MUS 300: Beethoven and the Romantic Age Fall 2016 Rider University

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1 MUS 300: Beethoven and the Romantic Age Fall 2016 Rider University Portrait of Ludwig van Beethoven by Joseph Willibrord Mähler,

2 2 Ireri E. Chávez-Bárcenas Class times: Thursdays 6:30-9:30pm Office and hours: Fine Arts 123, Thursdays 4-6 (by appointment) ichavezbarc@rider.edu (see policy) Course Description: This course provides an introduction to the music, life and influence of Beethoven on the history of western music. Lectures will focus broadly on the ideas that led to a new periodization of music history traced from the late eighteenth century (more particularly with the later works of Haydn and Mozart) to the mid-nineteenth century. The main objective is to broaden students familiarity with Beethoven s work and to recognize and analyze the principal styles, forms and genres used during in period. Special analytical importance will be given to particular works each week. Students will also become familiar with research tools and methods that are useful for the study of music history, particularly with printed, recorded and video collections, as well other electronic resources available in the Moore and Talbott Libraries. Other online resources will be posted in the companion website of the course. This course is also designed to improve academic writing skills through reading, thinking, writing, revising and discussing. Course Requirements and Grading: Attend all classes (except for medical or approved reasons by RU) Complete all the reading and listening assignments Individual and/or Group Presentations (based on reading and listening assignments): 15% In-class assignments and participation: 10% Listening Quiz 1: 10%. Thursday, Oct. 13 Listening Quiz 2: 10%. Thursday, Nov. 3 Listening Quiz 3. 10% Thursday, Dec. 8 Middle Term Paper (3-5 pages): 15%. Due Thursday, Oct. 27. Final Paper (6-9 pages): 20%. Due Thursday, Dec. 15 Concert attendance and/or report (two required): 10% Class Preparation and Participation: Students must attend all classes and contribute actively to class discussions. Complete all the listening and reading assignments in advance of the day in which they are listed. Discussions will be based on the assigned readings and will assume a growing familiarity with a variety of Beethoven s compositions. Please note, written work should always be submitted on canvas the day that it is due, in 12 point Times New Roman font, double spaced, with your name on the front and numbered pages.

3 3 Concerts: Students must attend to two Beethoven concerts as part of the course. The first one features Lang Lang and the NY Philharmonic performing Beethoven s Piano Concert No. 4 ( October 6 at 7:30pm ). The second is at the Richardson Auditorium in Princeton with the Takàcs String Quartet ( November 17 at 7:00pm for pre-concert Lecture). There is a third optional concert by the Takàcs String Quartet ( November 15 at 8:00pm with post-concert talk). Please note that there are no required textbooks to purchase for this course. All required readings and listening and video materials will be made available either on class or on Canvas. This decision was made in consideration of the cost of the concert in NYC. Please contact me as soon as possible if you cannot attend to any of the two mandatory concerts. Concerts Information: Thursday, October 6: Lang Lang and the New York Philharmonic, David Geffen Hall in NYC, 7:30pm mandatory Tuesday, November 15: Takács String Quartet, Richardson Auditorium in Alexander Hall, Princeton, 8:00pm optional Thursday, November 17: Takács String Quartet, Richardson Auditorium in Alexander Hall, Princeton, 7:00pm/Pre-concert Lecture by Scott Burnham mandatory Schedule: WEEK 1. September 8: Beethoven s Myths and the Romantic Period MUS 300 Resources Librarian Heather Dalal Sources and Databases WEEK 2. September 15: The Three Periods Terms and Concepts : Principles of Sonata Form; The Enlightenment and the Classical Style Grove Music Online, 11 ( The Three periods ); 18 ( Personal Characteristics ); 19 ( Posthumous influence and reception /i, ii and iii). Stanley, Glenn. Some Thoughts on Biography and a Chronology of Beethoven s Life and Music. In The Cambridge Companion to Beethoven, edited by Glenn Stanley, 1 13: Cambridge University Press, Charles Rosen, Sonata Form, 1-7 ( Introduction ). Lockwood, Beethoven, ( Life and Works ). OPTIONAL. Kerman, Listen, (Chapter 11: Prelude. Music and the Enlightenment ). WEEK 3. September: Early Vienna Style and the C minor mood Terms and Concepts : Slow movements and Haydn s (Classical) aesthetics

4 4 Grove Music Online, 13 (Music of the early Vienna period). Lockwood. Beethoven, ( The First Years in Vienna ). Sisman, Elaine. The Spirit of Mozart from Haydn s Hands : Beethoven s Musical Inheritance. In The Cambridge Companion to Beethoven, Charles Rosen, Sonata Form, 8-15 ( Social Function ) OPTIONAL Taruskin, MSEC, ( 13: C-minor Moods/Devotion and Derision; Transgression) OPTIONAL Stanley, Glenn. Beethoven at Work: Musical Activist and Thinker. In The Cambridge Companion to Beethoven, Piano sonata Op. 2, No. 1 o I. Allegro o IV. Prestissimo; Piano sonata Op. 2, No. 2 o I. Allegro vivace Piano trio Op. 1, No. 3 o I. Allegro con brio o IV. Finale (Prestissimo) WEEK 4. September 29: Deafness Crisis and a New Path Terms and Concepts : Innovations to the Classical Sonata Form Lockwood. Beethoven, ( Years of Crisis ) Sisman, Elaine. Pathos and the Pathétique: Rhetorical Stance in Beethoven s C-Minor Sonata, Op. 13, Beethoven Forum 3 (Lincoln: University of Nebraska Press, 1994), Piano Sonata No. 8 in C minor, Op. 13, Pathétique (complete) 1st. Group Assignment: Op. 10 Nos. 1-3 (first movement) WEEK 5. October 6: Concert in NYC Lockwood. Beethoven, ( The First Maturity ). Optional Readings: Lockwood. Beethoven, (The Fourth Piano Concerto) Jander, Owen. Beethoven s Orpheus in Hades : The Andante Con Moto of the Fourth Piano Concerto. 19th-Century Music 8, no. 3 (1985): Cone, Edward T. Beethoven s Orpheus--Or Jander s? 19th-Century Music 8, no. 3 (1985): Concert Information: Lang Lang and the New York Philharmonic, David Geffen Hall in NYC, 8:00pm

5 5 Program: Ligeti: Mysteries of the Macabre, for Trumpet and Orchestra; Beethoven: Piano Concerto No. 4; Bartók: Music for Strings, Percussion, and Celesta. WEEK 6: Beethoven Hero and the Symphonic ideal Terms and Concepts : The Symphony (movements, sonata form, minuet and scherzo) Grove Music Online, 14 ( The symphonic ideal ). Lockwood. Beethoven, ( 9: Beethoven in the New Age ). Weiss/Taruskin, Music in the Western World, ( The First Reaction to Beethoven s Eroica Symphony ). Burnham, Scott. Criticism, Faith, and the Idee : A. B. Marx s Early Reception of Beethoven. 19th-Century Music 13, no. 3 (1990): OPTIONAL: Taruskin, MSEC, ( 13: C-minor Moods/Germination and Growth 71-87) Symphony No. 3, Eroica (complete, use as a guide Kerman, Listen, ) WEEK 7. October 13: The French Revolution and the Revolutionary Hero Terms and Concepts : Opera, aria, recitative. Tusa, Michael C. Beethoven s Essay in Opera: Historical, Text-Critical, and Interpretative Issues in Fidelio. In The Cambridge Companion to Beethoven, Robinson, Paul. Fidelio and the French Revolution. Cambridge Opera Journal 3, no. 1 (1991): OPTIONAL Lockwood. Beethoven, Florestan, and the Varieties of Heroism, in Beethoven and His World, Watch: Fidelio Act 1 WEEK 8. October 27: The Psychoanalytical Approach - Paper Due - Midterm Solomon, Maynard. Thoughts on Biography. 19th-Century Music 5, no. 3 (1982): Solomon, Beethoven, 163, ( The Immortal Beloved ; skim-read section The solution of the riddle ). Lockwood, Lewis. Film Biography as Travesty: Immortal Beloved and Beethoven. The Musical Quarterly 81, no. 2 (1997): (JSTOR) An die ferne Gelibte (listen complete with booklet for text and translation) WEEK 9. November 3: Listening Quiz II Defining the Romantic Sublime

6 6 WEEK 10. November 10: Second Wave of Revolutionary Novelties Terms and Concepts: Fugue and counterpoint; Rondo form. Lockwood, Beethoven, ( Beethoven at the Keyboard ). Kaplan, Mark. Beethoven s Chamber Music with Piano: Seeking Unity in Mixed Sonorities. In The Cambridge Companion to Beethoven, Listen : Piano Sonata Op. 53 Waldstein (complete) Piano Trio Op. 70, No. 1 Ghost (complete) WEEK 11. Thursday, November 17. CONCERTS in Princeton MANDATORY Takács String Quartet, Richardson Auditorium in Alexander Hall, 8:00pm. Pre-concert event talk by Professor Scott Burnham at 7:00pm. String Quartet No. 1 in F Major, Op. 18, No. 1 String Quartet No. 10 in E-flat Major, Op. 74 Harp String Quartet No. 14 in C-sharp Minor, Op. 131 OPTIONAL Tuesday, November 15 CONCERT in Princeton Takács String Quartet, Richardson Auditorium in Alexander Hall, 8:00pm. String Quartet No. 2 in G Major, Op. 18, No. 2 String Quartet No. 11 in F Minor, Op. 95, Serioso String Quartet No. 13 in B-flat Major, Op. 130 with Finale Concert information: The Complete Cycle of Beethoven String Quartets WEEK 12. THANKSGIVING BREAK WEEK 13. December 1: Late Period 1 Grove Music Online, 16 (Late-period style); 17 (Late-period works). Lockwood, Beethoven, ; Kerman, Joseph. Beethoven s Opus 131 and the Uncanny. 19th-Century Music 25, no. 2-3 (2001): (JSTOR) Glauert, Amanda. The Double Perspective in Beethoven s Opus th-Century Music 4, no. 2 (1980): (JSTOR) OPTIONAL: Daverio, John. Manner, Tone, and Tendency in Beethoven s Chamber Music for Strings. In The Cambridge Companion to Beethoven, Piano sonata Op. 106, Hammerklavier (complete) WEEK 14. December 8: Late Period 2 Lockwood, Beethoven,

7 7 Weiss/Taruskin, Music in the Western World, ( The First Performance of Beethoven s Ninth Symphony ). Readings TBD: Sisman, Memory and Invention at the Threshold of Beethoven s Late Style, in Beethoven and His World, Kinderman, William. Beethoven s Symbol for the Deity in the Missa Solemnis and the Ninth Symphony. 19th-Century Music 9, no. 2 (1985): Sanders, Ernest H. The Sonata-Form Finale of Beethoven s Ninth Symphony. 19th-Century Music 22, no. 1 (1998): Solomon, Maynard. Beethoven s Ninth Symphony: A Search for Order. 19th-Century Music 10, no. 1 (1986): Frogley, Alain. Beethoven s Music in Performance: Historical Perspectives. In The Cambridge Companion to Beethoven, Dennis, David B. Beethoven at Large: Reception in Literature, the Arts, Philosophy, and Politics. In The Cambridge Companion to Beethoven, Burnham, Scott. The Four Ages of Beethoven: Critical Reception and the Canonic Composer. In The Cambridge Companion to Beethoven, Symphony, No. 9 (complete) Selected Bibliography: Burnham, Scott. Beethoven Hero. Princeton: Princeton University Press, Burnham, Scott and Michael P. Steinberg (eds.). Beethoven and His World. Princeton: Princeton University Press, Glauert, Amanda. The Double Perspective in Beethoven s Opus th-Century Music 4, no. 2 (1980): Kerman, Joseph. Beethoven s Opus 131 and the Uncanny. 19th-Century Music 25, no. 2-3 (2001): Kerman, Joseph et al. Beethoven, Ludwig van. Grove Music Online. Oxford Music Online. Oxford University Press, accessed August 30, Lockwood, Lewis. Beethoven: The Music and the Life. 1 st ed. New York, London: W. W. Norton, [See ] ---. Film Biography as Travesty: Immortal Beloved and Beethoven. The Musical Quarterly 81, no. 2 (1997): Sisman, Elaine. Pathos and the Pathétique: Rhetorical Stance in Beethoven s C-Minor Sonata, Op. 13, Beethoven Forum 3 (Lincoln: University of Nebraska Press, 1994), Solomon, Maynard. Beethoven. 2 nd edition. New York: Schirmer Books, Stanley, G. (ed.) The Cambridge Companion to Beethoven. Cambridge: Cambridge University Press, [ Online Publication 2011 ]. Suggested Music History Textbooks:

8 8 Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music, 8 th edition. New York: W. W. Norton and Company, Burkholder, J. Peter and Claude V. Palisca, eds. Norton Anthology of Western Music, 5 th edition. New York: W. W. Norton and Company, Kerman, Joseph, and Gary Tomlinson. Listen. Brief Fourth Edition. Boston and New York: Bedford and St. Martin s, Taruskin, Richard. Oxford History of Western Music: Volume 2 Music in the Seventeenth and Eighteenth Centuries. New York: Oxford University Press, Repertoire List for Listening Quizzes: Symphonies 3, 5, 9 Piano Concerto No. 4 Fidelio (excerpts) Missa Solemnis Piano trio Op. 1, No. 3 Piano Sonatas Op. 2, No. 1; Op. 2; Op. 10, No. 1; Op. 13, Op 53; Op. 57; Op. 101; Op. 106 String Quartets Op. 18, No. 1; Op. 130; Op An die Ferne Geliebte, Op. 98 Online texts: Beethoven, in Grove Music Online (oxfordmusiconline.com) The Cambridge Companion to Beethoven (Cambridge.org) 19th-Century Music and The Musical Quarterly (JSTOR) Scores: Available on Petrucci Library website: Companion Website of MUS300: Reserve Materials, Library: Burnham, Scott and Steinberg, M.P. eds., Beethoven and His World (Princeton, 2000) Burnham, Scott, Beethoven Hero (Princeton, 1995) Kerman, Joseph, The Beethoven Quartets (Norton, 1966) Kerman, Joseph, and Gary Tomlinson. Listen (4 th ed. 1999) Lockwood, Lewis, Beethoven: The Music and the Life (Norton, 2003) Solomon, Maynard, Beethoven (2 nd ed., Schirmer, 1998) Rosen, Sonata Forms (Norton, 1980) Recordings (Canvas/Pages): Complete Piano Sonatas Complete Piano Concertos Complete Symphonies Complete Cello Sonatas

9 9 Complete Violin Sonatas Complete Piano Trios Complete String Quartets Violin Concerto An die ferne Geliebte, Op. 98 Fidelio (video) Missa Solemnis Attendance Policy: This class will excuse one absence. Although this absence is permitted, it is hoped that students will not need to take it. After the allowed absence each additional absence will lower one grade the final grade for the course. The only exception to this rule is a religious observation, major circumstance, or justified medical excuse, which must be brought to the instructor s attention in advance. etiquette policy: Use Rider as Official Communication. I do my best to answer s received during weekdays within 24hrs. Please send important questions about examinations or assignments well before the due date. Before you send me an , please make every attempt to write it in a somewhat formal style, with attention to structure, grammar and spelling. Also, as a general guideline, use a properly descriptive subject line, start the body with a proper greeting, compose your in paragraph form, and finish with a proper closing. Please refrain from using the types of txt-spk like idk or lol. Use this guide if you have doubts. Digital etiquette policy: Attention, Students: Put Your Laptops Away. Best way to take notes in class is not on your laptop. For this course I strongly recommend to take notes by hand and to bring reading materials printed. Laptops and tablets should be turned off unless otherwise instructed. Also, please put away mobile devices and other electronic distractions. You are allowed to use tech devices for individual and group presentations. Students with Disabilities: If you have a disability and believe you will need academic accommodations in this course, please make an appointment for an Intake Interview with Services for Students with Disabilities in the Vona Academic Annex, Room 8. The phone number is (609) and the is serv4dstu@rider.edu. They will ask for documentation of your disability to support your accommodation requests and to recommend services as appropriate to your individual situation. Academic Integrity: The Student Handbook of Rider University establishes that: Academic honesty constitutes the cornerstone of the academic community. Learning, teaching and

10 scholarship cannot be conducted in an atmosphere of dishonesty. Therefore, I expect you to uphold the highest standards of academic integrity. Cases of academic dishonesty may result in a failing grade in the assignment in question, exam, or in the entire course. Please read the Code of Academic Integrity. 10

History of Music II: Late Baroque and Classical MUS 133b, Spring 2016 Tuesday/Friday 11:00 a.m. to 12:20 p.m. Slosberg 212

Brandeis University Instructor: Minji Kim, Ph.D. Music Department Office: Slosberg 225 mkim@brandeis.edu TF: Charles Stratford chs@brandeis.edu Office Hours: By appointment History of Music II: Late Baroque