Instructor: Dr. C. Kinzer
Office: Wygal 223 (Studio 7)
Office Telephone:  395-2495
Office Hours: as posted
Class Meetings:  MWF 10:00 - 10:50, 105 Wygal

Course Description:  History of the art music of Western civilization, with examples.   Writing intensive and speaking intensive.  3 credits.

Texts:  REQUIRED: Hanning, Barbara.  A Concise History of Western Music.  New York:
Norton, 1998.
 REQUIRED: Palisca, Claude, editor.  Norton Anthology of Music, Volume 2.  4th
edition.  New York: Norton, 2001.
 RECOMMENDED:  Concise Norton Recorded Anthology of Music: 4 CD set.

Course Objectives:  Upon completion of the course the students will be able to:

1 understand the historical development of the materials of music (including notation) from the
mid-eighteenth century to the present;
2 demonstrate skills in information literacy as a means of conducting undergraduate-level
  research in the field of music history;
3 write about music in a scholarly manner and make oral presentations of scholarly research to a
group of peers;
4understand the role of music and its value in the early cultures of Western Europe.
5 demonstrate a basic knowledge of the canon of music literature in the Western tradition.

Class Schedule:

Chapter  Date   Topic

13      W 18 January   Introduction, Pre-Classic styles
          F 20 January  Opera, Pergolesi  WRITING EXERCISE (WE) 1

          M 23 January  Opera in France, England, and Germany
          W 25 January  the sonata, Scarlatti and CPE Bach, RQ1 (chapter 13)
14      F 27 January  Classic era, Haydn; WE 2

          M 30 January  Haydn
          W 1 February  Mozart
          F 3 February  Mozart; RQ 2 (chapter 14)

          M 6 February  Mozart, opera
          W 8 February  Beethoven ­ early  period
15       F 10 February  Beethoven ­ middle period RP THESIS/BIB/OUTLINE DUE

          M 13 February  Beethoven ­ middle style period, WE 3
          W 15 February  Beethoven ­ late style period, RQ 3 (ch. 15)
16-17  F 17 February  Romanticism in music; Schubert

          W 22 February                 Berlioz, Mendelssohn, MASTERWORK PAPER DUE
           F 24 February  Schumann, Chopin

          M 27 February  Liszt, Brahms
          W 1 March   Brahms, Dvorak, Bruckner
          F 3 March  MIDTERM EXAM

18       M 6 March  19th-century opera, France and Italy
          W 8 March  Rossini and Verdi
           F 10 March  Wagner and Music Drama

19      M 20 March  Post-Romanticism, Mahler, Strauss, Nationalism
           W 22 March  Nationalism, cont.
           F 24 March  New currents in France, Debussy

          M 27 March  Debussy, RP DRAFT DUE
          W 29 March  Ravel and Puccini, RQ 4 (chapter 19)
20      F 31 March  folk elements, Bartok, Prokofiev

          M 3 April  Shostakovich, Vaughan-Williams
          W 5 April  Hindemith, Neo-classicism
          F 7 April  Stravinsky

21      M 10 April  Atonality, Schoenberg
          W 12 April  Schoenberg,  Berg, MASTERWORK REVISION DUE
          F 14 April  Atonality, Webern, RQ 5 (ch. 20-21)

          M 17 April  Since 1945 ­ Messiaen, Ligeti, Stockhausen
          W 19 April  Currents in the US
22      F 21 April  Ives

          M 24 April  Copland, Cage
          W 26 April  Crumb, Minimalism, REPORT PAPER DUE
          F 28 April  Recent developments, summary

Final Exam:  As scheduled.

Course Requirements:

  5 in-class reading quizzes    20% of semester grade
  3 writing exercises     10%
  1 masterwork paper     10%
  1 midterm exam w/listening    10%
  1 oral report with handout    10%
  1 report paper w/outline, bibliography, and draft 20%
  Final Exam w/listening     20%

Grading:   91-100 = A;   81-90 = B;   70-80 = C;   60-69 = D;   below 60 = F.
 The semester grade is based on completion of all coursework.  The written component of the final exam will be comprehensive.

Attendance Policy:  The attendance policy for this course is the same as that specified in the College Catalog and Student Handbook.  Oral presentations cannot be made up after absences, excused or unexcused; they may be rescheduled in advance only in dire cases at the discretion of the instructor.  Tests may be made up or rescheduled only with an acceptable written excuse for the absence.

Honor Code:  Students are expected to live by the LU Honor Code.  All work must be pledged.


         Randel, Don Michael, editor.  The New Harvard Dictionary of Music.  Cambridge, MA:  Harvard University Press, 1986.

         Sadie, Stanley, editor.  The New Grove Dictionary of Music and Musicians, 20 vols.  London: Macmillan, 1980.

ORAL REPORTS with HANDOUT should run about 15 minutes.  The topic will be a biography of a composer and/or a historical description of a trend in musical style, as selected from the list below (page 4).  The information will be presented to the class with a PowerPoint presentation and a printed handout.  The report will include a listening example.  Each student may arrange an appointment with the instructor sometime before the oral report to discuss content.  The one-page handout will include a summary of the information and a bibliography of at least THREE sources including one book, one article from a print or electronic journal, one encyclopedic source.  Sources will be cited in the course of the report, where appropriate.  The report will be evaluated using the form given in the departmental Speaking Intensive policy as given below, p. 6.

The REPORT PAPER should run at least 6 typed, double spaced, pages (12 pt. font).   It may be on the same topic as the oral report, but must  not be on the same composer as that of the piece you select for the masterwork paper.  The goal of the paper will be to describe the musical style of a particular composer and illustrate that style thoroughly by pointing out characteristics appearing in one or two specific pieces of music.  The paper must include musical examples from at least one score.  Papers which do not meet this requirement will not be eligible for a grade of “A.”  The paper will also include a bibliographic page (bringing the total minimum number of pages to 7) containing at least ten relevant sources to be found in the Longwood Library.  Of these references, two must be articles from periodicals, one must be a sound recording, and two must be internet websites.  These sources will be cited in the text of the paper, where appropriate, by parenthetical reference.  The bibliography, thesis statement, and outline will each count for 10% of the overall paper grade.  The rough draft will count for 20% of the overall paper grade.  Remember, SOURCES MUST BE CITED! Note: You will receive 10 extra points on the thesis statement and outline if you show evidence of having taken those projects to the LU Writing Lab and consulting with the staff there before turning them in.

The MASTERWORK PAPER shall be a 4 page paper (double spaced, 12 pt. font) describing a single piece of music, selected from the list on p. 4, below.  It must not be a piece by the same composer who is the subject of your report paper.  The masterwork paper should give a thumbnail biography of the composer and describe the historical background of the piece.  In addition to outlining the form and structure of the music, this paper should offer critical consideration of the performance history of the piece (e.g., when and where was the piece premiered, when was it first recorded, how many important recordings have been made, has it been used for television/movie scores, etc.).  The paper should have a bibliography of at least four sources, and the SOURCES MUST BE CITED.  This paper will be graded, revised, approved, and added to the student’s WEB PORTFOLIO.  Full grade will be assigned only upon proof that the paper has been added to the portfolio.  Note: For the revision of this paper, you will receive 10 extra points if you show evidence of having taken the project to the LU Writing Lab and consulting with the staff there before turning it in.

LATE WORK:  Late assignments will be accepted only until 5:00 p.m. on the day one week after the original due date.  Late assignments will NOT be accepted after that time.  For example, if an assignment is due on a Wednesday, you may still hand it in, for a reduced grade, from that Wednesday at 10:50 a.m. until the following Wednesday at 5:00 p.m.  Grades will drop 10 points per day the assignment is late.


Symphony 104, Haydn
Eine Kliene Nachtmusik, Mozart
Symphony No. 41, the Jupiter, Mozart
Don Giovanni, Mozart
The Magic Flute, Mozart
Requiem Mass, Mozart
Symphony No. 3, Beethoven
Symphony No. 5, Beethoven
Missa Solemnis, Beethoven
Symphony No. 9, Beethoven
Il Barbiere de Seviglia, Rossini
Les Huguenots, Meyerbeer
The Unfinished Symphony, Schubert
Die schöne Müllerin, Schubert
The Italian Symphony, Mendelssohn
Symphonie fantastique, Berlioz
Sonata in B Minor, Liszt
Les Preludes, Liszt
Dichterliebe, Schumann

MUSC 332-01 is a Speaking Intensive Course.  Following is the Speaking Intensive Policy for the Department of Music:

Speaking modes and skills:
The student will be able to:
 Speak articulately in front of an audience as a part of a performance
 Deliver formal, scholarly, oral presentations and papers in the subject area
 Communicate information in an informal, yet clear manner
 Spontaneously craft lucid responses to questions posed by professors, audiences
and students

Speaking Intensive Courses
 MUSC 282, Applied Music for second semester sophomores.
 MUSC 137, Music Literature
 MUSC 331, Music History I
MUSC 332, Music History II

Assessment of Speaking skills
Formal and informal oral presentations in the classes listed will be graded using the following form.  The form will be kept in student records for reporting purposes.

Grading Scale
4 = A; 3 = B; 2 = C; 1 = D; 0 = F

1. Thorough coverage of topic    4 3 2 1        0
2. Logical organization of material   4 3 2 1        0
3. Internalization of content; understanding and insight 4 3 2 1        0
4. Proper use of sources and citations   4 3 2 1        0
5. Grammar and pronunciation of foreign terms  4 3 2 1        0

6. Projection and Enunciation        4 3 2 1        0
7. Eye contact, posture, demeanor   4 3 2 1        0
8. Use of visual aids     4 3 2 1        0
9. Fielding questions, discussion    4 3 2 1        0
10. Pacing, use of time     4 3 2 1        0

Listening list for MIDTERM EXAM

1.  G.B. Pergolesi  Aria from La Serva Padrona
2.  Domenico Scarlatti   Sonata in D major, K. 119
3. C.P.E. Bach   Sonata in A Major, Mvt. 2
4. Joseph Haydn  Symphony No. 56, Mvt. 1
5. Joseph Haydn  String Quartet (Op. 64, no. 5), Finale
6.  W.A. Mozart  Catalog Aria from Don Giovanni
7.  Ludwig van Beethoven Sonata pathétique, Mvt. 3
8.  Ludwig van Beethoven Quartet in C-sharp minor, Mvt. 1-2
9.  Franz Schubert  Lied: Gretchen am Spinnrade
10.  Robert Schumann  Fantasy piece No. 4, “Grillen”
11.  Frederic Chopin  Nocturne in E-flat Major
12.  Hector Berlioz  Symphonie fantastique, Mvt. 4

Listening for FINAL EXAM: TBA

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