The long 19th century III: national pride and new directions
Time: 14:00 - 16:10
This course will be delivered online. See the ‘What is the course about?’ section in course details for more information.
This course has now started
Course Code: MD703C
Duration: 10 sessions (over 10 weeks)
What is the course about?
In this, the final term of the course, we consider differing national approaches to music-making, sometimes deeply entangled with the political situation in certain countries. From the ‘Mighty Handful’ in Russia to the unification of Italy and Germany, we trace the music of Rimsky-Korsakov, Wagner and Verdi. We will also consider Scandinavian and British musical developments, and look to France, Spain, and the wider notion of the ‘orient’ in operatic and orchestral music. The course conclude with our journey beyond the end of the 1800s, into the last few decades of tonal composition, and the late works of Mahler and Richard Strauss.
This is a live online course. You will need:
- Internet connection. The classes work best with Chrome.
- A computer with microphone and camera is best (e.g. a PC/laptop/iMac/MacBook), or a tablet/iPad/smart phone/iPhone if you don't have a computer.
We will contact you with joining instructions before your course starts.
What will we cover?
- Wagner and German nationalism
- Nationalist trends in Russia, Scandinavia, Italy and Spain
- British music of the late nineteenth century (including Elgar, Parry and Vaughan Williams)
- Orientalism and its shifting definitions
- Later instrumental and vocal works by Richard Strauss and Mahler, and the innovations of Arnold Schoenberg in the early twentieth century.
What will I achieve?
By the end of this course you should be able to...
- Describe the importance of nationalism as a determining factor in the development of music across Europe and beyond
- List the composers, and key characteristics, associated with the music of Russia, Scandinavia and Spain during this period
- Recognise the importance of the orientalism for nineteenth-century audiences and composers
- Identify the musical qualities of works by Wagner, Mahler and Strauss, and how they connect to the abandonment of tonality by Schoenberg.
What level is the course and do I need any particular skills?
The course in intended to be accessible for anyone with an interest in western classical music. We will look at various scores and historical documents during this course but you do not need to read music notation to participate in these activities. All texts will be in English, or accompanied by an English translation. Musical scores are all available free online via IMSLP.
How will I be taught, and will there be any work outside the class?
This is an online course:
Sessions will be held via video-conference (google meets or zoom) and comprise combinations of lecture, discussion, quizzes, guided listening, video and score study. Course materials (handouts, scores, links to online videos) will be shared via google classroom.
You will be encouraged to do extra reading outside class.
Are there any other costs? Is there anything I need to bring?
You will need a good internet connection and a computer with microphone & webcam. If using a tablet it will need a screen large enough for you to comfortably view the class handouts.
You may also wish to purchase some of the music books or recordings discussed in class, links to these materials will be available online after each session.
When I've finished, what course can I do next?
Please look out for music history short summer courses.
To find out more about music history classes Music history courses in London and online which lists our full programme of classes ordered by term, and by day of the week. You may then click on each title to read the full course outline.
Dr Katy Hamilton is a freelance researcher, writer and presenter on music. She is fast becoming one of the UK’s most sought-after speakers on music, providing talks for a host of organisations including the Wigmore Hall, Southbank Centre, BBC Proms, Ryedale Festival and Oxford Lieder Festival. In addition, she regularly writes programme notes for the Salzburg Festival, North Norfolk Festival and the Philharmonia Orchestra, and is a frequent contributor to BBC Radio 3’s Record Review. Katy worked as Graham Johnson’s research assistant for his monumental Franz Schubert: The Songs and their Poets (Yale University Press, 2014) and is co-editor of Brahms in the Home and the Concert Hall (Cambridge University Press, 2014) and Brahms in Context (Cambridge University Press, 2019). In addition to her research and presentation work, Katy has taught at the Royal College of Music, City Lit, the University of Nottingham and Middlesex University, working with students in performance workshops and music history classes. She has been teaching Music History courses at City Lit since 2015. She is also Public Events Programmer at the Foundling Museum in central London.
Please note: We reserve the right to change our tutors from those advertised. This happens rarely, but if it does, we are unable to refund fees due to this. Our tutors may have different teaching styles; however we guarantee a consistent quality of teaching in all our courses.