Mus M502:  Mahler
Prof: Zukowski


	Gustav Mahler has been portrayed in 20th-century popular
media with an astonishing diversity of characterizations:  hippie
idol; darling of snobbish 1950's intellectuals; even proto-Nazi
(particularly surprising, given Mahler's Jewish heritage).  In his
own era, he was regarded as both bully and caring mentor, genius and
hack, sensualist and mystic.  The seeming eccentricity of Mahler's
practices as composer and conductor helped to provoke such
conflicting responses -- for instance, he tied down the arms of music
students in rehearsals, and was obsessively fearful at the prospect
of hearing ambient noise as he composed.  Yet the underlying beliefs
that motivated these strange actions also informed his compositional
decisions.  They illuminate the ways that his music both challenged
and was structured by fin-de-siècle cultural prescription.  In this
course, we will explore and penetrate this proliferation of images in
investigating Mahler's values and his musical style.

	This course will treat both songs and symphonies, emphasizing
musical analysis, interpretation of texts, and investigation of fin-
de-siècle culture.   We will examine how Mahler, Alma, and their
associates dealt with issues of gender and ethnic identity,
technology, sensory experience, war, and philosophy.  We'll
investigate 19th-century belief about program, analysis, and
listening, and explore the puzzling question of what Mahler meant
when he claimed that he wanted listeners to "understand" him.
Throughout the semester, we will return to questions central within
present-day critical debate.  For instance, are interpretation and
analysis crucial to our listening experience, or are we simply
ravished by indescribable moments of musical beauty?  To what extent
is a composer influenced by cultural prescription, and to what extent
must we recognize his or her individuality?  Open to graduate
students,  T/Th, 11:15-12:30.