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Glenn Gould: Music, Performance, and Persona
Brooklyn Institute for Social Research @ 30 Irving Pl, New York, NY
Within a decade of his death, the pianist Glenn Gould had assumed an almost mythic status, fêted by Edward Said, lionized in experimental films, and fictionalized by the Austrian novelist Thomas Bernhard. While other musicians might rival him in album sales, Gould came to symbolize his art form as a whole: classical music was a traditional field in an age of modern technology and mass media, and in Gould—recluse and celebrity, ascetic and showman,...
Emily Brontë: Wuthering Heights
Brooklyn Institute for Social Research
A novel of cruelty, poisoned love, ruthless necessity, intergenerational vendettas, memory and revenge, Emily Brontë’s Wuthering Heights remains an opulent enigma. First published under the male pseudonym, Ellis Bell, the book puzzled and repulsed its initial readers, who castigated it for immorality but reluctantly acknowledged its inscrutable power. In a preface to the novel, Charlotte Brontë attempted to vindicate her sister by arguing...
Music, Revolution, Romantic Culture: Intro to Beethoven
Brooklyn Institute for Social Research
Music, Revolution, and Romantic Culture: an Introduction to Beethoven Few composers have been more discussed, analyzed, or mythologized than Beethoven. For two centuries the power and inventiveness of his music have not only kept it at the center of the canon, but have shaped our ideas about the nature and potentialities of music itself, inspiring and provoking artists, philosophers, and political parties alike. Musical factions from the classicist...
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Bach: Music and Transcendence
Brooklyn Institute for Social Research
For many listeners, Johann Sebastian Bach is the authoritative standard by which all other composers are judged. His music is often considered both timeless and universal. But Bach’s very preeminence makes it hard to see him clearly—to discern the human face behind the “face of classical music.” A musical prodigy, uncooperative employee, conscientious craftsman, international celebrity, and deep religious believer, Bach made music both of...
Brooklyn Institute for Social Research
Brooklyn Institute for Social Research
Soviet music is both one of the best-known chapters in 20th-century musical history, and one of the most opaque. Composers like Dmitri Shostakovich and Sergei Prokofiev enjoyed a public prominence that few of their western contemporaries could dream of, lionized at home and abroad during their lifetimes and enthusiastically canonized after their deaths. Yet their music’s meaning, and even its basic legitimacy, remain subjects of fierce contention....
Introduction to Music Theory
Brooklyn Institute for Social Research @ 30 Irving Pl, New York, NY
What are the basic structures of western music? What rules and norms—of harmony, melody, and rhythm—unite works as remote from each other in time and style as Bach’s St. Matthew Passion and the Beatles’ Sgt. Pepper? What are the acoustic, perceptual, and historical roots of this musical grammar, and does understanding them shape the way we hear and respond to music? These are some of the questions we will address in Introduction...
Richard Wagner: Tristan und Isolde
Brooklyn Institute for Social Research @ Online, New York, NY
This is an online course. “I fear that the opera will be forbidden,” Richard Wagner wrote to a correspondent as he was completing the last act of Tristan und Isolde. “Only mediocre performances can save me! Absolutely perfect ones will make people insane.” Wagner, not known for his modesty, could be suspected of exaggerating. Yet Tristan, in its reception, has borne him out, inspiring in its listeners an erotic devotion (and at...
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