Sylabus
1. Opening Lecture: Czechness in the Age of Globalization and What it Means to Know Something
2. Czechness, Stasis and Pastoral Ryba, Christmas Mass, Smetana, Z českých luhů a hájů; Prodaná nevěsta, overture and beginning Act; Dvořák Czech Suite, Martinů, Špalíček, Act 2Additional Works: Vivaldi, “Spring” from Four Seasons, Beethoven, “Pastoral” Symphony; Brahms, Serenade in D Major, Berlioz
3. Czechness, Music of the Future Fibich: Záboj, Slavoj i Luděk; Smetana, Vyšehrad, Dvořák, Holoubek; Novák, V Tatrach Additional Works: Liszt, Les Preludes; Strauss, Don Quixote
4. When Czechness Came to Terezin: Pavel Haas, Study for Strings, Four Chinese Songs; Gideon Klein, Trio; Viktor Ullmann, Piano Sonata #7; Hans Krasa, Tanec and Passacaglia and Fugue; Suk Asrael
5. Americanness vs. Czechness (vs. Wagner…) Dvořák, “New World” Symphony; Cello Concerto; Quartet in F, Op.96; Quintet in Eb, Op.97 Additional Works: Wagner, Overture to Tannhäuser; Prelude to Tristan und Isolde
6. Nature-Nurture/Nature-Torture Janáček: Příhody liškyBystroušky, Věc Makropulos, Dvořák: Rusalka
7. Czechness And the Roma Dvořák, Cikánské písně; Janáček, Zápisník zmizelého; Foerster, “Cikánské děcko;” Jiří Červený and Tomaš Hertán, “Černý cikán;” Adolf Školka, “Černý cikán.” Telemann, Concerto in E Minor; Vivaldi Concerto in C Major; Brahms Hungarian Dances
8. Czechness and Gender: Music by Vitězslava Kaprálová, Ivana Loudová, Kateřina Emingerová, and Geraldine Mucha; Libretti by Gabriela Preissová, Marie Červinková-Riegrová, Smetana, “The Shepherdess”; Janáček, “Maryčka Magdonová,” Dvořák Rusalka
9. Czechness and the new Millenium New Music, Avant-garde music, neo-Baroque, political opera…and the South Pole… (Vít Zouhar, Miroslav Srnka, Aleš Březina, Sara Medovká)
10. Czechness and Christmas: Michna; Vanoční mše; Zrunek, Vanoční mše, koledy Other works: Bach Christmas Oratorio; Vaughan Williams, Fantasia on Christmas Carols
Anotace
Czech Music in the Age of Fake News and Globalization
This course explores the two related concepts of “Czechness” and “Czech Music,” and asks what such things mean in today’s world. What role, first and foremost, does the idea of “Czech music” or broader notions of the “national” and “local” play in what usually is described as an increasingly globalized world? Are such things forces of reaction, resisting progressive notions of integration, or are they a way of resisting “one size fits all” commercialization and the marketing of all things, including music? Second, we will look at the notion of “Czechness,” spoken about so often in the writings and debates around Czech national music. What is “Czechness,” and what do we think about it today? Is it subject to empirical study, or just a kind of mystification? Does it possibly detract from our understanding of a piece of music or even a repertoire, or is it, in fact, an essential key to certain composers and works?
The course will be based around a series of musical scores, and consists of lectures, discussions, presentations, and musical performances. Student evaluation and grading will be based on class participation, one short written assignments, and a final project to be discussed in class (either an essay or a research paper).