Course Summary
Taught by Joshua Gordon and Julia Glenn, MUS 116—Chamber Music: from Page to Stage, offers instrumentalists the opportunity to apply theoretical knowledge to practical music making in an intimate and informal master class setting. Interpretation emerges as each piece's unique structure is uncovered, and historical context, technique, and style are explored and discussed. Individual practice and ensemble rehearsal in preparation for coaching sessions are required. Course work includes written assignments, listening, and selected reading all aimed at getting "inside the piece. Other coaches include members of the Lydian String Quartet, and pianist Evan Hirsch. Performance opportunities include the Wednesday Noon Concert Series at the Mandel Center for the Humanities, and the final recital in Slosberg Recital Hall. This course may include graduates and undergraduates and may be taken for credit, or xc-credit. Listening, syllabus, class expectations, readings, journal entry assignments, etc. on line.
Student Involvement
Whatever official capacity you are registered as (credit, x-credit, audit), my expectations of your involvement are the same. My philosophy as a teacher and as a musician is really about deepening and broadening your experience of chamber music, as a listener and player. So I would like to tell you why I have set the class up as it is, and what I hope you'll get from it. All of you can play an instrument. Most of you have played some form of chamber music before. I assume that you like to listen to and play music, and that you get pleasure from learning a piece and making it sound well. I want to continue with that, and add some depth to your experience by exploring the internal (formal) and external (contextual) aspects of music you will be listening to and performing. Most of all, I want you to experience and perform the drama - the 'story' inside each piece, learn how to draw it out, highlight it for ourselves and the audience. Most of the music you'll play will be from the 1700's through the mid 1900's (although I always love having newer music in the class). One of the big challenges of playing the older music is how to bring to life the dissonances, the excitement, and the surprises in it that thrilled audiences at the time. In one sense, it all can sound so consonant and 'pretty' that we (and today's audiences) don't really experience some of the best parts: the broken rules, the 'con-jobs', the jokes, and more, that the great composers put in their music. One of your challenges as interpreters is to make the older, traditional classical music contemporary, to hear it as it was when it was first written, and to present it to your audience in the spirit of that original excitement.
Master Classes and Coaching
The master class setting offers you the opportunity to hear a variety of music, learn from others being coached, get experience playing in front of others in an informal, supportive setting. There will be different levels of experience in the class, but we are all here to make and appreciate music. We will often divide up into clusters...one or two to a coach in different rooms, so you get more coaching time. And you will have the opportunity to get private coaching for your group during the semester.
Written Assignments
These assignments are for you to reflect and put into words what you discover, feel, learn about the music. I hope you deepen your appreciation of music through thinking about the assignment, and become a better musician. I hope you develop your opinions and are more able to express yourself in performance by what you learn. You must write acceptable journal entries ON TIME to pass the course. By acceptable, I mean that your entry reflects you have done the reading and listening, and you have thought about your response. These need not be formal, but they should be clearly written, and certainly at a university level in terms of basic writing. These will be sent to me via the online course, and I will read and comment, and in some cases, ask you to revise before I post them online for the class to read.
Performance
There are two performance opportunities for this class: an hour-long recital on the Noon Concert Series (Wednesday at the library), and the final concert at the end of the semester. Check your syllabus for the dates. You must play on at least one of these to pass the course. You must play in the final concert unless there is some extraordinary excuse that is acceptable! Performance is an essential part of this class, educationally and philosophically, as I hope you will agree. It is also an honor, and one I believe each one of you deserves.
Attendance and Preparation
Class attendance is mandatory. Each group is required to meet at least once a week for at least an hour on your own to rehearse. We meet together only once a week, and your group depends on your being in class and at every rehearsal. I hold each of you responsible for your group's performance. I expect you to be individually prepared to play your part. Your private teacher can help you with instrumental issues, and I don't mind a bit of that in class, but you must have your notes learned as soon as possible. Despite the above sternness (!!!) I like an informal, fun atmosphere, where we all learn from each other. Just as in your own rehearsals where it is healthiest for everyone to have a part in the shaping of his/her piece; it is good for the class for everyone to participate.
Check your syllabus. I have sketched out the general outline of the semester. Go to concerts! Email me, talk with me, keep in touch. Chamber music is my professional life...playing it, teaching about it, learning about it...I look forward to sharing it with you.
Students with Disabilities: If you are a student with a documented disability on record at Brandeis University and wish to have a reasonable accommodation made for you in this class, please see the professor immediately.
Instructor: Josh Gordon, gordon@brandeis.edu & Julia Glenn, juliaglenn@brandeis.edu
