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:
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.
Chapter Date Topic
13 W 18 January Introduction,
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
W 1 February Mozart
F 3 February Mozart; RQ 2 (chapter 14)
M 6 February
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
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
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
W 26 April Crumb, Minimalism, REPORT PAPER DUE
F 28 April Recent developments, summary
Final Exam: As scheduled.
5 in-class reading quizzes 20% of semester
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:
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.
MASTERWORK PAPER CHOICES
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
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
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.
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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