I have incorporated the analytical approach in a number of classes at the Longy School of Music. A brief account follows:
For 15 years I have used SEA analysis in
Topics in Analysis, Twentieth and Twenty-First Century. There are four versions of the class, one analyzing modern string quartets, one analyzing the piano preludes of Debussy, one analyzing pieces commissioned by the Boston Symphony Orchestra (Stravinsky’s
Symphony of Psalms and Bartok’s
Concerto for Orchestra), and one version analyzing electro-acoustic music.
Beginning in 2011, I have taught a course,
Contemplating Music, specifically dealing with the approach. The outline below gives a sense of how a typical class proceeds:
1. contemplative exercise to begin
2. start from holistic listening, no score
3. discover what is by hearing it
4. identify important factors in creating that energy or shape
5. trace energy, shaping influence of each parameter
6. attempt to describe the interactions of a few key parameters
7. pause for another contemplative minute or two
- listen again
- see what insight arises
In spring 2018, I ran a class,
Investigating Musical Affect, which sought to prove the fundamental tenets of the theory. As of summer 2018, I am preparing the data produced for processing by statistical analysis. The experiment site is still active, and you are welcome to give it a try but following
this link.
And next spring, 2019, I'll take yet another dive into uncharted territory, and offer a class called
Just Listen, whose aim is to allow students to bring in music that they don't understand, despise in some way, resent, or just do not like, and see if we can gain comprehension, potentially develop some compassion or even a taste for, its musical style.
I could hardly mention all these course without mentioning at least briefly the new venture I am taking on the road, my workshop called
Just Listening. One will find much similarity between the workshop and the course description above!