
11. Ulrich Weisstein (ed.), The Essence of Opera, (New York: W. W. Norton), 1964. ML 1700 W35
Course/Module evaluation:
End of year written/oral examination 0 %
Presentation 0 %
Participation in Tutorials 15 %
Project work 70 %
Assignments 15 %
Reports 0 %
Research project 0 %
Quizzes 0 %
Other 0 %
Additional information:
|
