Classical Music Online Courses and Webcasts Presented by The New York Times Knowledge Network

By -

Continued Learning for people in all stages of their life

Building on The Times’s decades of active involvement in education, The New York Times Knowledge Network offers a wide range of distinctive adult and continuing education opportunities, including online courses, programs and Webcasts. Some of our programs are offered directly by The Times, while others are presented in collaboration with universities, colleges and other educational institutions.


Students in our online continuing education classes benefit from the expertise and experience provided by the faculty of renowned educational institutions, and from the full resources of The New York Times. Some courses are supplemented by The Times’ articles and multimedia. Others have The New York Times’ editors or reporters as guest speakers or instructors, sharing their timely insights and informed perspectives.

In areas ranging from art to business, writing to politics, journalism to science, online programs from The New York Times Knowledge Network are as rich and varied as The New York Times itself.



How to Listen to Classical Music – March 1-21, 2012 - For those who want to discover classical music or who enjoy it but aren’t sure why, this delightful three-week course is designed to help students recognize elements unique to classical music and identify favorite musicians and composers. Not a music theory course, not a music history course, this is a joyful listening tour led by The New York Times’ classical music reporter Daniel J. Wakin.


In addition to the daily self-paced lessons, online discussion forums and resources, there will be scheduled live online sessions with the instructor. Conductor James Conlon will join the March 19th session. Live sessions will be archived for future viewing.



Wagner’s Ring Cycle 101 (USC) – March 19, 2012 - As the Metropolitan Opera prepares to mount the first complete performances of a new Der Ring des Nibelungen cycle conducted by Music Director James Levine and Director Robert Lepage in April and May 2012, participants in this webcast will have the opportunity to delve into the significance of Wagner’s Ring Cycle in 20th-century history, philosophy, culture, and even film with one of USC’s most distinguished faculty members.



This webcast is part of The USC and New York Times Knowledge Network online continuing education program (www.nytimes.com/usc), which offers students tailored, practical programs to enhance their professional paths, and the flexibility of online courses for both working and non-working adults.

Comments

Post a Comment

Popular posts from this blog

The Role of Music in Opera

By -
There are numerous books on the topic, and every composer, librettist, director, singer and audience member has their opinion as to what role the music should play in an opera. In a play without music, the words ought to support the meaning behind a character's actions. However, in the case of action movies, often times the action is what tells the story and there aren't words, just images to forward the plot. We might hear music to accompany action, build tension, but the action tells the story. Musicals tend to speak until the emotion of the moment just "has" to break out in song - unless it's something like "Mama Mia" where the dialog is the rails we travel on between songs; the songs themselves, written before the concept of the musical, are the focus of the production, while the story is secondary. Operas are a different beast. The music provides emotion to the words spoken, but it also plays the role of ambience when there is only action. In ...
Read more

Episode 210b: Joyeuse le départ

By -
Image
Podcast:  Play in new window  |  Download Subscribe:  Apple Podcasts  |  Android  |  Google Play  |  Stitcher  |  TuneIn  |  RSS Provost Cunningham has Transmigrated, but to where! What is Dr Sage going to do with his body? And how can she bring home her friends, Abigail and Erasmus, without also bring home Cunningham? What are they going to say when they find the “skeleton” she’s hiding in her closet? Cast: Eddie Louise Clark  as Dr Sage Chip Clark  as Professor Savant Justin Bremer  as the Narrator Emily Riley Piatt  as Abigail Entwhistle, Calypso & Dean Stewart Written by  Eddie Louise Theme music by  Unwoman Sound Design by  Chip Michael
Read more

Teaching Composition – What are we trying to achieve

By -
In the process of learning composition I have spent time with a number of instructors who have encouraged me to write twelve-tone, pitch-class, electro-acoustic and other forms of experimental techniques. No matter how much I might understand and appreciate the work of other composers in the genres, these are not forms of music I resonate with. They are simply not forms of music I listen to and I struggle with the idea of writing them. However, in a Master Class by Libby Larsen she made the comment, “Learn them all, because all forms of music have something to offer.” This I very much agree. There are elements of each of the above mentioned forms (and others) that I do resonate with. Berg’s Violin Concerto is a beautiful twelve-tone work, although it is possible to look at numerous sections of the music with a “tonal” analysis. Another composer friend, Gary Bachlund commented that using these techniques can narrow the choices for how to compose a piece of work. If you look at ...
Read more