Musical Infrastructure in an International Context (Compulsory)
The course aims to optimize the knowledge of the history, development and current functioning of various institutions (concert halls, orchestras, ensembles, bands, pop festivals, broadcast organisations and the like) within the European music business. Students will acquire profound insight into the aims, agencies and artistic profiles of these organisations, as well as their audiences, their position within the overall culture industry, the ways in which they are financed, and how their products are disseminated and received. The students will be trained to analyze these profiles, as well as to situate their findings within diverse, current academic discourses.
The course Musical Infrastructure in an International Context studies the history, development and current functioning of various institutions (concert halls, orchestras, ensembles, bands, pop festivals, broadcast organisations and the like) within the European music business. Topics such as institutional aims, agencies and artistic profiles will be addressed, as well as their audiences, their position within the overall culture industry, the ways in which they are financed, how their products are disseminated and received.
The course may concentrate on the classical music infrastructure due to its longstanding tradition, however it will also address other fields (pop, jazz, techno). The students will analyze the profiles of diverse institutions and situate their findings within diverse, current academic discourses. The course includes site visits to Dutch musical organisations as well as guest lectures from key figures within the infrastructure. The course will resonate with the adjacent Musical Knack Lab courses where additional practical skills are trained.
Music and the Moving Image (elective)
The course Music and the Moving Image is devoted to film music this year. Film music is a specific music genre with a history of well over a century. In this course, new research areas will be exploited via lectures, classroom discussion and individual research. Following Neil Lerner (2013), we can argue that ‘[d]riving the study of music here are the underlying assumptions that music together with screen media (understood broadly to accommodate rapidly developing new technologies) participate in important ways in the creation of meaning and that including music in an analysis opens up the possibility for interpretations that remain invisible when only using the eye.’ Technology, aesthetics and implications of the use of music in cinematic media will be examined, using several film-musical theoretical approaches, whereas ideological, historical, social, and performative factors will be incorporated in the debate as well. In this course we follow the discussions, the topics and the paradigm changes, up and including some of the most actual ones. To name a few of the most important that will be addressed in this course: the current attention to the music documentary, for early jazz film formats, improvisation versus meticulously planned film score, silence versus sound, or music accompanying films produced in the Netherlands.
In the first part of this course, we will briefly summarize context and content of the most prominent aspects of the use of music within (most importantly) narrative feature film. The seminars focus on historical contexts of film music, and address key facts and analytical concepts, statistics and terminology that are more or less parallel to the aesthetic and technological development of the feature film. Therefore, the first seminars offer a tour d’horizon on technology, aesthetics and implications of film sound and film music, using several theoretical approaches (Breil, Adorno, Eisler, Copland, Prendergast, Gorbman, Chion, Kassabian, Pisani et alt.).The second part of the course will zoom in on innovative (and/or minimally researched) topics regarding music on screen. The term paper consists of a detailed case study relevant to one of these new topics within the discipline.
Purpose of the course is a) to obtain a thorough specific knowledge of the history of the movie soundtrack, its aesthetics, its technical development, its theoretical debates; b) to become skilled in autonomous audiovisual analysis of soundtracks, using various theoretical models and methods; c) to present proof of these skills in written and verbal assessments; d) to place own research critically into a scholarly discourse.