MUS305_Syllabus_JSS 1

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1 MUS 305 Music History: Classical Style and Romanticism Tuesday/Thursday 08:00 09:50 AM LH 225 Instructor: Dr. Jelena Simonović Schiff Office hours: Tuesday 10:00 11:00 AM and by appointment GTA: Rachel Bomalaski Dear students, welcome to the Classical and Romantic Music History class. During this term we will explore the main characteristics of these two major periods in art and music by looking through two lenses: the one considering music as a contextual activity and the other that considers music a nondiscursive phenomenon. The first path will take us into the background of researched periods, and the second to analytical examination of particular compositions. Required Readings Articles cited in the Reading/Comprehension Journal Questions section and posted in D2L Suggested Reading (one of the following) Russano Henning, Barbara. Concise History of Western Music, 4 th ed. Burkholder, Peter, D. J. Grout, and C. V. Palisca. A History of Western Music, 8 th, 9 th or older ed. Course Objectives The course examines the history of Western music from the emergence and firm establishing of pinnacles of Classical form in symphonic, chamber and solo genre, to the brims of tonality and dissolution of classical form in late Romanticism. Our goal is to capture the essence of periods studied, through relevant events, composers and their works, and to connect them. Course Description The course is organized around four types of activities: (1) live lectures with plentiful of listening examples, score analyses, and discussions; (2) your weekly Reading/Comprehension Journals (RCJ) and Listening Journals (LJ); (3) assessment tests and Final Cumulative Exam (AT, FE); and (4) your Research Presentation (RP). Reading/Comprehension Journals are due Tuesdays of even weeks. Reading Journals consist of a brief, but substantiated summary of the assigned article. There are two RJs, due Tuesdays of weeks II and VI. Comprehension Journals consist of bulletin-type, brief answers to 3 straightforward questions from lecture material. CJs are due Tuesdays in weeks IV and VIII. Listening Journals present your impressions about 5 pieces of your choice from the assigned listening list (each journal). Do not search online or look elsewhere for information this is your take in your own writing. Devote 100 words (excluding composer/title) to each composition, for a total of 500 words per journal. There are four LJs, due Tuesdays of odd weeks. Your journal writing should be succinct and to the point, free of idle words and expressions. Avoid colloquialisms and grandiose wording, but do not be rigid. Do not use citations; just write in your own words these are not research papers. R/CJs and LJs serve to keep you current with class and keep track of the course material. All journals are submitted through the Dropbox. Research Presentation Your 5 minutes! This term you need to package your presentation with recorded narration, to be watched in class. The presentation should take 5 minutes. Choose your topic by Thursday of week IV if presenting in week VI, or Thursday of week VII if presenting in week X. Define you topic so you can respond to it in limited time, in a coherent and informative manner. Find ideas for possible topics on the last page of the syllabus. MUS305_Syllabus_JSS 1

2 Assessment Tests There are 3 Assessment tests. Each AT is comprised of 10 listening questions, 20 short answer questions and 2 long answer all-you-know score recognition questions. Ensure your presence at each AT they should not be made up (AT in weekly schedule). In case you do have to miss an AT, you can only make it up the very next class and for only 50% of earned points, less listening questions, which replay I can not guarantee that is you can get maximum 20 out of 50 pts. One make up is allowed during the current term. Final Cumulative Exam You will be rather busy in this class during the term, so the Final Exam is the time for a sense of accomplishment. The FE covers most relevant items from the entire term, which you will have already mastered by then. Keep your old tests and study guides from previous ATs! Student learning outcome students who complete this course will gain knowledge about: Emergence, shaping, and cementing of the pillars of musical forms in Classical and Romantic periods Pertinent developments of music aesthetics and historical significance in defining respective styles Main genres, forms, and techniques representative of corresponding composers outputs Major musical works and their aural (listening) and visual identification (scores) Key terms related to compositional practices and these historical periods Course requirements Activity Frequency and Points Total Points Reading/Comprehension 4 X Journal Listening Journal 4 x Assessment Tests 3 x Presentation 1 x Final Cumulative Exam 1 x Attendance/Participation Important note: regardless of the total points, students need to submit at least 50% of assigned journals (that is at least 4 out of 8) and complete at least 2 assessment tests for a passing grade. Presentation and Final Cumulative Exam are mandatory. Grading Scale Points Grade Points Grade Points Grade =93-100%=A = A =B =B =B =C =C =C =D =D =D- Below 229=below 57%= F Additional Resources in D2L Homepage News column: check D2L regularly, I will occasionally post news and updates. Weekly modules: lectures, listening examples, and scores uploaded in D2L following each class; study guides uploaded in D2L at least one week before the test. Dropbox: submit your journal assignments through Dropbox for each corresponding week. MUS305_Syllabus_JSS 2

3 Weekly Schedule Week Topic Read/Listen Assignment Due I Syllabus in depth; The Enlightenment, Pre-classic and Classic features; Opera: seria; buffa, comique, ballad, singspiel; Opera reform: Gluck Toward Classical form: D. Scarlatti, C.P.E. Bach, Manheim School Assigned reading: Haydn at Esterhaza II Papa Haydn: bio, style; sonata form, sonata cycle, string quartet RCJ1: Haydn at Esterhaza J. Haydn: symphony, vocal-instrumental III Assessment Test 1 LJ1: I/1, I/2, II/1, II/2 IV V W. A. Mozart: Salzburg, Vienna; piano sonata, chamber music, string quartet W. A. Mozart: concerto, symphony, opera, Requiem L. van Beethoven: periods; piano sonatas; chamber music, string quartet L. van Beethoven: concerto, symphony, late style (late string quartets); cyclicism, symphonicism Assessment Test 2 Assigned reading: CJ2 LJ2: III/2, IV/1, IV/2 VI Presentations 1 RCJ3 Conversations with Beethoven The Early Romantic Four: Schubert, Chopin, Schumann, Mendelssohn; Lied, character piece VII The Early Romantic Four: Robert, Felix; Neue LJ3: VI/2 Zeitschrift; Clara Schumann, Fanny Mendelssohn; Opera first half 19 th C.: Weber, Rossini, Bellini, Donizetti, (Singspiel, Bel canto) Berlioz, Symphonie fantastique, idee fixe, cycle; Liszt, piano, symphonic poem VIII Opera: Verdi, Wagner, Leoncavallo, Puccini, CJ4 Mascagni (Gesamtkunstwerk, verismo) Classical forms: Bruckner, Brahms, Tchaikovsky, Wolf, Reger, Bruch, Franck; E. Hanslick, The Great Debate IX National schools: The Five, Dvorak, Smetana, Grieg LJ4: VII-1 to IX-1 Assessment Test 3 X AT3 feedback Presentations Presentations Prep review for Final Exam Final Cumulative Exam Thursday, March 23, 2016, from 8:00 9:50 Tips for success: Attendance, planning, and doing the work. MUS305_Syllabus_JSS 3

4 Research Presentation Topic Hints 1) Carl Stamitz: the Manheim Master Concerto Composer 2) The Enlightenment Ideas in Art and Music Classicism 3) Haydn s London Symphonies: Inspiration and Realization 4) The Seven Last Words of Christ: Haydn s Meditations and Versions 5) Thematic Borrowings in String Quartet op. 76, no. 3 by Joseph Haydn 6) Mozart s Haydn Quartets 7) Mozart s Last Year: the Singspiel and the Requiem 8) Analysis/interpretation of one single situation from one of the Mozart s operas 9) Beethoven Piano Sonatas: Some Basic Principles 10) Beethoven Late String Quartets (choose one or present unifying principle among few) 11) Goethe s Poetry in Schubert s Lied 12) Chopin s Idiomatic Style 13) Schumann s Alter Ego (either in music or in his writings) 14) The Portrait of Clara Wieck Schumann 15) Fanny Mendelssohn Hensel: A Woman Pianist and Composer 16) Motivical Transformation in Symphonie Fantastique 17) Hanslick s Views on Absolute and Program Music 18) The Great Debate 19) Giuseppe Verdi (Your choice of opera or particular character) 20) Puccini: Madama Butterfly 21) Mussorgsky s Psychological Characterization of Tzar Boris Godunov 22) Wagner and Gesamtkunstwerk 23) Cesar Franck: Symphonic Variations 24) Romantic Violin Concerto or Piano Concerto (your choice of focus) 25) National Schools in the 19 th Century Music MUS 305: Reading/Comprehension Journal Questions R/CJ1, due Tuesday of week II (500 words) Read the article Joseph Haydn s Experimental Studio at Esterhaza by Winkler and Zedlacher, and write a brief but substantiated summary that includes the main points you get from the text AND your own assessment of the article or the topic itself. Follow the general instructions for journal writing. CJ2, due Tuesday of week IV (100 words each answer) (1) Explain briefly the importance of pre-classic period compositions for future classical forms (D. Scarlatti rudimentary sonata form, Sammartini s symphony, and Mannheim School). (2) Name and explain the main parts of the sonata form and their relationships. (3) Summarize W. A. Mozart s chamber music output, with an emphasis on string quartets (organization, overall form, relationship to Papa Haydn s quartets). MUS305_Syllabus_JSS 4

5 R/CJ3, due Tuesday of week VI (500 words) Read the article Conversations with Beethoven by Tyson and write a brief but substantiated summary that includes the main points you get from the text AND your own assessment of the article or the topic itself. Follow the general instructions for journal writing. CJ4, due Tuesday of week VIII (100 words each answer) (1) Listen to Schubert s Gretchen am Spinnrade and Erlkönig and read the lyrics translation. Discuss the following: (a) Do you find similarities in these two different poems by J. W. Goethe that hint they come from the same author? (b) Why do you think the poetry of J. W. Goethe was so persuasive for romantic composers that they frequently set it to music in their Lieder? (2) Read Berlioz s program for Symphonie Fantastique premiere. Listen to the 1 st, 4 th and 5 th movements of SF along with the program. How does the music complement the program? Explain by referring to specific passages in the score to make your case. (3) Listen to Bellini s Casta Diva from his opera Norma. Are there pointers to Chopin s treatment of melody in this excerpt? Explain why and where, or why not. Disability Accommodation PSU values diversity and inclusion; we are committed to fostering mutual respect and full participation for all students. My goal is to create a learning environment that is equitable, useable, inclusive, and welcoming. If any aspects of instruction or course design result in barriers to your inclusion or learning, please notify me. The Disability Resource Center provides reasonable accommodations for students who encounter barriers in the learning environment. Academic Misconduct Academic Misconduct is defined as, actual or attempted, fraud, deceit, or unauthorized use of materials prohibited or inappropriate in the context of the academic assignment. Unless otherwise specified by the faculty member, all submissions, whether in draft or final form, must either be the Student s own work, or must clearly acknowledge the source(s). Academic Misconduct includes, but is not limited to: (a) cheating, (b) fraud, (c) plagiarism, such as word for word copying, using borrowed words or phrases from original text into new patterns without attribution, or paraphrasing another writer s ideas; (d) the buying or selling of all or any portion of course assignments and research papers; (e) performing academic assignments (including tests and examinations) in another person s stead; (f) unauthorized disclosure or receipt of academic information; (g) falsification of research data (h) unauthorized collaboration; (i) using the same paper or data for several assignments or courses without proper documentation; (j) unauthorized alteration of student records; and (k) academic sabotage, including destroying or obstructing another student s work. MUS305_Syllabus_JSS 5

University of Arkansas-Monticello Division of Music Fall MUS 1113 Music Appreciation Online Syllabus

University of Arkansas-Monticello Division of Music Fall 2014 MUS 1113 Music Appreciation Online Syllabus Instructor: Email: Office Hours: Claude Askew askew@uamont.edu Via E-mail Music Appreciation- 3