Music Music History III Late Nineteenth Century to the Present MWF 8:35-9:25 am, DGH 302

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1 Music Music History III Late Nineteenth Century to the Present MWF 8:35-9:25 am, DGH 302 Instructor: Bettie Jo Basinger, PhD Office hours: MWF 9:30-10:30 am or by appointment, DGH 432 Course description and objectives: This course explores the musical developments of European and American art music during the late nineteenth and twentieth centuries, with some consideration of jazz and other American genres. Students will (1) listen to representative compositions from this era; (2) examine formal processes, stylistic procedures, and the aesthetic values characteristic of this repertoire in order to develop facility in analysis; and (3) gain an understanding of how these works reflect and contribute to society and culture. The day-to-day focus will consist of analyzing specific works and placing them in their social context. Texts and recordings: Required purchases (1) Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A history of Western music. 9th ed. New York; London: W. W. Norton & Company, (2) Burkholder, J. Peter, and Claude V. Palisca, eds. Norton anthology of Western music. 7th ed. Vol. 2, "Classic to Romantic." New York; London: W. W. Norton & Company, (3) Burkholder, J. Peter, and Claude V. Palisca, eds. Norton anthology of Western music. 7th ed. Vol. 3, "The twentieth century and after.: New York; London: W. W. Norton & Company, On-line resources (1) The course syllabus, calendar, and other materials appear in the Canvas course pages (utah.instructure.com) (2) Students may access recordings of course repertoire through Canvas; the McKay Music Library has also streamed many of the works (( as has the textbook publisher ( (3) The Canvas course pages also include most scores not available in the Norton Anthology. On reserve at the McKay Library Strunk, Oliver, ed. Source readings in music history. Rev. ed., Leo Treitler, general ed. New York; London: W.W. Norton & Company, Requirements: Attendance/participation 10% Midterms (Fridays 10/5 and 11/16) 30% Paper (7-10 pages, due Wednesday, 11/28) 40% Final exam (Tuesday, December 11 at 8:00 am) 20% Participation in class discussions is compulsory. You must therefore complete all reading and listening assignments prior to course meetings. Please also realize that you cannot participate if you do not attend class: For this reason, your grade will literally drop each time you miss lecture. Furthermore, sleeping, text messaging, communicating with friends on Facebook and other activities that indicate you are not paying attention will receive a similar point deduction.

2 Both the midterm and final exam will emphasize aural identification. In the first portion of these examinations, you will need to (1) name the composer, (2) identify the composition and movement, and (3) give an approximate date. All examples will come from the repertoire outlined in the course calendar below. At the end of these tests, unidentified works (i.e., pieces not covered in either lecture or outside listening) will appear; here students will need to examine scores and/or recordings in order to determine the composer, genre, movement, and/or form. For the central portion of the exams, students will need to supply definitions of genres, techniques, etc. Guidelines for the papers appear in Canvas. You may choose to examine any of the of the three any appropriate composition that falls within the delineated "-isms," so long as you investigate the work within the framework of the associated style and artistic movement. These assignments should stress creative thinking; students should emphasize analysis and interpretation. The paper should run between five and seven pages in length. Organization, spelling, and grammar count indirectly: You will not receive a point deduction for each missed comma, but you must express your ideas with clarity. A well-organized assignment will possess an introduction (with thesis statement), body, and conclusion. You must submit the term papers at the start of class on 11/28. Any materials turned in after this date but before 12/5 receive a deduction: for each class period late, the overall score on the assignment will fall one notch (e.g., an A would be come an A-). No assignment will receive credit if you fail to attend the rest of that day's lecture, and papers submitted through will not earn credit, except in the case of extreme emergency. With the exception of the final exam, student must complete all coursework before the last day of lecture (12/5). University policies The University expects all students to maintain professional behavior in the classroom setting as delineated in the Student Code appearing in the Student Handbook. Students have specific rights in the classroom as detailed in Article III of the Code, but this Article also specifies proscribed conduct concerning cheating, plagiarism, and collusion, as well as fraud, theft, etc. The responsibility of enforcing responsible classroom behaviors by means of verbal warning belongs to faculty members; if unheeded, the warning will progress to dismissal and ultimately a failing grade. Although students have the right to appeal such action before the Student Behavior Committee, they should aspire to the conduct outlined in the Code. The University of Utah seeks to provide equal access to its programs, services, and activities for people with disabilities. If you need accommodations in the class, you must provide reasonable prior notice to the Center for Disability Services, 162 Union Building, (V/TDD). CDS will work with you and the instructor to arrange accommodations. Some of the readings, lectures, films, or presentations in this course may include material that may conflict with the core beliefs of some students. Please review the syllabus carefully to see if you can commit to taking this course and discuss any concerns should with Dr. Basinger at your earliest convenience. For more information, please consult the University of Utah s Accommodations Policy at Course Calendar 8/20 Course introduction: Music in the twentieth century Burkholder, /22-24 The death throes of Romanticism: Mahler and Strauss Burkholder, Mahler, Kindertotenlieder, i ( Nun will die Sonn so hell aufgehen ) (Norton Anthology 2) Strauss, Salome, conclusion (Canvas) 8/27 French impressionism Debussy, , ; Reserve, Debussy Debussy, Nocturnes, no. 1 Nuages (Norton Anthology) 8/29 Stravinsky and "primitivism" Burkholder, ; Reserve, Stravinsky Stravinsky, The rite of spring, excerpts (Canvas; continued in Norton Anthology) 8/31-9/5 The second Viennese school (I): Expressionism Burkholder, , Schoenberg, Pierrot lunaire, Op. 21, nos. 8 and 18 (no. 8 in Norton Anthology; no. 18 on Canvas) Berg, Wozzeck, Op. 7, Act III, scenes iii-v (scene ii in Norton Anthology; continued on Canvas)

3 9/3 Labor Day. No class. 9/7-10 The second Viennese school (II): The twelve tone method and early serialism Burkholder, , ; Reserve, Schoenberg (Composition with twelve tones) Schoenberg, Piano suite, Op. 25, excerpts (Norton Anthology) Webern, Symphony, Op. 21 (i in Norton Anthology; ii on Canvas) 9/12-14 Neoclassicism Burkholder, , Stravinsky, Pulcinella, Overture and Vivo (Canvas) Stravinsky, Symphony of psalms, i (Norton Anthology) Ravel, Le Tombeau de Couperin, Menuet (Norton Anthology) Prokofiev, Symphony no. 1 ( Classical ), i (Canvas) 9/17 Bartók Burkholder, ; Reserve, Bartók Bartók, Music for strings, percussion, and celesta, iii (Norton Anthology) 9/19-21 Satie and les Six Burkholder, , Satie, Sports et divertissements, Les courses and Le feu d artifice (Canvas) Satie, Embryons desséchés, no. 3 de Podothalma (Norton Anthology) Milhaud, La Création du monde, excerpts (Norton Anthology) 9/24 Hindemith and Gebruchsmusik Burkholder, Hindemith, Symphony "Mathis der Maler," ii (Norton Anthology) 9/26-28 Soviet music: Shostakovich and Prokofiev Burkholder, ; Reserve, Pravda, Prokofiev Shostakovich, Symphony no. 5, i and ii (i on Canvas, ii in Norton Anthology) Prokofiev, Symphony no. 5, ii (Canvas) 10/1 American music before 1950 (I): Ives Burkholder, ; Reserve, Ives Ives, They are there! (Canvas) 10/3 American music before 1950 (II): Ultramodernism Burkholder, Cowell, The banshee (Norton Anthology) Crawford, String quartet, iv (Norton Anthology) 10/5 Midterm 1 10/8-12 Fall break. No class. 3

4 10/15 Messiaen Burkholder, , Messiaen, Quatuor pour la fin du temps, i and vi (i in Norton Anthology, vi on Canvas) 10/17-19 Twentieth-century music in Britain Burkholder, , Vaughn Williams, Fantasia on a theme by Thomas Tallis (Canvas) Britten, Serenade for tenor, horn and strings, Elegy and Dirge (Canvas) 10/22-24 Mid-century American music (I): Copland, Harris, and Barber Burkholder, , Copland, Appalachian spring, Variations on "'Tis the gift to be simple" (Norton Anthology) Harris, Symphony no. 3 (Canvas) Barber, Hermit songs, Op. 29, no. 8 "The monk and his cat" (Norton Anthology) 10/26 Mid-century American music (II): Cage and the New York school Burkholder, ; Reserve, Cage Cage, Sonatas and interludes, Sonata V (Norton Anthology) Cage, Aria (Canvas) 10/29 Darmstadt and total serialism Burkholder, Boulez, Le marteau sans maitre, no. 6 (Norton Anthology) 10/31 New sounds from traditional instruments: Crumb Burkholder, Crumb, Black Angels, images 4 and 5 (Norton Anthology) 11/2 Electronic music Burkholder, , ; Reserve, Russolo, Varèse, Babbitt Varèse, Poème electronique (Canvas) Babbitt, Philomel, section 1 (Norton Anthology) 11/5 Choice and chance Burkholder, Lutosławski, Jeux vénitiens, i (Canvas) Ligeti, Lux aeterna (Canvas) 11/7 Postmodernism (I): Pluralism and polystylism Burkholder, , ; Reserve, Rochberg Rochberg, Nach Bach, Fantasy for harpsichord or piano (Canvas) Schnittke, Concerto grosso no. 1, ii (Norton Anthology) 11/9 Postmodernism (II): Neo-romanticism and other "accessible" approaches Burkholder, , Zwilich, Symphony no. 1, i (Norton Anthology) Pärt, Seven Magnificat antiphons, nos. 1 and 6 (Norton Anthology) 4

5 11/12 Minimalism and postminimalism: Postmodernism (III)? Burkholder, ; Reserve, Reich Reich, Tehilim, part iv (Norton Anthology) Adams, Short ride in a fast machine (Norton Anthology) 11/14 The origins of Jazz: Ragtime and the Blues Burkholder, , Joplin, Maple Leaf rag (Norton Anthology) Robert Johnson, Cross road blues (Canvas) Bessie Smith, Back water blues (Norton Anthology) 11/16 Midterm 2 11/19 New Orleans and the coalesce of Jazz Burkholder, Jelly Roll Morton, Maple Leaf rag (Norton Anthology) Original Dixieland Jazz Band, Livery stable blues (no score available) Spike's Seven Pods of Pepper Orchestra [i.e., Kid Ory's Creole Orchestra], Ory's Creole trombone (Canvas) 11/21, 11/26 The Jazz age Burkholder, King Oliver's Creole Jazz Band, Dippermouth blues (Canvas) Paul Whiteman and His Orchestra, Felix the cat (no score available) Fletcher Henderson Orchestra, Sugar foot stomp [1925] (no score available) Louis Armstrong and His Hot Five, West End blues (Norton Anthology) 11/23 Thanksgiving break. No class. 11/28 Swing as America's popular music Burkholder, Fletcher Henderson Orchestra, New King Porter stomp [1932] (Canvas?) Benny Goodman and His Orchestra, King Porter stomp (Canvas?) Duke Ellington and His Famous Orchestra, Cotton tail (Norton Anthology) Paper due 11/30 Bop and related styles Burkholder, Gershwin, I got rhythm (Norton Anthology) Charlie Parker, Dizzy Gillespie, Bud Powell, et al., Anthropology [1951] (Norton Anthology) Thelonius Monk Quartet with John Coltrane, Blue Monk [1957] (Canvas) 12/3 After Bop: a multiplicity of Jazz styles Miles Davis Sextet, So what [1959] (Canvas) Ornette Coleman, Lonely Woman [1959] (Canvas) Anthony Braxton, Piece Three [1976] (no score available) 5

6 12/5 Jazz fusion The Quintet [i.e., Charlie Parker, Dizzy Gillespie, Bud Powell, et al], A night in Tunisia [1953] (Canvas) Jimmy Smith with Kenny Burrell and Grady Tate, The organ grinder's swing [1965] (no score available) Miles Davis, Bitches Brew, excerpt [1969] (no score available) 12/5 Reading day. No class. 12/11 Final exam, 8:00-10:00 am 6

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