Course Information

Course Name	Turkish	Müzik İcra Çalışmaları
	English	Music Performance Studies
Course Code	MYL 506E	Credit	Lecture (hour/week)	Recitation (hour/week)	Laboratory (hour/week)
Semester	1	3	3	-	-
Course Language		English
Course Coordinator		Paul Alıster Whıtehead Paul Alıster Whıtehead
Course Objectives		1. Whether or not performers themselves, students will be encouraged to reflect on the nature, definition, and importance of performance, both in exclusively musical contexts and in broader domains. 2. Students develop an understanding of musical performance through a study of the historically evolving forms of musical production and consumption. 3. Through the study of alternative performances of the same music prompts, students gain critical listening skills and and understanding of the decisions and variables involved in the performance of notated music. 4. Students will be able to be able to research and present essays in a standard musicological format.
Course Description		A conceptually based survey of music performance, in which the status of music as a ‘performing art’ is interrogated. The course explores themes in Historical Performance Practice, improvisation, psychology of performance, the status of performance in ‘art’ and ‘popular’ settings, performance in non-Western contexts, and the role played by technology.
Course Outcomes		1. Students will be able to categorise, contextualise, compare and evaluate musical examples based on informed listening experiences. 2. Students will have a philosophical awareness of the nature and function of performance, both as an aesthetic construct and outside the performing arts. 3. Students will have an awareness of the ‘work’ concept and will have developed a comparative aproach to performance that includes both Western and non-Western approaches. 4. Students will be able to comment on a range of musical and aesthetic issues regarding creation, originality, intention, and emulation. 5. Students will be able to evaluate performance training techniques, such as those employed in conservatoires. 6. Students will have developed an understanding of the degrees of dependence of music performance on pyschology and technological developments. 7. Students will become familiarised with the standard bibliographical tools and resources used in the study of music performance. 8. . Students will be able to be able to research and present essays in a standard musicological format.
Pre-requisite(s)
Required Facilities
Other
Textbook		John Rink, ed., Musical Performance: A Guide to Understanding (Cambridge University Press, 2002). John Rink, ed., The Practice of Performance: Studies in Musical Interpretation (Cambridge University Press, 1995).
Other References		Stephen Davies, “Art, Performing,” Routledge Encyclopedia of Philosophy (London: Routledge, 2000). Jonathan Dunsby, “Performance,” Grove Music Online, ed. Laura Macy http://www.grovemusic.com John Rink, ed., Musical Performance: A Guide to Understanding (Cambridge University Press, 2002). John Rink, ed., The Practice of Performance: Studies in Musical Interpretation (Cambridge University Press, 1995). Edward T. Cone, Musical Form and Musical Performance (W. W. Norton, 1968). Derek Bailey, Improvisation: Its Nature and Practice in Music (New York: Da Capo Press, 1993). Alf Gabrielsson, “Music Performance Research at the Millennium,” Psychology of Music 31(3) (2003), pp. 221-72. Robert D. Schick, Classical Music Criticism (Garland, 1996). Robert Philip, Performing Music in the Age of Recording (Yale University Press, 2004), pp. 26-49. Jonathan Sterne, The Audible Past: Cultural Origins of Sound Reproduction (Durham & London: Duke University Press, 2003).

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