SYLLABUS FOR
MU 313, SPRING 2005
Section 10
Prof. L. Peterson, AED 319 (ext. 8134)
peterson@udel.edu
http://amy.music.udel.edu/faculty/peterson/
GOALS:
1) Learn about music and attitudes during the l9th and 20th centuries.
2) Stimulate your ability to think and express yourself in writing and in conversation.
3) Encourage analytical listening, i.e., higher-level thinking.
4) Further develop your library skills.
5) To think and function independently. Thus you should be able to read, listen and find information beyond what is presented in class.
You are responsible to read ahead in the syllabus to know when all assignments are due.
1) Donald J. Grout and Claude V. Palisca, A History of Western Music, 6th edition
2) C. Palisca: Norton Anthology of Western Music, Vol. 2, 4th edition (NAWM below)
4) PowerPoint slides for Musc 313 (Review these and syllabus for written portions of all exams)
1) The relationship of lectures to exams. It is not the intent of Prof. Peterson to restrict his class presentations to what appears on exams. The Powerpoint slides are one important indicator of what material may appear on an exam as are the questions on the syllabus and the information with the listening items. The information on exams will be taken from the text, from listening, from the lectures, and the Powerpoint slides for this course. Exams will not even begin to cover the information that you should learn from this course. The intent of the course is preparation for graduate school and professional performance not simply to receive a course grade. So please don’t be frustrated when information you study does not appear on the exam. There is far too much information covered before each exam to cover all of it thoroughly on an exam.
2) GRADES: Grade
for the course will be as follows: 6
Exams (15% each) which includes the exam given during finals week. The 6 exams will constitute 90% of your
course grade. The other 10% will be
determined by attending 10 of the required attendance classes (10 out of the 13
possible excluding the required attendance for exams). You will receive 1 point for up to 10 of
those classes on the computation for your course grade. Letter grades: A (100-91) A- (90); B+ (89) B (88-81)
B- (80); C+ (79) C (78-71) C- (70) D+ (69) D (68-66) D- (65)...note that D
covers only 5 points... F (64-0)
3) Exams will not
be made up unless if approved in advance.
Listening will be on all exams.
You will not need BLUE BOOKS
for exams. All exams will be presented
in a machine format (matching) but will be graded manually so that you will
know the correct answers for those items you miss. Since we are not giving exams in the
evenings this semester, you need to be well prepared because you can only count
on having 50-55 minutes to take each exam.
Because of time limitations, listening examples will be played only once
during exams. All titles of listening examples will be in their original
language.
4) REQUIRED ATTENDANCE classes are identified by ** preceding the class number. As indicated earlier, you need to attend 10 of these classes (excluding the exam periods) to receive full credit of 10 points towards your course grade. In other words, attending 10 of these classes provides the 10 points beyond 90 points that are possible from the 6 exams.
5)
Because of my multimedia work, I do not maintain regular office hours. Please feel free to contact me via e-mail to
ask questions or to request an appointment for us to meet in my office. I do want to respond in a timely
manner. Contact me and we’ll set a time
to get together or I’ll answer the questions you send via e-mail, whichever you
prefer.
6) Information about listening for this course. Normally videodiscs are not put on reserve. You need to request them from the attendant to pull from the laserdisc/DVD storage area. Scores should be available for most works to assist you to learn the work. For the University of Delaware Videodisc Series you need to request this series from attendant because they are not cataloged. There is a two-volume set of articles and scores that accompany the laserdisc series. In addition there is a set of software analyses for this course. You need to go to the OLD computers and on the desktop you will see under “Peterson” at the bottom of the icons, a music jukebox with 313 under it. Open it and you will see first a title page, then an index with titles and the UD CD number that is needed for each analysis. You should find these analyses helpful in learning each piece in the software list. Also note that there is information below in the listening section that relates to the type or form of the piece. This may appear on an exam.
THE GOOD NEWS:
The beautiful, exciting music you will experience this semester
CLASS SCHEDULE, TOPICS, ASSIGNMENTS
_______________________________________________________________
Reading assignments are indicated by G for Grout/Palisca text, NAWM for Norton Anthology of Western Music, Vol. II. Page numbers follow. Bring the PowerPoint Slide handout to each class to assist you in taking notes and following the lecture. Also, the PowerPoint handouts will be useful to study for exams. They provide an excellent review of the material covered. Anything on the PowerPoint slides may appear on the written portions of the exams. You may find it good news that this semester has 25 less items on the listening list than the previous several years.
l. Feb 9, A) Introduction. Explanation of syllabus, course, listening practices, discussion topic policies, reserve materials, B) Overview of the Romantic Era & Legacy of Beethoven/G, chapter 16 (542-548)
**REQUIRED:2. Feb 11. TOPICS: discuss readings for previous class.
3. Feb 14. Symphony after Beethoven/G 16 (548-554), Berlioz & Mendelssohn.
Listening: Berlioz, Symphonie fantastique, movements 4 & 5. See CD 13 or UDVD (disc 2, side 1, chapter 2 for the 5th movement) or NAWM 105, p. 285 for 4th movement.
4. Feb 16. Symphonic/Tone Poem, Liszt, Tchaikovsky, Smetana/G 16 (555-557) and, NAWM 109, p. 339/ Questions: What is a tone poem or symphonic poem? Give 5 examples. Discuss Les Preludes: its relationship to the Lamartine poem and its form. What is thematic transformation? Give some examples? Discuss the program aspects of the sonata-allegro form of the Tchaikovsky Romeo & Juliet.
Listening: Liszt, Les Preludes. See CD 91, 138 or 611.
5. Feb 18. The symphonies of Brahms, Dvorak, Tchaikovsky, Bruckner/G 16 (558-565) Questions: : Why are the Brahms symphonies important? Discuss the form of the 4th movement of the Brahms 4th symphony.
Listening: Brahms, Symphony No. 4, 4th movement. See CD 135 or 138. *software analysis available.
6 Feb 21. The Piano/G 17 (571-587) Discuss: Chopin's polyrhythm in his Fantaisie-Impromptu; the form in Liszt's Sonata in B; and in Schumann Piano Concerto in A Minor, first movement *software analyses for the sonata and concerto to “see” the form.
Listening: Chopin, Fantaisie-Impromptu. CD 328.
7. Feb 23. Chamber Music/G 17 (587-593).
Listening: Brahms, Piano Quintet in F Minor, Op. 34, movements one (sonata-allegro based upon 3 themes) and three (scherzo: Allegro). See CDs 397 or 1037, disc 2.
**8. Feb 25. EXAM I.
(Material from classes 1-7)
9. Feb 28. Art Song & Art Song Cycle (Die Schöne Mullerin) G, chap. 17 (593-598)
Listening: Schubert, Gretchen am Spinnrade, NAWM 111, p. 368; Der Lindenbaum, NAWM 112, p. 375; Clara Wieck Schumann, Geheimes flüstern hier und dort, NAWM 114, p. 386; and Schubert, Die Schöne mullerin, Song 5, Am Feierabend (see CD 396 and *software analysis. Note that the titles on the exam will be in German not in English.
10. March 2. Choral Music/G 17 (598-602).
Listening: Four examples from the choral music of three composers appear in this listing. A) Mendelssohn, Elijah, Baal! We Cry to Thee (baritone solo & chorus, see CD 10 or 319 or*software analysis), B) Brahms, Ein Deutsches Requiem, movement 4, Wie lieblich (CD 103, *software analysis), C) Brahms, unaccompanied motet, Schaffe in Mir, Gott (see UDVD 3, side 1, chapter 20); and D) Bruckner, Virga Jesse, NAWM 115, p. 389.
11. March 4. Bel Canto Opera: Rossini, Bellini, Donizetti & early Verdi/G 18 (603-608) Class Discussion : What is bel canto opera? Why is it important?
Listening: A) Rossini, Il Barbiere di Siviglia, Una Voce poco fa (see videodisc 26, 28, 57, or 160, NAWM 117, p. 415. This is an example of an arioso-caballetta. B) Verdi, La Traviata, Sempre Libera (see videodiscs 6, 110 or 171, This is an example of a cabaletta. C) Verdi, La Traviata, scene with duet Parigi o cara, Act III, NAWM 119, p 460, a duet. D) Bellini, Norma, Casta Diva, NAWM 118, p. 427. See Norton CD or *software analysis (Need CD 1412 for the analysis).
**12. REQUIRED . March 7. Opera in France/G 18 (608-613).
Listening: 3
excerpts from Bizet’s Carmen: A)
L’Amour est un oiseau. (credo aria, habanera style, strophic form, I). B) Nous
avons en tête une affaire! (quintet ensemble, II). C) Mêlons! Coupons! (trio, III). See Videodisc 75, CD 414 or 399
or DVD 2.
**13. REQUIRED March 9. Italian Opera: Verdi and Verismo/G 18 (614-17 & 670-1)
Listening: 2 excerpts from Verdi, Otello: A) Giá nella notte densa (love duet, I). B) Credo in un Dio crudel (credo aria, nickname is “Iago’s credo,” II) See Videodisc 142, side 1, chapter 6 for love duet and chapter 7 for Iago’s credo.
**14. REQUIRED. March 11. German Opera/G 18 (618-628) Class Discussion topic: Wagner's ideas about the role of the orchestra; Wagner's changing ideas about the relationship of words and music; Schopenhauer's ideas about music; Why is Tristan one of the most significant works in music history? What is significant about Wagner's Ring cycle? What is the correct name of the Ring cycle?
Listening: Wagner, Tristan und Isolde (Act I, scene 5 excerpt). See Videodisc 69, CD 130, NAWM 121, p. 523 & Norton CDs.
**15. March 14. EXAM II. (classes 9 to 14.)
16. March 16. Mahler and German Music/G 19 (631-638) Questions:: Why are the Mahler symphonies important? What has "death" to do with this symphony?
Listening: Mahler, Symphony No. 2, movements 1, 4, and 5. See CD 24 & *software analysis for movement 1.
17. March 18. Richard Strauss/G 19 (638-643) Questions: Can you name 3 operas by Strauss? Who is the famous librettist for many of his operas? Can you name 3 tone poems by him?
Listening: Don Quixote (tone poem), NAWM 124, p. 570. See Norton CDs.
18. March 21. National Trends/G 19 (644-663)
Listening: Skryabin, Poème pour piano, Vers la flame, NAWM 126, p. 598; Fauré, la bonne chanson, Op. 61, Avant que tu me t’en ailles, NAWM 127, p. 608. See Norton CDs.
**REQUIRED 19. March 23. Debussy & Symbolism; Ravel/G 19 (663-670). Questions: Describe the rhythm and "harmonic" practices of Debussy. What is Symbolism and how does it relate to Debussy? Why approach Debussy first through his opera or through his songs to really understand him? Describe Ravel.
Listening: A) Debussy,
Ariettes oubliées: C’est l’estase, See
CD 849 (Von Stade) or 1650 (Upshaw). *software analysis requires CD 375. B)
Debussy, Trois Nocturnes: Nuages,
NAWM 128, p. 615; C) Ravel, Le Tombeau de
Couperin: Menuet, NAWM 129, p. 633. See Norton CDs for latter two.
PART II:
Music of the Twentieth Century
**REQUIRED 20. March 25.Overview of the Twentieth Century/G 20 (676-680).
22. April 6. Bartok/G 20 (680-684). Questions: What is the "golden mean"and the “golden section” and how do they apply to Bartok? How does the discipline of ethnomusicology apply to Bartok? Be specific and relate these topics to the Sonata for 2 Pianos and Percussion. What are Fibonacci numbers?
Listening: Bartok, Sonata for Two Pianos and Percussion, movement 1. See CD 46 and *software analysis for demonstration of golden section and golden mean; Bartok, Music for Strings, Percussion, and Celesta, Adagio (3rd movement), NAWM 130, p. 645 & Norton CDs.
23. April 8. 1) Soviets, 2) English, 3) Germans, 4) Latin Americans/G 20 (684-699).
Listening: A) Prokofiev, Piano Concerto No. 3, movement 1. See CD 317 and *software analysis; B) Shostakovich, Symphony No. 5, movement 1. See CD 326 and *software analysis; C) Sophia Gubaidulina, Rejoice! Sonata for Violin and Violoncello: Listen to the still small voice within (5th movement), NAWM 132, p. 697, Norton CDs.
24. April 11. Neo-Classicism in France/G 20 (699-701). Questions: Who are the members of Les Six? Briefly discuss the Poulenc organ concerto (see *software analysis) Briefly discuss Milhaud's contribution to opera and how NeoClassicism relate to Les Six?
Listening: Poulenc, Organ Concerto. See CD 109 and *software analysis.
**REQUIRED. 25. April 13. Stravinsky/G 20 (702-709) and Peterson web site for special Powerpoint series just on Stravinsky prepared by former 313 students.
Listening: Stravinsky, Le Sacre du printemps: three movements/dances. 1) Introduction, 2) Danses des Adolescents (in NAWM 134, p. 721), and 3) Danse Sacrale (last dance of Part II). The Introduction and Danses des Adolescents are the first 2 numbers in Part I. See Norton CDs for 2nd dance only. CD 211 has the complete ballet but you may wish to follow a score to know when the Danse Sacrale begins. You will see these 3 excerpts on video in class.
**REQUIRED 26 April 15. Schönberg, Expressionism, Berg, Webern, Post Webern,/G 21 (713-725) Questions: What is sprechgesang, Expressionism, the Bau Haus school? Who is Guiraud? Explain the row and demonstrate the 4 versions of it. What is significant about dodecaphony?
Listening: There are 3 different works in this list and 4 different items to know:
A) Schönberg, Pierrot Lunaire, Nacht (NAWM 135, p. 741) and Enthauptung (NAWM 135, p. 744). See CDs 121 or 436 & Norton CDs. You need to identify each song in German. There are *software analyses for a number of the songs in Pierrot.
B) Schönberg, Variations for Orchestra: excerpts, NAWM 136, p. 750; C) Webern, Symphonie, Op. 21, movement 1. NAWM 138, p. 775. See Norton CDs and *software analyses.
**REQUIRED 27. April 18 Totally Serial Music as developed by Messiaen, Babbitt, & Boulez/G 21 (725-726) There is no listening items from today’s class. Questions: What is totally serial music and what parameters or elements may be involved? How does totally serial techniques differ between Messiaen, Boulez, and Babbitt?
**REQUIRED 29 & 30. April 22 & 25 Olivier Messiaen/G 21 (726-729)
Questions: What are the following practices or how do they relate to Messiaen: nonretrograde patterns, modes of limited transposition, Accord sur dominante, Accord de la résonance, bird song, Hindu deci-tâlas? NOTE: For April 29, you must bring 1 example of new notation to class to put on the board and explain or demonstrate on an instrument.
Listening: Messiaen: A) Quatour pour le fin du temps: movement 1. CD 313, 465 or DVD 13. B) Turangâlila-sympnonie, movement 1. CD 628, 588 *software analysis will help you follow the panisorhythm or follow score if available. C) Méditations sur le mystère de la Sainte Trinité: Vif (movement 4), NAWM 139, p. 783. Norton CDs.
**REQUIRED 31. April 27 1) Technology, 2) Performance Art/G 21 (729-731; 773-774). See Reserve File for article about Laurie Anderson. In class, you will view the movie, Legal Eagles, which has an example of performance art. Questions: : What is musique concrète, "pure" electronic music, digital samples? Who are Pierre Henry, Pierre Schaeffer, and Laurie Anderson? What is Performance Art?
**REQUIRED 32 April 29. CLASS ASSIGNMENT FOR EVERYONE! Each of you bring one example of new notation. Come to class early and put your notation examples on the board before class so that we can use class time efficiently. For new notation examples see Karkoschka and Cope books on reserve) 1) Pitch, 2) Extended Technique, and 3) New Notation, 4) George Crumb and his type of primitivism/G 21 (732-733)
Listening: All by George
Crumb: A) Black Angels: movements
4-9. CD 347, NAWM 146, p. 908, Norton
CDs. For exam you do not need to
identify the individual movements by title.
B) Macrokosmos: Phantom
Gondolier. CD 368 and score.
**REQUIRED 33 May 2 Indeterminacy (Chance Music, Aleatoric Music, Indeterminate Music) and Multiplicity/G 21 (734-737; 776-777). The class may perform portions of William Duckworth’s “Peace for 20 Voices” in class. Question: What is chance music/indeterminate music/aleatoric music? What is its significance?
** 34. May 4. EXAM V (classes 29 to 33)
35. May 6. 1) Aspects of American Music, 2) Ives/G 22 (740-770) Questions: Why do we consider Ives one of the greatest US composers? Describe his style. Who is General William Booth? What is the old hymn quoted in this song? What is the "style" of rhetoric in this song?
Listening: Ives: A) General William Booth Enters Into Heaven, CD 647; b) They Are There! NAWM 141, p. 810, Norton CDs.
36. May 9 American Music and Seeger, Copland, Carter, Barber, and Still/G 765-766; 780-785) Questions: Who is Ruth Seeger? Amy Beach? Ellen Zwilich? Joan Tower? Who is William Grant Still? What is metric modulation (p. 766)
Listening: A) Seeger, Violin sonata, movement 2, NAWM 142, p. 829; B) Copland, Appalachian Spring: Variations on ‘Tis the gift to be simple,’ NAWM 143, p. 835; Still, Afro-American Symphony: Animato (movement 3), NAWM 144, p. 874; Carter, String Quartet No. 2: introduction and Allegro fantastico, NAWM 145, p. 891, Norton CDs for all examples.
**REQUIRED. 37. May 11. American Theater Music and Leonard Bernstein. See Reserve File for articles about Mass. Questions: What is a trope and how does it relate to this work? What did Bernstein say was the "crisis" of the twentieth century? Can you provide an example of eclecticism in this work?
Listening: excerpts from Bernstein’s Mass: A) In Nomine Patris (III.1); B) Confession (IV, 1,2,3 complete) CD 45 and *software analyses. Identify examples by one of 2 titles: In Nomine Patris from Mass or Confession from Mass.
38. May 13. Third Stream Music/G 22 (775-776). Questions: What is Third Stream Music? Where did this term originate? Who is Gunther Schuller? What other composers in our century have incorporated aspects of jazz into their classical music or wrote music that “crosses over” from jazz into classical music or vice versa?
Listening: Schuller, Seven Studies on Themes of Paul Klee: No. 3, Kleiner blauer Teufel, NAWM 148, p. 935; and No. 5, Arabische Stadt. NAWM 148, p. 949. (This movement does not represent Third Stream style but rather represents influence of non-Western music), Norton CDs.
39. May 16.Minimalism/G 22 (777-780). The class will view a videotape of Reich's Clapping Music! Questions: Who is Steve Reich? What does Minimalism mean? Who are the composers of Minimalism? Can you discuss Harmonium? What is phase shifting?
Listening: John Adams, A) Harmonium (movement 1), CD 632. We do have a VHS of rehearsal and performance of Harmonium conducted by Simon Rattle in AED 109.
B) Phrygian Gates: excerpt, NAWM 149, p. 963. Norton CDs.
40. May 18. To the East (Takemitsu et al). Read Reserve File in AED 109.
Listening: Takemitsu,
From Me Flows What You Call Time, CD
754, *software analysis will be very helpful in understanding this piece.
.
May ________ (time: ) FINAL EXAM (classes 35 to 40 plus the following:
What are the performance practices of the 19th century compared to the 20th century? In other words, how do you "perform" the works from one era compared to the next?
LIST OF FOLDERS ON RESERVE FOR 313 IN AED 109
EXAM V
Laurie Anderson
New Notation handout
FINAL EXAM
Bernstein’s Mass
Takemitsu