The symphony was the high-prestige mode of instrumental composition in nineteenth-century Europe and the wider world, and it retained its status in professional orchestral concerts and in the era of recording. The symphonic repertory of this era has often been considered one of the glories of western civilization; but, by the same token, it has been criticised for its maintenance and celebration of certain cultural values:. the symphony typically connotes masculinity, wealth, intellectual-philosophical pedigree, nationalism, antimodernism, and conservative conceptions of western European identity.
Against the backdrop of these claims, the module examines the symphony from its origins to the interwar period of the twentieth century, exploring the works of famous canonic composers and of those whom the implicit boundaries of the genre would seem to marginalise; it makes use of numerous contrasting aesthetic, social, and political perspectives in order to do so. Composers treated may include Sammartini, Stamitz, Haydn, Mozart, Farrenc, Beethoven, Schubert, Mayer, Mendelssohn, Schumann, Brahms, Bruckner, Tchaikovsky, Sibelius, Mahler, and Price.
Learning Outcomes
By the end of the module students should be able to:
Recognise and critically discuss the historical features of the genre of the symphony and their modifications through time, from the mid-eighteenth century to the early twentieth century;
recognise and critically discuss composition styles and strategies and place them historically in social and political context with considerable insight;
discuss and analyse specific compositions at some length and with a high degree of sophistication.
Reassessment: No resits are permitted in final year. If students miss the assessed task owing to extenuating circumstances, the failed task would be rescheduled at a later date.