Berg’s “Schlafend trägt man mich,” the second song of his Vier Lieder Op. 2, is often understood to reflect the transition between the composer’s tonal and free atonal periods. This paper summarizes previous analyses that treat voice leading, transpositional invariance, and the behavior of the “French 6th” chords in the piece. It then shows how... Continue Reading →

A study of Jacques Hétu's compositional style, including his use of Messiaen's Modes of Limited Transposition. Published in Perspectives of New Music, vol. 51, no. 1 (accessible through JSTOR; see your local library).

February 28, 2018 0

This course, offered in alternating years, examines Canadian Music since 1930 from the perspective of music creation, promotion, and performance. Issues discussed include politics, propaganda, settler/indigenous interactions, musical style, and art music versus popular culture. Visit our course website to see what kinds of work our students are creating.