Music 6670 & 7670 Symphonic Literature Tuesdays 4:35-7:05, DGH 302 Instructor: Bettie Jo Basinger, Ph.D. Email: bettiejo.basinger@utah.edu Office hours: MWF 9:30-10:30 am or by appointment, DGH 432 Course description and objectives: This course provides an historical, stylistic, and analytical survey of the core performing repertoire composed for orchestral instrumental ensembles, with the musical canon treated as an autonomous art form and as a cultural phenomenon both at the time of composition and in present day. Lectures, class discussions, and assigned readings examine (1) specific composers, their symphonic output, and aspects of their orchestration; (2) historically-informed performing practice; (3) issues of authenticity, revision, and arrangement; (4) contemporary theoretical and aesthetic philosophies; and (5) narrative, hermeneutic, and programmatic interpretations. Students will also compare and evaluate different editions and performances of the same work. Representative compositions include symphonies, symphonic poems, concerti, and suites of the major orchestral composers of the 18th, 19th, and 20th centuries; the 19th century receives the greatest emphasis, however, since the works of this era continue to inform the programming and instrumentation of 21st-century symphonic groups. Texts and recordings: On-line resources (1) The course syllabus and calendar appear in Canvas (https://utah.instructure.com). (2) Recordings of all works are available through the course pages on Canvas (3) Purchasing the scores needed for this class proves cost prohibitive. However, you may find a good number of the works may at The International Music Score Library Project's Petrucci Library (http://imslp.org/) (4) The course pages on Canvas have digital copies of some scores not available in The International Music Score Library Project's Petrucci Library Other reserve materials (1) The reserve desk at the McKay Music Library has hard copies of most scores not available in The International Music Score Library Project's Petrucci Library (2) Weekly reading assignments come from a variety of monographs and essay collections (that will also help in the preparation of presentations and term papers) available at the McKay Music Library desk (a) Bonds, Mark Evans. After Beethoven: imperatives of originality in the symphony. Cambridge, MA: Harvard University Press, 1996. (b) Brown, A. Peter. The Symphonic Repertoire, v. 2 The first golden age of the Viennese symphony and v. 4, The second golden age of the Viennese symphony. Bloomington, Ind.: Indiana University Press, 2002-. (c) Butterworth, Neil. The American symphony. Aldershot: Ashgate, 1998.
(d) Cuyler, Louise. The Symphony. 2 nd ed. Warren, Mich.: Harmonie Park Press, 1995. (e) Holoman, D. Kern, ed. The nineteenth-century symphony. New York: Schirmer Books, 1997. (f) Koury, Daniel J. Orchestral performance practices in the nineteenth century: size proportions, and seating. Studies in Musicology no. 85. Ann Arbor, Mich: UMI Research Press, 1986. (g) Kregor, Jonathan. Program music. Cambridge Introductions to Music. Cambridge: Cambridge University Press, 2015. (h) Layton, Robert. A guide to the symphony. Oxford: Oxford University Press, 1995. (i) Peyser, Joan, ed. The orchestra: origins and transformations. New York: Charles Scribner s Sons, 1986. (j) Spitzer, John and Neal Zaslaw. The birth of the orchestra: history of an institution, 1650-1815. Oxford; New York, 2004. (k) Stedman, Preston. The Symphony. 2 nd ed. Upper Saddle River, NJ: 1992. Requirements: Participation 20% Presentations 20% Midterm (Tuesday, October 16) 15% Research paper (due Tuesday, December 4) ` 30% Final exam (Tuesday, December 11, 6-8 pm) 15% Participation in class discussions is compulsory; students must therefore complete all reading and repertoire assignments prior to course meetings. In addition to regular participation, on multiple occasions students will introduce a composer's style and representative work (as well as any associated concepts, techniques, genres. Course enrollment will determine the number of required presentations, as well as the length of each. Normally, the content of a presentation will consist of summary a specific work's shape (in terms of movement numbers and forms); orchestration; how it represents the composer's style and oeuvre; the work's reputation; issues relating to orchestral performance, conducting and/or composition; etc. Research for these presentations should involve consultation of standard sources of high academic quality. Books, journal articles, essays in collections, dissertations, etc. all constitute appropriate sources; you should not consult Wikipedia and most other online sites that do not prompt you for a login. Students will design their own research papers, though ideally topics will develop out though not merely rehash of one of their presentations. No restrictions exist on either methodology or repertoire as long as the topic interacts with the symphony orchestra to a large extent. This flexibility will allow the individual student to develop something appropriate for his or her course of study and professional aims. Both the midterm and final exam will emphasize aural identification. Students 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. Additionally, these tests will gauge knowledge of individual composers, their orchestral output, stylistic traits and their contributions to the larger repertoire of symphonic music.
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, 581-5020 (V/TDD). CDS will work with you and the instructor to arrange for 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 www.admin.utah.edu/facdev/accommodationspolicy.pdf. Course Calendar 8/21 Orchestras and orchestral music in the eighteenth century (1) Weaver, Robert L. The consolidation of the main elements of the orchestra: 1470-1768. In The orchestra: origins and transformations, edited by Joan Peyser, 1-35. New York: Charles Scribner s Sons, 1986. [McKay] (2) Koury, Daniel J. Conducting in the eighteenth century. In Orchestral performance practices in the nineteenth century: size proportions, and seating, 51-57. Studies in Musicology no. 85. Ann Arbor, Mich: UMI Research Press, 1986. [McKay] (1) Albinoni, Ripieno concerto in B-flat major, Op. 2, concerto 3 [Canvas] (2) C.P.E. Bach, Sinfonia in F major, Wq.175/H650 [Canvas] (3) Gossec, Symphony in E-flat major, Op. 12, no. 5 [Canvas] (4) G. B. Sammartini, Symphony in C major, JC 7 [Canvas] (5) A. Scarlatti, Griselda, sinfonia [Canvas] (6) J. Stamitz, Symphony in E-flat major, Op. 4, no. 4 [Canvas] 8/28 Haydn and Mozart (1) Cuyler, Louise. The earlier Viennese period: The symphonies of Haydn and Mozart. In The Symphony, 16-47. 2nd ed. Warren, Mich.: Harmonie Park Press, 1995. [McKay] (2) Stauffer, George B. The modern orchestra: a creation of the late eighteenth century. In The orchestra: origins and transformations, edited by Joan Peyser, 37-68. New York: Charles Scribner s Sons, 1986. [McKay] Repertoire (1) Haydn, Symphony no. 83 in G minor, Hob. I: 83 ( La poule ) [imslp] (2) Mozart, Symphony no. 41 in C major, K. 551 ( Jupiter ) [imslp] 3
9/4 Beethoven (1) Bonds, Mark Evans. The voice of tradition and the voice from within: the crisis of the symphony after Beethoven. In After Beethoven: imperatives of originality in the symphony, 9-27. Cambridge, MA: Harvard University Press, 1996. [McKay] (2) Brown, A. Peter. Haydn, Mozart, Beethoven and Schubert: Orchestras and concerts. In The Symphonic Repertoire Volume 2 "The First Golden Age of the Viennese Symphony: Haydn, Mozart, Beethoven, and Schubert," 1-22. Bloomington & Indianapolis: Indiana University Press, 2002. [McKay] (3) Osborne, Richard. Beethoven. In A guide to the symphony, edited by Robert Layton, 80-106. Oxford: Oxford University Press, 1995. [McKay] Beethoven, Symphony no. 9 in D minor, Op. 125 ( Choral ) [imslp] 9/11 Schubert, Schumann, and Mendelssohn (1) Cuyler, Louise. A time of temporizing: Mendelssohn and Schumann. In The Symphony, 93-103. 2nd ed. Warren, Mich.: Harmonie Park Press, 1995. [McKay] (2) Koury, Daniel J. Conducting as a métier. In Orchestral performance practices in the nineteenth century: size proportions, and seating, 61-83. Studies in Musicology 85. Ann Arbor, Mich: UMI Research Press, 1986. [McKay] (3) Newbould, Brian. "Schubert." In The nineteenth-century symphony, edited by D. Kern Holoman, 1-16. New York: Schirmer Books, 1997. [McKay] (1) Schubert, Symphony no. 8 in B minor, D. 759 [imslp] (2) Schumann, Symphony no. 4 in D minor, Op. 120 [imslp] 9/18 The programmatic repertoire of the New German School: Berlioz and Liszt (1) Holoman, D. Kern. "Berlioz." In The nineteenth-century symphony, edited by D. Kern Holoman, 108-141. New York: Schirmer Books, 1997. [McKay] (2) Kregor, Jonathan. "Liszt and the symphonic poem." In Program music, 99-127. Cambridge Introductions to Music. Cambridge: Cambridge University Press, 2015. [McKay] (1) Berlioz, Harold en Italie, Op. 16 [imslp] (2) Liszt, Die Ideale, S. 106 [imslp] 4
9/25 The symphony from the 1860s through the '90s (I): Brahms and Bruckner (1) Brodbeck, David. "Brahms." In The nineteenth-century symphony, edited by D. Kern Holoman, 224-272. New York: Schirmer Books, 1997. [McKay] (2) Parkany, J. Stephen. "Bruckner." In The nineteenth-century symphony, edited by D. Kern Holoman, 195-223. New York: Schirmer Books, 1997. [McKay] (1) Brahms, Symphony no. 1 in C minor, Op. 68 [imslp] (2) Bruckner, Symphony no. 8 in C minor, i, original version [imslp see link in Canvas] (3) Bruckner, Symphony no. 8 in C minor, i, 2nd version [imslp see link in Canvas] 10/2 The symphony from the 1860s through the '90s (II): Tchaikovsky and Dvorák (1) Beckerman, Michael. "Dvorák." In The nineteenth-century symphony, edited by D. Kern Holoman, 273-298. New York: Schirmer Books, 1997. [McKay] (2) Kraus, Joseph C. "Tchaikovsky." In The nineteenth-century symphony, edited by D. Kern Holoman, 299-326. New York: Schirmer Books, 1997. [McKay] (1) Dvorák, Cello concerto in B minor, Op. 104 [imslp] (2) Tchaikovsky, Symphony no. 6 in B minor, Op. 74 "Pathétique" [imslp] 10/9 Fall Break no class 10/16 Midterm 10/23 National schools in the 19th century (1) Kregor, Jonathan. "Ars Gallica." In Program music, 253-280. Cambridge Introductions to Music. Cambridge: Cambridge University Press, 2015. [McKay] (2) Kregor, Jonathan. "The new Russian school." In Chapter 5 "The New German School and beyond" of Program music, 152-160. Cambridge Introductions to Music. Cambridge: Cambridge University Press, 2015. [McKay] (3) Kregor, Jonathan. "Programming the nation." In Program music, 227-252. Cambridge Introductions to Music. Cambridge: Cambridge University Press, 2015. [McKay] (1) Smetana, Má vlast [imslp] (2) Rimsky-Korsakov, Scheherazade, Op. 35 [imslp] 5
10/30 Mahler and Strauss (1) Gilliam, Bryan. "Richard Strauss." In A guide to the symphony, edited by Robert Layton, 345-368. Oxford: Oxford University Press, 1995. [McKay] (2) Johnson, Stephen. Mahler. In A guide to the symphony, edited by Robert Layton, 173-222. Oxford: Oxford University Press, 1995. [McKay] (3) Kregor, Jonathan. "Programmatic paths around the fin de siècle: Mahler and Strauss." In Program music, 253-280. Cambridge Introductions to Music. Cambridge: Cambridge University Press, 2015. [McKay] (1) Mahler, Symphony no. 3 [imslp] (2) R. Strauss, Also sprach Zarathustra, Op. 30 [imslp] 11/6 Symphonic music in the post-romantic era (1) Fanning, David. Nielsen. In A guide to the symphony, edited by Robert Layton, 351-362. Oxford: Oxford University Press, 1995. [McKay] (2) Hepokoski, James. "Sibelius." In The nineteenth-century symphony, edited by D. Kern Holoman, 417-450. New York: Schirmer Books, 1997. [McKay] (3) Layton, Robert. The symphony in Scandanavia." In A guide to the symphony, edited by Robert Layton, 327-334. Oxford: Oxford University Press, 1995. [McKay] (1) Nielsen, Symphony no. 5, Op. 50 [imslp] (2) Sibelius, Symphony no. 5 in E-flat major, Op. 82 [imslp] 11/13 French orchestral music in 20th century (1) Cuyler, Louise. France. In Chapter 10 "The Symphony in the twentieth century" of The Symphony, 202-203. 2nd ed. Warren, Mich.: Harmonie Park Press, 1995. [McKay] (2) Hart, Brian. "The symphony in Debussy's world: A context for his views of the genre and early interpretations of La Mer." In Debussy ad his world, edited by Jane F. Fulcher,181-201. Princeton: Princeton University Press, 2001. (3) Russ, Michael. "Ravel and the orchestra." In The Cambridge companion to Ravel, edited by Deborah Mawer, 118-139. Cambridge companions to music. Cambridge: Cambridge University Press, 2000. (1) Debussy, La mer [imslp] (2) Ravel, Daphnis et Chloé [imslp] 6
11/20 Russian composers in the 20th century (1) Fanning, David. The symphony in the Soviet Union." In A guide to the symphony, edited by Robert Layton, 292-326. Oxford: Oxford University Press, 1995. [McKay] (2) Stedman, Preston. Music in Russia," "Sergei Prokofiev (1891-1953)," "Dmitri Shostakovich (1906-1975)," and "Igor Stravinsky (1882-1971). In Chapter 6 "The symphony in the twentieth century" of The Symphony, 286-324. 2nd ed. Upper Saddle River, NJ: 1992. (1) Prokofiev, Symphony no. 5 in B-flat major, Op. 100 [imslp] (1) Shostakovich, Symphony no. 10 in E minor, Op. 93 [Canvas] 11/27 The 20th century in Britain and Central Europe (1) Johnson, Stephen. "After Mahler: The Central European symphony in the twentieth century." In A guide to the symphony, edited by Robert Layton, 382-401. Oxford: Oxford University Press, 1995. [McKay] (2) Layton, Robert. The symphony in Britain." In A guide to the symphony, edited by Robert Layton, 425-451. Oxford: Oxford University Press, 1995. [McKay] (1) Elgar, Variations on an original theme, Op. 36 ( Enigma ) [imslp] (2) Webern, Symphony, Op. 21 [imslp] 12/4 The 20th century in the United States Papers due (1) Carnarina, John. The American symphony. In A guide to the symphony, edited by Robert Layton, 402-424. Oxford: Oxford University Press, 1995. [McKay] (2) Stedman, Preston. The twentieth-century symphony in America." In The Symphony, 329-428. 2nd ed. Upper Saddle River, NJ: 1992. [McKay] (1) Hanson, Symphony no. 2, Op. 30 Romantic [McKay] (2) Harris, Symphony no. 3 [McKay] 12/11 Final exam, 6-8 pm 7