2020-2021
University of Turku. Faculty of Humanities. Department of Musicology
Bossa Nova and João Gilberto (Music and Cultural Context)
5 ECTS. MA & BA Musicology
Guest lecturer, BOHDAN SYROYID SYROYID. Responsible Department of Musicology staff member: JOHN RICHARDSON
This course aims at examining the Bossa Nova style and giving it a sense of context by looking at its broader relevance in Brazilian culture and its influence abroad. Bossa Nova is a popular musical style developed in the late 1950s, which emerged from the traditional Samba in the context of post-war jazz. Bossa Nova originated among college students united under the identity of modernization and started as an apolitical movement. In the 1960s, Bossa Nova was met with international acclaim through artists such as João Gilberto, Astrud Gilberto, Tom Jobim and Stan Getz. The album “Getz/Gilberto” became the Best Album of the Year 1965 (Grammy Awards) and won the Grammys for Best Jazz Instrumental Album and Best Engineered Recording (Non-Classical), and “The Girl from Ipanema” became the Best Record of the Year. In spite of its success, the musical movement suffered from an ideological split with the raise of a more nationalistic wave aimed at questioning the influence of the jazz in search of a Brazilian authenticity. Bossa Nova raises important questions on musical identity and reciprocal influence of musical genres. In view of this, the position, history, and memory of Bossa Nova is being reassessed and reinterpreted in the scholarly literature.
2019-2020
University of Turku. Faculty of Humanities. Department of Musicology
Beyond Sound and Noise: Musical Silences in 20th and Early 21st Century (Silence on Contemporary Music).
5 ECTS (February 25 – August 1, 2020). MA & BA Musicology
Erasmus Visiting Professor, BOHDAN SYROYID SYROYID. Responsible Department of Musicology staff member: JOHN RICHARDSON
This is an introductory course aimed at music students interested in deepening their knowledge and understanding of the roles of silence in music. Musical silence is a vital component of composition, although very few authors ventured to theorized on its constructive functions and significance. Composers that were aware of the importance of silence explored its creative power as shaper of musical tension, form and potentially all constructive elements of music (rhythm, dynamics, pitch, timbre and texture). The corpus of works examined here spans from early 20th Century music down to present day. Note: this is not a course on John Cage’s 4’33’’ or analogous silent compositions.