First of all, the Taruskin reading is what is most important.  I'm hoping that you will start our seminars next week with his work.

Now the McClary is really difficult, but I think rewarding, stuff.  This article will get directly to the heart of the issue concerning whether European Music refers only to itself, or, as McClary thinks, to broader, culturally-held notions of "extramusical" matters (in this case, sexual politics).  You will likely have trouble reading this, but again - I want you to engage with this with an open and receptive mind, eschewing a desire to master utterly the material.  Get what you can - concentrate upon her concerns about European Music.  Think about how this may relate to how you hear movement in this music.  Think well, and then start forming some opinions.

In this work, McClary speaks of two short pieces from Bizet's opera "Carmen", and then the first movement of Tchaikovsky's Fourth Symphony.  The work of Beethoven is referred to in the article, and I think forms the basis upon which McClary makes her claims about sexual politics.  I AM NOT REQUIRING THIS, but for those of you who want to listen to the above-mentioned pieces, you will find them on the Naxos site, in the playlist labelled "Miscellaneous".  You are looking for 1) Bizet "L'amour est un oiseau rebelle"  2) his "Flower Song", and 3) the first movement of Tchaikovsky's Fourth Symphony.  You might enjoy this.

Note that the article ends on page 79.  I have included an excerpt of another article in which she speaks directly to Beethoven's Ninth Symphony.  I just want you to know that there is a disjuncture here.  This excerpt starts on what would be page 128 of the parent book, but in our Moodle excerpt, it comes right after page 79 (I think).

I look forward to hearing your questions and comments about this article.  They should provide us with much to discuss. 

- Etan

Last modified: Monday, December 19, 2011, 9:18 AM