kitty Brazelton writing music NYU, History of Music hit the books


New York University School of Continuing and Professional Studies
Paul McGhee Adult Degree Studies Division
Liberal Arts Program:

History of Music

Syllabus Fall 2000


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).

Course Description

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.


REQUIRED TEXT & LISTENING MATERIALS

  • Kerman & Tomlinson, LISTEN, Brief Fourth Edition, Bedford/St. Martin’s, 75 Arlington St., Boston, MA 02116 and accompanying SIX (do not get 3) CDs OR cassettes. (ISBN: 1-57259-422-5)
  • "Chant," The Benedictine Monks of Santo Domingo de Silos, Angel CD 7243 5 55138 2 3

  • Course Requirements

    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.


    COURSE CALENDAR

    DATE

    DISCUSSION

    PREPARATION

    1

    Introduction

    Music Fundamentals

     
    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

    Suggestions for Further Reading

  • Weiss & Taruskin, Music in the Western World: A History in Documents
  • Kenneth Levy, Music: A Listener's Introduction
  • Donald Jay Grout, A History of Western Music
  • Willi Apel, Harvard Dictionary of Music
  • Michael Chanan, Musica Practica
  • Charles Rosen, The Classical Style: Haydn, Mozart, Beethoven and Sonata Forms
  • Karl Geiringer, Haydn: A Creative Life In Music
  • Leon Plantinga, Romantic Music: A History of Musical Style in Nineteenth-Century Europe
  • Elliot Forbes, Thayer’s Life of Beethoven
  • Richard Wagner, My Life
  • Eric Salzman, Twentieth Century Music: An Introduction
  • Arnold Schoenberg, Style And Idea
  • John Cage, Silence