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Historical
survey of music from throughout the world with emphases on that of Europe and
North America. With recorded examples. 3 credits.
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Machlis, Joseph and Kristine Forney. The Enjoyment of Music. New York: W. W. Norton and Company, Inc., 2003
A set of compact disks, purchased with the textbook, will include the core of the listening assignments. Other listening assignments may be completed at the library.
Forney, Kristine, ed.. The Norton Scores, Vol .I and II. New York: W. W. Norton and Company, Inc., 2003.
Upon completion of the course students will be able to
1.
Demonstrate a working knowledge and awareness of the history and development
of music in a worldwide context.
2. Listen critically when attending performances.
3. Place important composers, works and musical
characteristics in a particular genre or style period.
4. Understand the position of music in various
worldwide cultures.
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CLASS
SCHEDULE:
Tuesday,
Thursday- 12:30-1:45 p.m. - Wygal, room #105
Reading and listening assignments
are to be completed prior to the class meeting listed below. You are responsible
for all the material including the listening examples with in the assigned pages
and may be tested on it at that time
Jan. 13
Introduction to the course
Unit I: The Elements of Music (1-6), pp. 4-39
Jan. 15
Unit II: Musical Instruments and Ensembles Please
study this on your own. We will
not
cover this chapter in class, but you should know the content.
Unit III: The Middle Ages
11.
The Culture of the Middle Ages, pp. 72-74
12.
Sacred Music in the Middle Ages, pp. 76-85
Listening
#2: Gregorian Chant, pp. 83
Listening
#3: Organum, 85
13.
Secular Music in the Middle Ages, p. 86-93
Listening
#4: Machaut - Puis qu'en oublie, p. 91
----------------------
Jan. 20
Class
meets at the library
Guidelines
for research.
Documenting
your sources and avoiding plagiarism
Jan. 22 Individual
Research - Library
---------------------
Jan. 27
Unit
IV: The Renaissance
14.
The Renaissance Spirit, pp. 94-100
15.
Renaissance Sacred Music, pp. 100-106
Listening
#5: Josquin - Ave Maria...virgo serena, pp. 101-103
#6:
Palestrina - Pope Marcellus Mass, "Gloria," pp. 106-107
16.
Renaissance Secular Music, pp. 108-113
Listening
#7: Farmer - "Fair Phyllis," p. 112
Group Project: Original Chant (like a Gregorian Chant)
Bibliography for report is due
Jan. 29 Transition I: From Renaissance to Baroque, pp. 114-115
Unit V: The Organization of Musical Sounds
17.
Musical Systems, pp. 116-121
18.
Aspects of the Major-Minor System, pp. 121-25
Unit VI: The Baroque and the Arts
19.
The Baroque Spirit, pp. 126-27 and 130-31
20. Main Currents in Baroque Music, pp. 131-136
Unit VII: Vocal Music of the Baroque
21. Baroque Opera, pp. 137-141
Listening
#8: Purcell - Dido and Aneas, Act III," Dido's Lament," pp.
141-43
22.
Barbara Strozzi and the Italian Secular Cantata, p. 143-45
Listening
#9: Strozzi -" Begli occhi," pp. 145-46
---------------------------
Feb. 3
23. Bach and the Cantata, pp. 147-51
Listening
#10: Bach - Cantata No. 80, Ein feste Burg is unser Gott, Nos. 1, 8,
pp. 151-53
Report:
J.S. Bach -- Danny short.
24. Handel and the Oratorio, pp. 151-59
Listening
#11: Handel - Messiah, Nos. 18, 44, PP. 157-58
Report:
G.F. Handel -- Laura Linehan
Feb. 5 Unit VIII: Instrumental Music of the Baroque
25.
The Baroque Concerto, pp. 160-66
Listening #12: Vivaldi - "Spring" from The Four Seasons, 1st
mvt., pp. 166-67
26.
The Baroque Suite and Other Instrumental Forms, pp. 168-75
Listening
#13: Handel - Water Music, Suite in D maj., "Alla hornpipe,"
p. 170-71
Listening
#14: Bach -" Prelude and Fugue in C minor" from WTC, Bk.I,
pp. 174-75
Report:
Vivaldi -- Sarah Gayle
Transition
II: To the Age of Enlightenment, pp. 176-78
Comparison
of Styles, p. 179
Unit
IX: Focus on Form
27.
The Development of Musical Ideas, pp. 180-82
28.
Classical Forms, pp. 183-89
---------------------------
Feb. 10
TEST
I: pp. 4-175
Feb. 12 Unit X: The Classical Spirit
29.
Classicism in the Arts, p. 109-93
30.
Classicism in Music,. p. 193-95 and 98
Concert
Life in the Americas, pp. 196-97
Report:
F. Hopkinson -- Heather DeSalme
Unit
XI: Classical Chamber Music
31. Eighteenth-Century Chamber Music Style, pp. 199-201
32. Mozart and Chamber Music, pp. 201-205
Listening
#15: Mozart - Eine kleine Nachtmusik, K. 525, pp. 205-208
Report:
Mozart -- Allison Walker
---------------------------
Feb. 17 Unit
XII: The Classical Symphony
33. The Nature of the Symphony, pp. 209-212
34. Haydn and the Symphony, pp. 212-15
Listening#16:
Haydn - Symph #94 in G Maj. (Surprise), 2nd mvt., Pp. 215-18
Report:
Haydn -- Nathan Koch
35. Beethoven and the Symphony in Transition, pp. 218-23
Listening
#17: Beethoven - Symph. #5 in C min, Op. 67, pp. 224-28
Report:
Beethoven -- Allison Shepard
Feb. 19 Unit
XIII: The Eighteenth-Century Concerto and Sonata
36.
The Classical Concerto, pp. 229-33
Listening
#18: Mozart - Piano Concerto in G Maj., K. 452, pp. 231-32
37.
The Classical sonata, pp. 233 and 236
Listening #19: Beethoven - Piano Sonata in C min., Op. 13, pp. 237-38
Unit XIV: Choral Music and Opera in the Classical Era
38.
Choral Music and Opera, p. 239-43
Listening
#20: Mozart - Le nozze di Figaro, Act I, Scenes 6 & 7, pp. 243-51
Report:
Rossini --
----------------------------
Feb. 24
TEST II: pp. 176-251
Feb. 26 Transition II: From Classicism to Romanticism p.252
Comparison
of Classical and romantic Styles. p. 253
Romantic Era Timeline
Unit XV: The Romantic Movement
39.
The Spirit of Romanticism, pp. 254-56
40.
Romanticism in Music, pp. 257-61
Unit XVI: The Nineteenth-Century Art Song
41. The Romantic Song, pp. 262-64
42.
Schubert and the Lied, pp. 264-67
Listening
#21: Schubert - "Erlkönig", pp. 267-69
43.
Robert Schumann and the Song Cycle, pp. 269-71
Listening
#22: R. Schumann - Dichterliebe, #8, p. 272
Reports: Schubert -- Chris Tobey
Report:
R. Schumann -- Kevin Guild
Concert
Report #1 is due
Feb. 27 Written report is due for those who have already delivered the oral report.
---------------------------
Mar. 2
Unit
XVII: The Nineteenth-Century Piano Piece
44.
The Piano and Its Literature, pp. 273-75
45.
Chopin and Piano Music, pp. 275-77
Listening
#23: Chopin - "Polonaise in A-flat," Op. 53, pp. 278-79
46.
Clara Schumann: Pianist and Composer, pp. 279-81
Listening
£24: C. Schumann -" Scherzo," Op. 10, pp. 282-83
Report: F. Chopin -- Chris Gibson
Report:
C. Schumann -- Brian Bachrach
Mar. 4
Unit
XVII: Romantic Program Music
47.
The Nature of Program Music, pp. 284-86
48.
Berlioz and the Program Symphony, pp. 286-89
Listening
#25: Berlioz - Symphonie fantastique, 4th mvt., Pp. 289-91
49.
Musical Nationalism, pp. 291-93 and 296
Music,
Folklore and Nationalism, pp. 294-95
Listening
#26: Smetana - The Moldau, pp. 297-98
Report:
Berlioz --
Report:
F. Henzel -- Beth Reynolds See
news for schedule change
-- Spring Break ---- March 9 and 11
Mar. 16
Unit
XIX: Absolute Forms in the Nineteenth Century Move
# 50, 51 to March 4
50.
The Romantic Symphony, pp. 299-304
51.
Brahms and the late Romantic Symphony, pp. 305-309pPp. 307-08
52.
The Romantic Concerto, pp. 309-311
Report:
Mendelssohn -- Arthur Browning
53. The rise of the Classical Composition in America, pp. 312-13
and 316
Report:
A.C. Beach - Bobby Brown-
Mar. 18
Unit XX: Choral and Dramatic Music in the Nineteenth
Century
54.
Romantic Choral Music, p. 317-19
Listening
#28: Brahms - A German Requiem, 4th mvt., p. 319-20
Report:
Brahms -- Morgan Reed
55. Romantic Opera, pp. 320-25
56. Verdi and Italian Opera, pp. 326-30
Listening
#29: Verdi - Rigoletto, Act II, excerpt, pp. 330-34
Report:
Verdi -- Luke Kinser
----------------------------
Mar. 23
57. Wagner and the Music Drama, pp. 335-39
Listening
#30: Wagner - Die Walküre, Act II, finale, pp.339-40
58. Puccini and Late Romantic Opera, pp. 341-47
Listening
#31: Puccini - "Un bel dì," from Madame Butterfly, Act
II, p. 345-46
Report
: Puccini --
Listening
#32: Japanese Kouta; "Hakusen no" (A White Faun), p. 348
58. Tchaikovsky and the Ballet, pp. 349-52
Listening:
Tchaikovsky - The Nutcracker, "March" from Act III, pp. 352-53
Report
: Tchaikovsky -- Jamie Lundie
Mar. 25
TEST III: pp. -252-353
------------------------
Mar. 30 Post
Romanticism, Impressionism and Early 20th Century Timeline
Transition IV: The Post-Romantic Era, pp. 354-55
Unit XXI: The Impressionist and Post-Impressionist Eras
60.
Debussy and Impressionism, pp. 356-61 and 364
Listening
#34: Debussy - Prelude to "the Afternoon of a Faun," pp. 364-65
Report:
Debussy -- Benita Robertson
Unit XXII: The Early Twentieth Century
61.
Main Currents in Early Twentieth-Century Music, pp. 366-69
62.
New Elements of Musical Style, pp. 369-72
63.
Stravinsky and the Revitalization of Rhythm, pp. 373-77
Listening
#35: Stravinsky - The Rite of Spring, Part II, pp. 377-79
Report:
Stravinsky -- Michelle Koetter
Apr. 3 64.
Schoenberg and the Second Viennese School, pp. 380-85
Listening
#36: Schoenberg - Pierrot lunaire, No. 18, PP 383-84
Report:
Schoenberg -- Paul Shinkel
Unit XXIII: Twentieth-Century Nationalism
65.
The European Scene, pp. 386-92
Bartok
- A Folk Song Collection, pp. 390-91
Listening
£37: Bartok - "Interrupted Intermezzo," from Conc. for Orch.,
Pp. 392-93
66.
Music in the Americas, pp. 394-406
Copland
Looks West and South of the Border, pp. 402-403
Listening
#38: Copland - Billy the Kid, Scene 1, pp. 399-400
Listening
#39: Revueltas - Homenaje a Federico García Lorca, pp. 406-407
Report:
Bartok -- Craig Smith
------------------------
Apr. 6
Unit
XXIV: Popular Styles
67.
Ragtime, Blues and Early Jazz, pp. 408-415
Listening
#40: Joplin - "Maple Leaf Rag," p. 410-11
The
Roots of Jazz, pp. 412-13
Listening
#41: Holiday - "Billie's Blues," pp. 416-17
Report:
S. Joplin --
Report:
Holiday -- Krisheena Randolph
68.
The Swing Era and Beyond, pp. 417-26
Listening #42: Gillespie/Parker: "A Night in Tunisia." Pp. 420-21
Listening
#43: Gershwin - "Piano Prelude #1" p. 424
Listening
#44: Baker - "Sometimes I Feel Like a Motherless Child"
from Through a Vale of Tears, pp. 427-28
Apr. 8 69. Musical Theater, pp. 428-34
Listening:
Bernstein - West Side Story, excerpts, pp. 435-39
Report:
L. Bernstein -- Erin Cowherd
70.
Rock and the Global Scene, pp. 440-57
Report:
Elvis -- Tony Hines
Concert Report #2 is due
-----------------------------------
Apr. 13
Later
20th Century Timeline
Unit XXV: The New Music
71.
New Directions, pp. 458-70
70.
Contemporary Composers and World Music, PP 470-84
Listening
#47: Crumb - Ancient Voices of Children, 1st mvt., p. 475-76
Listening
#48: Ligeti - "Disorder" from Etudes for Piano, Bk. I,
pp. 477-78
Listening
#49: Eastern African Music - "Ensiriba ya munange katego," pp. 480-81
Listening
#50: Abing - "The Moon Reflected on the Second Springs," pp. 483-84
Report:
J. Cage --
Report:
G. Crumb -- Sommer Jones
73.
Music for Films, pp. 484-495
Listening
#51: Tan Dun - "Farwell" from Crouching Tiger, Hidden Dragon,
p. 494
Apr. 15 74. Technology
and Music, pp. 495-503
72.
Some Current Trends, pp. 503-516
Listening
#53: Tower - For the Uncommon Woman, p. 507
Listening
#54: Pärt - Cantate Domino canticum novum, p. 510
Listening
#55: Adams - "Roadrunner" from Chamber Symphony, p. 514-15
Report:
J. Tower -- Erin Person
Report:
J. Adams--
Concert log is due.
-------------------------------
Apr. 20 TEST IV: pp. 354-516
Apr. 22 Review and tie up any loose ends
---------------------------------
FINAL EXAM: Thursday, April 29, 2004, 8:00-10:30.m.
-------------------------------
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Class participation -
attendance
- homework
- group projects
-
in-class discussion
Concert
Attendance and Reports
- Written reports on 2 concerts, presented in assigned format
These MUST NOT DUPLICATE your reports for Theory.
- attendance of at least 50% of music department concerts
Oral-Written
Research
Reports:
- 8-10
minute reports on selected subjects, scheduled throughout the semester
- consultation
with instructor one week prior to presentation
- presentation supplemented
with Power Point presentation from your web site
- written
paper - submitted on same day as presentation
(due
on February 28th for those delivering oral reports before that day)
Pop Quizzes: -
not scheduled
- cover materials in current and immediately previous chapters
Scheduled
Tests: Feb. 6 -- pp. 1-186
Feb. 25 -- pp. 186-274
Mar. 27 -- pp. 275-347
Apr. 22 -- pp. 348-509
Final exam
- Thursday, May 2, 2002, 8:00-10:30 a.m.
- cumulative
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Class
Participation 10%
Concert Reviews 15%
Oral Reports 15%
Pop Quizzes 15%
Scheduled Tests 30%
Final Exam 15%
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Progress in this class will depend on regular study of information learned in class as well as through outside preparation. Regular attendance is expected. Any student's absence from class or lack of appropriate effort may become a burden to other students. Attendance and appropriate cooperation are expected.
Absence from more than 25% of classes will result automatically in a grade of F. See college catalog for complete policy.
Work is due at specified times. Late work will not be accepted.
Any arrangements
to miss a class must be made ahead of time. (Voice mail messages left
as class is beginning will not be considered ahead of time.) Your instructor
is willing to negotiate, but she is not tolerant of irresponsibility.
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Bemberger,
J. and H. Brofsky. The Art of Listening: Developing Musical Perception.
5th ed. New York: Harper
and Row, 1988.
Bernstein, L. The Joy of Music. New York: New American Library, 1967.
Copland, A. What to Listen for in Music. New York: Mentor, 1964.
Grout, D. and C. Palisca. A History of Western Music, 4th ed. Englewood Cliffs, NJ: Prentice Hall, 1988.
Kennedy, M. The Oxford Dictionary of Music. New York: Oxford, 1985.
Stolba, K. The Development of Western Music: A History. Dubuque, IA: Wm. C. Brown, 1990.
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