This special topics course in music analysis brings together work on
music analysis and interpretation (critical theory, semiotics,
feminist theory) and the voice.  We will explore aspects of textual
analysis and connections between musical and physical voices, text,
and narrative.  The course will be organized around particular topics
(rather than by chronology) and in relation to specific musical works
and analyses.  We will consider different types of music from
classical to popular and the ways in which various musical practices
or analyses of those practices embody the voice, music-text
relationships, vocality or vocal performance, and constructions of
social-cultural identity

Topics:

Analyzing relationships of music and text

The role of voice in the formation of the musical subject

The treatment of particular voices (the composer’s voice, narrative
voice, soprano or mezzo voices, etc.) in music, music history and analysis

Voice as a medium; human, vs. inhuman or artificial voices

Negotiating multiple voices; personal voice and issues of identity

Relationships between voice and the body

The role of voice in musical discourse, and in metaphor and narrative
Voice and constructions of gender and sexuality

Readings:  Selections will also be geared to the interests of those
participating and may include texts by authors such as: Abbate, Agawu,
Adorno, Atalli, Berger, Burns, Citron, Cone, Cook, Cumming, Cusick,
Frith, Guck, Hatten, Hisama, Kielian-Gilbert, Kramer, Maus, McClary,
Nattiez, Newcomb, Parker, Shepherd, Solie, Subotnik, Tick, Tomlinson,
Treitler, Wood.  The instructor has particular interests in the music
of 19th- and 20th-century composers.

Course requirements:  readings, class discussion, short reaction
papers or reports on issues arising in the readings, one major paper
and class presentation.  Texts by Carolyn Abbate and Mary Ann Smart.