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This course will attempt to trace the rise of the Western European musical empire from church chant to classical symphony and the empire's subsequent fall via romantic music drama into new world, modernism & soundtrack. Participants will be asked to discover sonata form by ear, detect a hidden cantus firmus, or contrast English and Italian madrigalism. This course will give you a broad understanding of what is called "classical" music in American culture and why.
You are not required to have any prior musical knowledge, talent or expertise to take this course, but I have encouraged everyone who participates this term to have achieved a basic level of music literacy. On principle though, whether or not you read and even if you read: anyone willing to work hard is qualified to take this course and entirely capable of excelling. However, it is extremely important for your performance in this course that you commit now to make time for your listening homework so that you accomplish it in a timely fashion and do not get behind. You cannot "cram" music. You must give it time to sink in. (Listening homework may include written answers to questions handed out in class which must be handed in at the next class meeting.)
You will be required to attend at least 3 concerts on or off campus and to maintain a description of your listening experience in a concert journal. Keep a copy of the program from each concert (or some written document, preferably created by someone other than you if at all possible, e.g. at Music Workshop you could ask the performers to write down the titles of the pieces they performed) to accompany your reports. You will be asked to hand in your concert journal three times during the semester: the first time to confirm vocabulary and general listening strategy only, and then twice again towards the final grade (credit will be given for overall progress–so please hand in the entire journal every time). Programs should remain attached to the journal. And I prefer that all written assignments be typed.
You will be required to write a term paper of 5-10 pages analyzing one piece of music in depth by ear, after such time in the course as you have the preparation to make such a study. You will choose the piece of music from a list to be announced and subsequent to a brief individual meeting with me to discuss your choice and method of approach.
I will give midterm and final examinations based on the listening assignments, the lectures and the reading. I will also give announced and unannounced listening quizzes to be sure you can identify the music of study by ear and discuss concepts related to what you hear.
I will monitor and evaluate your class attendance and participation. No matter what, come to class and be willing to get involved in discussions–ask questions. Speak to me concerning emergencies.
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DATE |
DISCUSSION |
PREPARATION |
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2/25/03 |
Introduction Music Fundamentals |
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2/27/03 |
Music Fundamentals (cont’d): MEDIEVAL MUSIC: |
Gregorian chant: Kyrie XI ["Chant," The Benedictine Monks of Santo Domingo de Silos, Angel CD, Selection #10] Gregorian chant: Viri Galilei[(LISTEN)*CD 1–1-2] Qur’anic chant [(LISTEN)*CD 1–7] and Hawai’ian chant [(LISTEN)*CD 1–8] and pp. 60-61 "Sacred Chant" * If not otherwise specified, all listening selections are from the LISTEN CD |
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3/4/03 |
Music Fundamentals (cont’d): MEDIEVAL MUSIC (cont’d): |
Smetana, The Bartered Bride [CD 4–27-32] Hildegard, Columba Aspexit [CD 1–3] and find a piano to complete your homework |
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3/6/03 |
1st CONCERT JOURNALS DUE |
Bernart de Ventadorn, La Dousa Votz [CD 1–4] Perotin, Alleluia. Diffusa est gratia [CD 1–5] |
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3/11/03 |
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Machaut, Motet: Quant en moy [CD 1–6] |
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3/13/03 |
RENAISSANCE MUSIC: |
Dufay, Ave Maris Stella [CD 1–9] |
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3/18/03 |
THE HIGH RENAISSANCE: Josquin Desprez, imitative polyphony |
Desprez, Missa Pange Lingua [CD 1–10-11] |
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3/20/03 |
Giovanni Pierlugi da Palestrina, THE LATE RENAISSANCE & The Counter-Reformation |
Palestrina, Pope Marcellus Mass [CD 1–12] |
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3/25/03 |
LATE RENAISSANCE Secular Music |
Weelkes, Madrigal: As Vesta Was from Latmos Hill Descending [CD 1–13] Anon., Galliard Daphne and Kemp’s Jig [CD 1–14 & 15] |
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3/27/03 |
EARLY BAROQUE MUSIC: 2nd CONCERT JOURNALS DUE |
Gabrieli, Motet: O magnum mysterium [CD 1–16] Monteverdi, The Coronation of Poppea, Act I, "Tornerai?," "Speranza, tu mi vai" [CD 1–17-18] Purcell, Dido and Aeneas, Act III, final scene, "Thy Hand, Belinda," "When I am laid," "With drooping wings" [CD 1–19-20] |
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4/1/03 |
BAROQUE INSTRUMENTAL MUSIC: |
Corelli, Sonata da Chiesa (Trio Sonata) in F [CD 1–21-24] Vivaldi, Concerto in G [CD1–27-29] Sudanese Song Doogus Indrus and waza trumpet ensemble Al Shammasha [CD 1–25-26] Bach, Brandenburg, Concerto No. 5, I; Fugue in C-# Major; Orchestral Suite No. 3 in D, Air, Gavotte and Bourrée [CD 2–1-5] |
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4/3/03 |
J. S. Bach & BAROQUE INSTRUMENTAL MUSIC (cont'd) |
Listen again to Bach, Brandenburg, Concerto No. 5, I; Fugue in C-Sharp Major; Orchestral Suite No. 3 in D, Air, Gavotte and Bourrée [CD 2–1-5] Japanese gagaku orchestra Etenraku [CD 2–9] |
| 4/8/03 | PLAN DAY (no classes) | |
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4/10/03 |
BAROQUE VOCAL MUSIC |
Händel, Julius Caesar, "La giustizia"; Messiah, "There were shepherds," and Hallelujah Chorus [CD 2–10-12] Bach, Cantata No. 4 & Chorale Prelude, "Christ lag in Todesbanden" [CD 2–13-16] Japanese kabuki play, Dojoji (excerpt) [CD 2–17] |
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4/15/03 |
MIDTERM (1 hr.) Introduction to Classical Music ASSIGNMENT OF TERM PAPER |
all the preceding |
| 4/17/03 | LONG WEEKEND 4/16/03-4/20/03 | |
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4/22/03 |
CLASSICAL MUSIC TERM PAPER TOPIC CHOICES DUE |
Mozart, Symphony No. 40 in G minor, K. 550, I [CD 3–1-6] (and ends of Mozart Piano Concerto No. 17 in G, K. 453, III [CD 3–17] and aria "Ho Capito" [CD 3–18 0:45] for reference while reading Ch. 11) Haydn, Symphony No. 88 in G, all movements [CD 3–18-35] Balinese gamelan pelegongan, Bopong (I Lotring) [CD 3–7] |
| 4/24/03 |
(if time) |
Mozart, Piano Sonata in B Flat, K. 570, III [CD 3–8-10] Mozart, Piano Concerto No. 17 in G, K. 453, III [CD 3–11-17] Schubert, String Quartet in A minor [CD 4–5-6] (pp. 255-256) Beethoven, Symphony No.5 [CD 3–21-35] (all) Indian Karnatak kriti, "Marakata marivarna" (Tyagaraja) [CD 3–36-37] |
| 4/29/03 |
PLAN WEEK Individual conferences on term papers—show 1st draft |
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| 5/1/03 | ||
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5/6/03 |
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Mozart, Don Giovanni Overture, Act I, "Ho capito," "Alfin siam liberati," "Là ci darem la mano"[CD 3–18-20] |
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5/8/03 |
Introduction to ROMANTIC MUSIC |
Schubert, "Erlkönig" [CD 3–38] and String Quartet in A minor [CD 4–5-6] again R. Schumann, "Im wunderschönen Monat Mai" & "Die alten, bösen Lieder" from Dichterliebe [CD 3–39-40] C. Schumann, "Der Mond kommt still gegangen" [CD 6–38] R. Schumann, "Eusebius" & "Florestan" from Carnaval [CD 4–1-2] Chopin, Nocturne in F-Sharp, Op. 15, No. 2 & Polonaise in A, Op. 40, No. 1 [CD 4–3-4] |
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5/13/03 |
TERM PAPER DUE |
Berlioz, Symphonie Fantastique, V [CD 4–7-13] Pygmy molimo song [CD4–14] |
| 5/15/03 |
LATE ROMANTICS |
Verdi, Aïda, Act IV, scene ii, [CD 5–1-4] Wagner, Tristan und Isolde, Prelude [CD 5–5-9] and Act I (philter scene) [CD 4–47-49] Beijing opera: The Prince who Changed into a Cat [CD 2–36] Tchaikovsky, Romeo and Juliet, Overture-Fantasy [CD 4–15-26] Smetana, The Bartered Bride [CD 4–27-32] Brahms, Violin Concerto, III [CD 4–33-38] Mahler, Symphony No. 1, III, Funeral March [CD 4–39-46] Piece for Chinese qin, The Drunken Fisherman [CD 2–37] |
| 5/20/03 |
Introduction to MUSIC OF THE 20TH CENTURY |
Debussy, Nuages from Three Nocturnes [CD 5–11-16] Stravinsky, The Rite of Spring, Part I (excerpt) [CD 5–17-23] Schoenberg, Piano Concerto I (excerpt) [CD 5–10] and Pierrot Lunaire Nos. 18 "The Moonfleck," 19 "Serenade," 20 "Journey Home," 21 "O Ancient Scent" [CD 5–24-27] Berg, Wozzeck, Act III, scenes iii & iv [CD 5–28-32] Ives, "The Rockstrewn Hills " [CD 5–33-34] Peruvian raftpipe ensemble "Manuelita" [CD 5-35] |
| 5/22/01 |
THE LATE TWENTIETH CENTURY
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Strauss, Der Rosenkavalier, Act II, Presentation of the Rose [CD 5-18 to 20, Cass. 5A-6] Bartók, Music for Strings, Percussion and Celesta [CD 5–36-42] Copland, Appalachian Spring, excerpts [CD 6–1-4] Webern, Five Pieces for Orchestra, IV [CD 6–5] Ligeti, Lux Aeterna [CD 6–6-9] Berio, Sinfonia, II [CD 6-16, Cass. 6A-3] Varèse, Poème électronique (excerpt) [CD 6–10] Crumb, Black Angels, Nos. 1 "Night of the Electric Insects," 2 "Sounds of Bones and Flutes," 3 "Lost Bells," 4 "Devil-music," 5 "Danse macabre" [CD 6–11-15] Léon, Kabiosile [CD 5–43-36] Gubaidalina, Pro et Contra, III [CD 6–16-21] Glass, Metamorphosis I [CD 6–22] Plains style Grass Dance Song and Navajo song "K’adnikini’ya" [CD 6–23-24] |
| 5/27/03 |
AMERICAN MUSIC & THE AMERICAN 20th CENTURY FINAL CONCERT JOURNALS DUE |
Thomas, "If You Ever Been Down" Blues [CD 6–25] Ellington, "Conga Brava" [CD 6–26] Gershwin, Piano Concerto in F, III [CD 6–27-32] Bernstein, West Side Story (excerpts) [CD 6–33-34] Parker, "Out of Nowhere" [CD 6–35] Davis, "Bitches Brew" (excerpt) [CD 6–36] South African song "Anoku Gonda" (Linda) [CD 6–37 |
| 5/29/03 |
THE 21st CENTURY –Postmodern solutions |
21st-c. Repertoire t.b.d. |
|
6/3/03 |
FINAL EXAM |
the entire course |
Suggestions for Further Reading