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What makes a group of songs a “cycle”? Is it a theme, lyric, or simple proximity? Isn’t a song cycle just a concept album? In this course we’ll play through and recompose the literature about song cycles, from Schubert to Joanna Newsom’s Ys to many others. We’ll start by radically recomposing a
Celtic history and music from Ireland, Scotland, Bretagne, Galatia, and Cape Breton will be experienced, studied, and performed using instruments and voices. We’ll find and cross the musical bridges between regions–from the ballads of Ireland, Scotland and Wales to the Alalas of Spain, through the Scottish Gaelic speaking Highland and Islands to the dance tunes of Brittany.
Celtic history and music from Ireland, Scotland, Bretagne, Galatia, and Cape Breton will be experienced, studied, and performed using instruments and voices. We’ll find and cross the musical bridges between regions–from the ballads of Ireland, Scotland and Wales to the Alalas of Spain, through the Scottish Gaelic speaking Highland and Islands to the dance tunes of Brittany.
This seminar is based on the 1973 songwriting classics, “Innervisions” , and the 1976 “Songs in the Key of Life”, both released on Tamala Records, a subsidiary of Motown Records. Students will examine melodic and harmonic chord progressions using 18th century tonal harmony, and 20th century jazz substitutions, chromaticism, and quartal harmony that Stevie Wonder used in
