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New York University School of Continuing and Professional Studies
Paul McGhee Adult Degree Studies Division
Liberal Arts Program:
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| Department: | School of Continuing and Professional Studies, The Paul McGhee Division, Degree Program in Liberal Arts |
| Course number: | Y20.5438-1, MT |
| Points: | 4 |
| Professor: | Dr. Catherine Bowles Brazelton |
| Contact: | I will give you my phone number in class; you may leave messages telling me when I can return your call |
| Semester: | Fall 2000 |
| Meeting: | Wednesday, 1:10-3:40 p.m., Midtown Campus, Room 1021 (10th floor). |
This course will cover approximately 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.
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. Individual concert reports should describe the concert as a whole to set the scene then focus on a short segment of the concert using all 8 "parameters" [see syllabus] to describe what you hear, and should take about a page and a half typed, double-spaced. Keep a copy of the program from each concert permanently attached to each report. 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).
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 pop listening quizzes to be sure you can identify the music of study by ear and discuss concepts related to what you hear.
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.
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 |
| 1 | Introduction Music Fundamentals |
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| 2 |
Music Fundamentals (cont’d): Medieval Music: Introduction Plainchant: composition and heritage |
Smetana, The Bartered Bride [CD 4–27-32] LISTEN, Unit I: Chs. 1-4 and pp. 60-61 "Sacred Chant" Gregorian chant: Kyrie XI ["Chant," The Benedictine Monks of Santo Domingo de Silos, Angel CD, Selection #10] Qur’anic chant CD 1-7 and Hawai’ian chant CD 1-8 |
| 3 |
Medieval Music: Organum & chant: Perotin, The Notre Dame School Secular music: Trouvères and troubadours, Bernart de Ventadorn, forme fixe Motets, Guillaume de Machaut, Ars Nova |
Gregorian chant: Viri Galilei [CD 1–1-2] Hildegard, Columba Aspexit [CD 1-3] Bernart, La dousa votz [CD 1-4] Perotin, Alleluia. Diffusa est gratia [CD 1-5] Machaut, Motet: Quant en moy [CD 1-6] LISTEN, Ch. 5 "The Middle Ages" |
| 4 |
Renaissance Music: Guillaume Dufay: melodic paraphrase, homophony, triadic harmony (the new consonance) Josquin Desprez, The High Renaissance: imitative polyphony Giovanni Pierlugi da Palestrina, The Late Renaissance & The Counter-Reformation 1st CONCERT JOURNALS DUE |
Dufay, Ave Maris Stella [CD 1-9] Desprez, Missa Pange Lingua [CD 1–10, 11] Palestrina, Pope Marcellus Mass [CD 1-12] LISTEN, Ch. 6 "The Renaissance" and "Music and Early European Colonialism" pp. 78-79 |
| 5 |
Renaissance Music The Madrigal, Thomas Weelkes: Text-painting, Developments in texture & harmony Instrumental Dance Forms Early Baroque Music Introduction The birth of opera: Claudio Monteverdi Henry Purcell aria & recitative basso continuo POP QUIZ |
Weelkes, Madrigal: As Vesta Was from Latmos Hill Descending [CD 1-13] Anon., Galliard Daphne and Kemp’s Jig [CD 1–14-15] 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] LISTEN, Ch. 7 "The Early Baroque Period" and pp. 96-97 "African Ostinatos" with CD 1–25-26 |
| 6 |
Baroque Instrumental Music Concerto Grosso, Variation form, Fugue, binary form, ritornello form, French overture Arcangelo Corelli, Antonio Vivaldi & Johann Sebastian Bach (Early & Late Baroque) Developments in harmony, texture 2nd CONCERT JOURNALS DUE |
Corelli, Sonata da Chiesa (Trio Sonata) in F, Op. 3, No. 1 [CD 1–21-24] Vivaldi, Concerto in G [CD1–27-29] 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] LISTEN, Ch.8 "The Late Baroque Period" and Ch. 9 "Baroque Instrumental Music" and pp. 136-138 with CD 2–9 |
| 7 |
Baroque Vocal Music George Frideric Handel Opera, Oratorio
MIDTERM REVIEW — Bring questions to class |
Handel, Julius Caesar, "La giustizia"; Messiah, "There were shepherds" and Hallelujah Chorus [CD 2–10-12] Bach, Cantata No. 4 and Chorale Prelude "Christ lag in Todesbanden" [CD 2–13-16] LISTEN, Ch. 10 "Baroque Vocal Music" and pp. 154-155 "Japanese Musical Drama" with CD 2–17 |
| 8 |
MIDTERM (1 hr.) Introduction to Classical Music Style Gallant & Sonata form |
all the preceding |
| 9 |
Classical Music 1st Viennese School: Wolfgang Amadeus Mozart, Franz Joseph Haydn & Ludwig van Beethoven Sonata form, Theme and Variations, Rondo form The Symphony Opera Buffa Beethoven, Symphony No.5 [CD 3-3 to 6, Cass. 3A-3 to 6] announcement of possible term paper topics |
Mozart, Symphony No. 40 in G minor, K. 550, I [CD 2-15 to 20, Cass. 2B-1] Haydn, Symphony No. 88 in G, all movements [CD 2-21 to 38, Cass. 2B-2 to 5] Mozart, Don Giovanni Overture, Act I, "Ho capito," "Alfin siam liberati," "Là ci darem la mano"[CD 3-16 to 18, Cass. 3A-4] LISTEN, Chs. 13 & 14 |
| 10 |
Introduction to Romantic Music Life after Beethoven Piano miniatures Programmatic music |
Beethoven, Schubert, Schumann, Chopin, Liszt, Berlioz LISTEN, Ch. 16, 17 |
| 11 | Romantic Opera or Music Drama The Music of the Future & Reactions Late Romantics |
Verdi, Wagner, Brahms, Mahler LISTEN, Ch. 18, 19 |
| 12 |
Introduction to Music of the 20th Century The Revolutions: Paris, Vienna, America Post-War Avant-Garde TERM PAPER DUE |
Debussy, Stravinsky The Second Viennese School: Schoenberg, Berg Ives LISTEN, Ch. 20, 21 |
| 13 |
Alternatives to Modernism and Postmodern Solutions FINAL CONCERT JOURNALS DUE |
Strauss, Bartók, Copland, Ligeti, Berio, Varèse, Cage, Crumb, Léon, Gubaidalina, Reich LISTEN, Ch. 22, 23 |
| 14 |
American Music & the American 20th Century Our Roots, Jazz, Pop vs. Art Music The Iconoclasts, Minimalism |
(Blues, Minstrel, New England Psalmody) Joplin, Wallace, Armstrong, Ellington, Gershwin, Bernstein, Parker, Davis (Rock & Pop musics) LISTEN, Ch. 24 |
| 15 | FINAL EXAM | all the preceding |