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Meeting: Tuesday & Thursday, 6:10-8:00 p.m., Hamilton 716
Professor: Dr. Catherine Bowles Brazelton
Office hour: Tuesday, 5:00-6:00 p.m. kitbraz@aol.com
Teaching Assistant: Daylene Morrell
This course will cover 1000 years of Western music history, starting in Europe in the Middle Ages and culminating here, in New York City, today. As you explore the historical sources of the musical culture you live in, you will learn to identify, articulate and describe what you hear. Our goal is that you rejoin your musical environment as an informed, delighted and fearless listener and an advocate for the general cause of music in your own life and in the lives of those around you.
Kerman & Tomlinson, LISTEN, Brief Fourth Edition, Worth Publishers, 33 Irving Place, New York; and accompanying 6 CDs OR cassettes. (Softcover Value-Pak bundle, ISBN: 1-57259-130-7 or 3.)
"The Benedictine Monks of Santo Domingo de Silos: Chant," Angel CDC 7243 5 55138 2 3 [Not on order. Look for it at Tower Records, HMV or the Wiz–a very popular CD and likely to be in stock. You may share a purchase if you like.]
You are not required to have any prior musical knowledge, talent or expertise to take this course. 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 in the New York area and to maintain a description of your listening experience in a concert journal. Keep a copy of the program from each concert 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.
DATE |
DISCUSSION |
PREPARATION |
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1/16/01 |
Introduction Music Fundamentals |
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1/18/01 |
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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1/23/01 |
Music Fundamentals (cont’d): |
Smetana, The Bartered Bride [CD 4–27-32] and find a piano to complete your homework |
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1/25/01 |
MEDIEVAL MUSIC (cont’d): |
Hildegard, Columba Aspexit [CD 1–3] |
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1/30/01 |
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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2/1/01 |
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Machaut, Motet: Quant en moy [CD 1–6] |
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2/6/01 |
RENAISSANCE MUSIC: |
Dufay, Ave Maris Stella [CD 1–9] |
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2/8/01 |
THE HIGH RENAISSANCE: Josquin Desprez, imitative polyphony |
Desprez, Missa Pange Lingua [CD 1–10-11] |
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2/13/01 |
Giovanni Pierlugi da Palestrina, THE LATE RENAISSANCE & The Counter-Reformation |
Palestrina, Pope Marcellus Mass [CD 1–12] |
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2/15/01 |
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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2/20/01 |
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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2/22/01 |
BAROQUE INSTRUMENTAL MUSIC: Developments in rhythm, dynamics, tone color, melody and form Concerto Grosso, ritornello form, variation form, Antonio Vivaldi & Johann Sebastian Bach (Late Baroque) |
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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2/27/01 |
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] |
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3/1/01 |
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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3/6/01 |
MIDTERM (1 hr.) Introduction to Classical Music ASSIGNMENT OF TERM PAPER |
all the preceding |
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3/8/01 |
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] |
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3/20/01 |
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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) |
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3/22/01 |
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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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3/27/01 |
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Beethoven, Symphony No.5 [CD 3–21-35] (all) Indian Karnatak kriti, "Marakata marivarna" (Tyagaraja) [CD 3–36-37] |
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3/29/01 |
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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4/3/01 |
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Berlioz, Symphonie Fantastique, V [CD 4–7-13] Pygmy molimo song [CD4–14] |
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4/5/01 |
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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] |
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4/10/01 |
LATE ROMANTICS TERM PAPER DUE |
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] |
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4/12/01 |
Introduction to MUSIC OF THE 20TH CENTURY America–Charles Ives |
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] |
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4/17/01 |
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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] |
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4/19/01 |
THE LATE TWENTIETH CENTURY FINAL CONCERT JOURNALS DUE |
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] |
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4/24/01 |
AMERICAN MUSIC & THE AMERICAN 20th CENTURY |
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 |
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4/26/01 |
THE 21st CENTURY –Postmodern solutions |
Repertoire t.b.a. |
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TBA |
FINAL EXAM |
the entire course |
Suggestions for Further Reading