Spring 2012 Syllabus for Music 15B Unplugged Dr. William E. Doyle, wdoyle@elcamino.edu No Cell Phones No Texting No Internet No Kidding! Office hours M, 6-8 pm, T/TH 7-7:30, 9-9:30 am, W 12:30-2 pm. Website: www.artmusichistory.com Required Texts: Concise History of Western Music, B. Hanning, 3 rd edition, Ch. 14 end. Outline History of Western Music, 9 th ed., by Milo Wold. Pages 112 234. Both of these books are on RESERVE in the Music Library. Weekly Readings from your Textbooks see List starting on Page 5 of Syllabus. Course DVD - Required Readings: in your 15B Packet, see List on Page 4 of Syllabus. Course DVD - Required Music: 169 tracks all of the musical works this semester. Genre 1, ART SONG and Genre 2, SYMPHONY Week 1 - Class 1 & 2 Overview, Art Song 1 Course Overview - Syllabus, grading, etc. and The Symphony -- a brief history of... Schubert - *Gretchen, *Trout, *Erlking, *Mein, *Frozen Tears, * Der Leiermann. Week 2 - Class 3 Art Song 2/Intro. to Symph. Schubert - Atlas. Schumann - Frauen-liebe und Leben, *I. Debussy - *Flute of Pan. Schoenberg - Pierrot Lunaire, Moondrunk and Colombine. Introduction to the Symphony. Class 4 Symphony 1 Forms: Sonata-allegro form, rondo, theme and variations, minuet/scherzo. Haydn - Symphony No. 29; *I., II., III., and IV. Haydn - Surprise No. 94 (II.) and Symphony No.104, London (IV.). Week 3 - Class 5 Symphony 2 Mozart - Paris No. 31 (I. and III.), 40 (*I.), and 41 (IV.). Beethoven No. 3 Eroica (*II. and *III.). Class 6 Symphony 3 Beethoven No. 5 - (*I.), No. 7 (IV.) and No. 9 (*IV.). Brahms No. 1 - (I.) and 2 (III.). Schubert No. 8 - Unfinished. (I.). Week 4 - Class 7 Symphony 4 Mendelssohn - Italian, No. 4, (*IV.). Dvorak - New World, No. 9, (II.). Mahler - No. 5 (*I.). Prokofiev - No. 1, Classical (I., *III.) Class 8 Symphony 5 Shostakovich - No. 5 (IV.) and No. 10 (II.). Britten - Simple Symphony (I., II., and IV.). Ives - Symphony of Holidays (I. Washington s Birthday, edit - the last 4:07 of the movement) Copland - No. 3 (*IV.).
Week 5 - Class 9 EXAM #1 Exam #1 -- The Art Song and Symphony Tuesday. Genre 3, CHORAL MUSIC and Genre 4, PIANO MUSIC Class 10 Choral Music 1 Mozart - Requiem Mass (*Confutatis, *Lacrimosa) Beethoven - Missa Solemnis (*Kyrie, Gloria) Week 6 - Class 11 Choral Music 2 Brahms - German Requiem (*I, *II, *V) Verdi - Manzoni Requiem (Requiem Aeterna, Dies Irae, Tuba mirum) Class 12 Choral Music 3 Stravinsky - Symphony of Psalms (I. Exaudi ) Britten - War Requiem (*Dies Irae, Bugles sang, Liber scriptus) Penderecki - St. Luke Passion (*Stabat Mater) Week 7 - Class 13 Piano Music 1 Mozart - Piano Sonata No. 4, K. 282, Eb maj., II.; *Piano Sonata 16, C maj., K. 545, III.; Piano Sonata No. 14, III., K. 457. LVB - *Pathétique, Op. 13, III. Rondo; Appassionata, Op. 57, I. Allegro; *Hammerklavier, Op. 106, II. Scherzo. Class 14 Piano Music 2 Liszt - *La Campanella, Transcendental Etude No. 10, Waldesrauschen, from 2 Concert Etudes Chopin - Mazurka in F minor, Op. 7, No. 3; Polonaise in A-flat major, Op. 53 *Etude No. 1, Aeolian Harp; Etude No. 12, Revolutionary (see Packet) Week 8 - Class 15 Piano Music 3 Impressionism Debussy - Pagodes, L Isle joyeuse, *Flaxen Hair, *Voiles Ravel - Alborada del gracioso Schoenberg - Suite for Piano, Op. 25, I. Präludium Cage - Sonatas and Interludes for Prepared Piano, First Interlude Class 16 EXAM #2 Exam #2 -- Choral Music and Keyboard Thursday. Spring Break Week of April 9. Genres 5 7, CHAMBER MUSIC, CONCERTO, and OPERA Week 9 - Class 17 Chamber Music 1 Haydn - String Quartet, Opus 3, No. 5 Serenade, 1761, II. Mozart Sonata for Violin and Piano No. 18, G major, K. 301, II. Allegro; Serenade for Winds in c minor, I.; Dissonant Quartet, *I.; Clarinet Quintet, K. 581, I. LVB - String Q. f minor, Op. 95 Serioso, I.; String Quartet No. 14, c# minor, Op. 131, *VII. 2
Class 18 Chamber Music 2 Schubert - Trout Quintet, IV. Bartok - String Quartet No. 4, *I., II., *IV. Schoenberg - Transfigured Night Stravinsky from L Histoire du Soldat, Soldier s March, the 3 Dances (Tango, Waltz, Ragtime), Chorale, Wedding, Devil s March Stravinsky - Octet, *I. and *III. Walton Façade (Fanfare/Hornpipe, Scotch Rhapsody) Ortiz, Gabriela Altar de Muertos (1997), IV. La Calaca Week 10 - Class 19 Concerto 1 Concerto - Sonata-allegro form for 1st movement in Packet. Haydn - Trumpet Concerto, *I. Mozart - Piano Concerto No. 23, *I. Beethoven Piano Concerto No. 3, Op. 37, I.; Violin Concerto in D, III. Schumann - Piano Concerto in A minor, I. Class 20 Concerto 2 Mendelssohn - Concerto in E Minor for Violin and Orchestra, Op. 64, I. Tchaikovsky - Violin Concerto in D major, *I.; Piano Concerto No. 1, I. Ravel - Piano Concerto in G major, *I. Stravinsky - Violin Concerto in D, IV. Week 11 - Class 21 Concerto 3 Berg - Violin Concerto (1935), I. Barber - Violin Concerto, Op. 14, I. Rodrigo - Concierto de Aranjuez, I., II. Schoenberg - Concerto for Piano and Orchestra, Op. 42, I. Andante Bartok - Concerto for Orchestra; *II., V. Class 22 Opera 1 Libretti, Packet pages 39 51. Opera origins. Don Giovanni, La Bohème Week 12 - Class 23 Opera 2 *Carmen, Tristan and Isolde, Ring Cycle Class 24 Opera 3 Salome, Wozzeck (*Act III), Nixon in China Week 13 - Class 25 EXAM #3 Exam #3 -- Chamber Music, Concerto and Opera. Class 26 Program 1 Genre 8, INCIDENTAL and PROGRAM -- Genre 9, NATIONALISM and BALLET Music Mendelssohn - Midsummer Night s Dream, *Overture and Wedding March Grieg - Peer Gynt Suite No. 1, Morning, Anitra s Dance, Hall of the Mountain King Berlioz - Symphonie Fantastique, IV. March to Scaffold, *V. Dream of a Witches Sabbath Week 14 - Class 27 Program 2 Mussorgsky - Pictures at an Exhibition (Promenade, Tuileries, Hut of Baba Yaga) Rimsky-Korsakov - Scheherazade (IV. Festival at Baghdad, Sea, Shipwreck, Conclusion) Strauss - *Also Sprach Zarathustra (opening FF); Don Quixote (Theme, Var. 2, Var. 7) 3
Class 28 Program 3 Debussy - Prelude to Afternoon of a Faun; The Nocturnes (*III. Sirénes) Respighi - Pines of Rome (Villa Borghese, Appian Way) Holst - The Planets (*Mars, *Jupiter) Week 15 - Class 29 Smetana - *Vltava (The Moldau) Gershwin - *Rhapsody in Blue Nationalism Sibelius - Finlandia Bernstein - Prelude, Fugue, and Riffs; West Side Story Class 30 Music for Ballet Tchaikovsky Nutcracker (Russian Dance, Waltz of the Flowers, March) Stravinsky Firebird (Infernal Dance, Berceuse), Petrouchka/Petrushka (Opening, Shrove-Tide Fair), *The Rite of Spring (Introduction, Harbingers of Spring, Mock Abduction) Copland *Billy the Kid (Open Prairie, Street on a Frontier Town), Rodeo (Buckaroo Holiday, Hoe-Down), *Appalachian Spring (complete) Week 16 - Class 31 EXAM #4 Exam #4 -- Incidental, Program, Nationalism, and Ballet. This is a tentative syllabus. If you miss a class, you are responsible for finding out any changes in the syllabus! You are responsible all of the information in each chapter/lecture even if it is not discussed in class. If you wish to drop the class, that is your responsibility! If you miss/late more than 3 times you may be dropped from the class. If you miss/late for more than 3 discussions, you will lose a letter grade. If you are late for class, it is your responsibility to let me know at the end of class, or you will be counted absent. Cell phones must be off and out of sight, or you will be asked to leave class. NOTE to the Music Majors: You should examine the scores (in my 2 volume anthology) to the works we will study each week. Try to learn at least 5 new pieces of music each week to increase your knowledge of the literature. This is very important! 2 Recommended Reserve texts in Music Library: - Writing about Music, by Richard Wingell, Prentice Hall Publishing. - Dr. Doyle s 2 vol. anthology examples marked with an * are in the anthology. Packet for Music 15B, Readings (on Course DVD): Art Song pages 4 11 Symphony pages 12 15, 53 54 Choral pages 16 26 Piano pages 28 29 Chamber pages 30 31 Concerto pages 32 38 Opera pages 39 51 Program pages 52 53 Concert Reviews pages 54 end of Packet. 4
Readings from the Barbara Hanning textbook, 3 rd edition Week 1 Schubert Ch. 17 pg. 412 Week 2 Schumann Ch. 17 pg. 429 Debussy Ch. 21 pg. 537 Haydn Ch. 14 pg. 331-334, and Ch. 15 pg. 341-347. Week 3 Mozart Ch. 15 pg. 354 Beethoven Ch. 16 pg. 374 Brahms Ch. 18 pg. 451 Schubert Ch. 17 pg. 415 Week 4 Mendelssohn Ch. 17 pg. 424 Dvorak Ch. 18 pg. 457 Mahler Ch. 20 pg. 495 Prokofiev Ch. 22 pg. 588 Shostakovich Ch. 22 pg. 589 Britten Ch. 24 pg. 633 Ives Ch. 23 pg. 601 Copland Ch. 23 pg. 610 Week 5 Mozart Ch. 15 pg. 372 Beethoven Ch. 16 pg. 393 Week 6 Brahms Ch. 19 pg. 490 Verdi Ch. 19 pg. 490 Stravinsky Ch. 22 pg. 566 Britten Ch. 24 pg. 633 Penderecki Ch. 24 pg. 644 Week 7 Mozart Ch. 15 pg. 357 Liszt Ch. 18 pg. 439 Chopin Ch. 17 pg. 432 Week 8 Debussy Ch. 21 pg. 537 Ravel Ch. 21 pg. 541 Schoenberg Ch. 21 pg. 547 Cage Ch. 24 pg. 647 Week 9 Haydn Ch. 15 pg. 342 Mozart Ch. 15 pg. 362 Beethoven Ch. 16 pg. 393 Schubert Ch. 17 pg. 412 Schoenberg Ch. 21 pg. 347 Stravinsky Ch. 22 pg. 566 5
Bartok Ch. 22 pg. 577 Berg Ch. 21 pg. 554 Week 10 Concerto Ch. 15 pg. 341 Mozart Ch. 15 pg. 355 Beethoven Ch. 16 pg. 374 Schumann Ch. 17 pg. 429 Mendelssohn Ch. 17 pg. 424 Tchaikovsky Ch. 18 pg. 453 Ravel Ch. 21 pg. 541 Week 11 Berg Ch. 21 pg. 554 Barber Ch. 24 pg. 634 Rodrigo Ch. 13 pg. 304 Schoenberg Ch. 21 pg. 547 Bartok Ch. 22 pg. 577 Don Giovanni Ch. 15 pg. 369 Week 12 Tristan, Ring Cycle Ch. 19 pg. 486 Adams Ch. 24 pg. 656 Week 13 Mendelssohn Ch. 17 pg. 424 Grieg Ch. 20 pg. 512 Berlioz Ch. 17 pg. 420 Mussorgsky Ch. 20 pg. 508 Week 14 Strauss Ch. 20 pg. 500 Debussy Ch. 21 pg. 539 Holst Ch. 21 pg. 543 Week 15 Tchaikovsky Ch. 18 pg. 453 Sibelius Ch. 21 pg. 544 Bernstein Ch. 23 pg. 616 Smetana Ch. 20 pg. 512 Gershwin Ch. 23 pg. 623 Tchaikovsky Ch. 18 pg. 454 Stravinsky Ch. 22 pg. 569 Copland Ch. 23 pg. 610 Be sure to read the ECC Course Catalog and the ECC Schedule of Classes for other important information and deadlines. This is YOUR responsibility - info. is also on the ECC website. Readings from the OHWM, by Milo Wold, 9 th edition Read pages 112 234. Check the Index for the Genres and Eras covered in each week. Study Groups and utilizing the Tutor in the Music Library are suggested! 6
Grading Policy Discussions are held at the beginning of each class! Please keep track of your points on this page. 1. Exams 1-4 (Terms/multiple choice, and listening.) 100 points each (400) Note: If you arrive more than 5 minutes late for an exam, you will not be allowed to take the exam. The exams will begin promptly at 7:45 AM and end at 8:45 AM. Note: If you arrive more than 5 minutes late for an exam, you will not be allowed to take the exam. The exams will begin promptly at 7:45 AM and end at 8:45 AM. There are usually 10 Listening (fill-in) and 25 General Knowledge Questions (scantron). For the Listening part of the exam, you will be able to use the Music Review Sheet. For Exam #1, you can use pages 31-32 of the Syllabus. For Exam #2, pages 29-30. Exam #3, pages 27-28. And for Exam #4, you can use pages 25-26. Only information or notes on the Musical Examples can be on these pages! You will need to identify the Composer and the Title of the piece. There will be 10 Listening per exam each question is worth 5 points, 3 for the title of the work and 2 for the composer. Spelling always counts! No Scantron = No Test. For the General Knowledge questions you will use Scantron #882. The 25 General Knowledge questions (multiple choice) are drawn from class lectures. Be sure to study the Lecture Reviews and the General Knowledge terms that are in this Syllabus. 2. *Three Concert Reviews Use the format in your 15B Packet of Handouts. Photocopies are acceptable. All reviews are due at the next session, otherwise NO credit! Remember, all concert reviews are due at the next class session! Only Classical concerts are acceptable for this class. * The last day to turn in any Concert Reviews is Tuesday, of Week 14, 7:30 AM. 33 points each (33, 33, and 34 points) 3. Final Paper Research paper. See page 15 (and 16 21) of this Syllabus. * All Final Papers are due no later than the Tuesday of Week 15 at 7:30 AM. 100 points (100) There is NO extra-credit. I do not accept work via email. Point totals: based on a maximum total of 500 points. A = 450 - B = 400 449 C = 350 399 D = 300-349 F = 299 or less 7
Cell Phones/Texting: Once you enter the classroom, turn off and put away all cell phones. Don t leave them on top of your bag, behind your purse, on your lap or on your desk. I have a ZERO tolerance level for text messaging during lectures. If you are caught using your cell phone, I will ask you to leave the classroom. Withdraw from Class: It is YOUR responsibility to drop classes he/she no longer wishes to attend. Failure to drop a class may result in fee charges, and/or having grades of W or F listed on official transcripts. Please, no cell phones. Cell phones must be off and out of sight! Tips for Academic Success Read your syllabus carefully and familiarize yourself with the instructor s policies. If there is an assigned reading scheduled, read it before class to get the maximum benefit from lectures. Come to class prepared and ready to participate in discussions on weekly topics. Listen closely at the works of music and think about them for yourself, before and during reading. Taking Lecture Notes If possible, before lecture, familiarize yourself with the musical examples (as well as titles, artists, general culture), so that you can focus on content and interpretation during class. Take notes while listening/watching! While listening to the music in class, jot down descriptive words used by your instructor for each example. This will help you prepare for the exams and concert reviews. Make note of stories/anecdotes you find interesting they ll help you remember the music! Taking an Exam Come to class prepared with necessary materials. (#2 pencil, eraser, Scantron No. 882). Come early the Listening part of the exams is done first, and if you are late, you will not get to hear the Listening examples I only play them once. No Scantron = No Exam. Leave nothing blank! On multiple choice questions, try to apply some sort of logic to come up with an answer, at the very least take a guess! Lastly, FOLLOW YOUR INSTINCT! When you are not 100% sure of an answer, the first guess is usually the right one. Don t convince yourself to change the answer unless you are sure that you should make that change. Concert Dates: This information to be distributed in a separate Handout in class. Concert reviews are ALWAYS due at the next class session. If you do not turn in your concert reviews at the next class session, you will receive NO CREDIT. PLAGARISM Students are required to submit their own work! DO NOT COPY ANOTHER STUDENTS WORK... this goes for the exams, the worksheet assignments, and the concert reviews. If you copy someone else s work, you will both automatically receive an F in the class AND your names will be forwarded to the Dean of Fine Arts and the Vice President of Academic Affairs - which may result in suspension from El Camino College. Don t take a chance... Don t do it! No Photocopies. No extensions, no make-ups. All Assignments, Reviews, Exams, etc. are due at the beginning of the class session no credit for late work. I do not accept any work via email. 8
Music 15B SLO Statement Students will be able to recognize musical style periods after listening to prerecorded musical examples. Music 15B Course Objectives 1. Define basic musical terms related to rhythm, meter, melody, harmony, texture, tone color, and form. 2. Define and analyze musical forms such as sonata-allegro, fugue, and minuet. 3. Define and describe musical genres such as art song, opera, symphony, and concerto. 4. Define and describe terms relating to musical styles such as Expressionism, Impressionism, and Neo-Classicism. 5. Define terms relating to performance groups and instruments such as string quartet, ripieno, and tutti. 6. Define terms relating to musical styles, forms, and genres. 7. Describe the careers and contributions of the most influential composers of Western art music from the Classical era until today. 8. Compare and contrast genres of a similar type, such as opera and oratorio, concerto and symphony. 9. Describe and compare the characteristics of Western art music from the Classical era to the present in terms of instrumentation, texture, rhythm, melody, harmony, form, dynamics, and function. 10. Identify by ear various instruments. 11. Identify by ear various theme forms, especially sectional, imitation and fugue. 12. Identify by ear various genres, such as symphony, concerto, opera, and art song. 13. Identify by ear examples of music from the main style periods of Western art music from 1750 to present. 14. Identify by ear works by famous composers. Students with disabilities who believe they may need accommodations in this class are encouraged to contact the Special Resource Center on campus as soon as possible to better ensure such accommodations are implemented in a timely fashion. As well, please contact me privately to discuss your specific needs. Special Resource Center 310-660-3295. 9
You may bring pages 25-26, 27-28, 29-30, and 31-32 into class with you as Cheat Sheets for the Listening portion of the exam ONLY. Write all over it Limit your comments to the Musical Examples! 10
Music 15B -- Spring Semester Dr. Doyle s Music 15B Anthology this is a 2-volume set available for you to look at in the Music Library it is on RESERVE for my class only. Volume 1 SYMPHONY Haydn Symphony No. 29,*I. Mozart Symphony No. 40, *I. Beethoven Symphony No. 3, *II. and *III. Beethoven Symphony No. 5, *I. Beethoven Symphony No. 9, *IV. Mendelssohn Symphony No. 4, *IV. Mahler Symphony No. 5, *I. Prokofiev Symphony No. 1, *III. Copland Symphony No. 3, *IV. ART SONG Schubert: *Gretchen, *Trout, *Erlking, *Mein, *Frozen Tears, *Leiermann, *The Double. Schumann: Frauen-liebe und Leben, *I. *II. Debussy: *Flute of Pan CHORAL MUSIC Mozart: Requiem Mass (*Lacrimosa, *Confutatis) Beethoven: Missa Solemnis (*Kyrie) Brahms: German Reqiuem (*I, *II, *V) Britten: War Requiem (*Dies Irae) Penderecki: St. Luke Passion (*Stabat Mater) PIANO MUSIC Mozart - *Sonata in C major, III. (rondo), K. 545 Beethoven - *Pathétique, III. Beethoven - *Hammerklavier, II. Liszt - *La Campanella Chopin - *Etude No. 1, Aeolian Harp Debussy - *Girl with the Flaxen Hair, and, *Voiles CHAMBER MUSIC Mozart - Dissonant Quartet, *I. Beethoven - String Quartet No. 14, Op. 131, *VII. Bartok - String Quartet No. 4, *I. and *IV. Stravinsky - Octet, *I. and *III. 11
CONCERTO Haydn - Trumpet Concerto, *I. Mozart - Piano Concerto No. 23, *I. Tchaikovsky - Violin Concerto in D major, *I. Ravel Piano Concerto in G major, *I. Bartok Concerto for Orchestra; *II. Volume 2 OPERA Mozart: Marriage of Figaro, *2 arias Bizet: Carmen, *excerpts Berg: Wozzeck (*Act III, excerpt) INCIDENTAL Mendelssohn: *Overture to Midsummer Night s Dream PROGRAM AND NATIONALISM Berlioz: Symphonie Fantastique, *V. Mussorgsky: Pictures at an Exhibition, *excerpts R. Strauss: *Also Sprach (opening FF) R. Strauss: *Ein Heldenleben Debussy: Three Nocturnes, *III. Sirénes Holst: The Planets, *Mars, *Jupiter Smetana: *Vltava (The Moldau) Gershwin: *Rhapsody in Blue BALLET Stravinsky: *Rite of Spring, excerpt Copland: *Billy the Kid, excerpt Copland: *Appalachian Spring, excerpt ------------~~------------------------------------------------------------------------------- 12
A Sample Concert Review model your concert reviews after this! Copies are in your 15B Packet, pages 54 57. Name: Tiffany Lauter Day & Section time: T/Th 7:30 AM, Mus 15B Name of Concert Attended: Ars Nova Sinfonia Orchestra Date: December 6, 2009 Location: Marsee Auditorium Type of Concert: Orchestra 1. What was the most interesting selection in the first half? Why? In the first half, I really enjoyed the Concerto for Organ by Handel. The piece Concerto for Organ featured James Hurd on the organ and a chamber orchestra of string players conducted by Dr. Doyle. There were several movements in the piece - each one was a different tempo and had a different feel or mood to it. The opening movement was slow and majestic, followed by a faster, livelier movement. I think Handel was interested in contrast - he continually changed styles in each of the 5 parts. The organist played very well and the dynamic contrast with the strings was fun to hear. 2. What was the most interesting selection in the second half? Why? In the second half, I liked the Firebird by Stravinsky. The piece for the full orchestra was loud, powerful, and very rhythmic. The piece began with the bassoon and oboe, a duet I think. Then, the strings came in with some eerie sounds... almost like the music from a horror movie. Next, the brass and percussion joined in with a faster moving melody. The harmony became quite dissonant before a solo brass instrument played. I think it was the French horn. This led to the ending that was fast, forte, powerful, dramatic, and much more consonant than the opening. I also liked the Bach pieces too. 3. General Commentary Types of musical selections on the program: Orchestral works, they were just for orchestra. Era/styles represented: The Stravinsky was 20 th century, the Handel & Bach were Baroque. Featured Instrument(s) or performers: Dr. James Hurd, organist he was the only soloist on the program. Anything interesting happen? Dr. Doyle spoke to the audience a couple of times he made a couple of jokes! 4. Any Questions? Why do they tune up so many times during the concert? 5. What was your overall opinion of this concert? The orchestra played really well. I plan to go to their spring concert in May, in Marsee Auditorium. I'll bring my family and friends to this concert. 6. Your Rating: from 1 (low) to 10 (high)? They definitely get a 10, great job Dr. Doyle and Dr. Hurd! 13
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Spring 2012 Music 15B Final Paper Your Choice Essay/Research Paper, 100 points. Choose and Answer only 1 of the following 4 questions! 1. Describe the influence of literature, fantasy, and real-life on the Symphonie Fantastique, by Hector Berlioz. Why, or why not, is Hector Berlioz considered an important Romantic era composer? 2. What were the circumstances surrounding the composition of Rimsky-Korsakov s Scheherazade? When was it premiered, and how was it received by the public/critics? What are its major musical innovations? How was the ballet version of this piece received by the Rimsky-Korsakov family? 3. What was the source for Mozart s opera Don Giovanni? Why did Mozart choose this opera? When and where was it first performed? How was it received in Vienna during his lifetime? 4. Describe the circumstances behind the composition of The Rite of Spring by Stravinsky. When was it premiered, and how was it received by the public/critics? What are the major musical innovations in this work? DUE: NO LATER than 7:30 AM on Tuesday of Week 15. No extensions, no exceptions. I do not accept work via email. Do NOT collaborate, do your own work this is not a group project. See instructions on pages 16 21, Writing the Music History Final Paper. 15
Writing the Music History Final Paper Your Choice Research Paper Formatting Guidelines 1. Your paper should be 3 5 pages in length. 2. Please note that you must have at least 3 full pages of research. 3. One-inch margins all around. 4. 12-point type font. 5. Double-spaced. 6. Black ink on white paper. 7. Do not put your exam into a folder or a binder - staple the pages together with your name at the top of each page. 8. No cover page. 9. Print your essay early and not the day it is due. I do not accept late papers. 10. A composer s entire name is written the first time he/she is mentioned. 11. Any writing style (Chicago or MLA) will be accepted as long as it is consistent throughout the entire paper. 12. Only University Websites (as a link to a book, encyclopedia, article) are acceptable! 13. Be sure to include footnotes/endnotes and a bibliography page. I do not read papers that do not have footnotes/endnotes and a bibliography. Challenges and Purposes What distinguishes a Music History paper/essay from the papers you might be asked to write in other courses? Perhaps the biggest difference creates the biggest challenge: in a Music History paper, you must be able to create an argument about what you hear. In short, you have to translate the aural into the verbal. To do this you must first understand the language of the discipline - that is, you need to familiarize yourself with the terms and concepts necessary to describe a piece of music (melody, harmony, rhythm, instruments, form, style period, composer). Second - and perhaps most important - you need to learn not only to describe what you hear, but also to craft your description so that it delivers some argument or point of view. A good Music History paper will not simply offer a haphazard description of the elements of a musical composition. You must consider what it is you want to say about the music and use your description to make that point. In short, you must master the art of simultaneously analyzing and describing the musical composition you have been asked to identify or discuss. Writing the Music History Paper/Essay Richard J. Wingell, Writing About Music, is on Reserve for you in the Music Library. This wonderful book is an Introductory Guide that is full of great information -- everything from Analysis and Research, Getting Started, Writing a Research Paper, Questions of Format, Writing Style, and even Common Writing Problems. (Dr. Wingell was one of my Music History professors at USC and he is an authority on the music of the Middle Ages.) Use this book! 16
HOW TO PREPARE A PROPER RESEARCH PAPER, CONDUCTING MUSICAL HISTORICAL RESEARCH Paper Preparation The essay topic/paper is based on the student s own observations, as well as the relevant sources consulted during the course of the student s research. The student needs to take careful and accurate notes of the all the useful information he/she can find, organize the results of the study, and then present the results in essay form. The evidence that is, the facts, figures, and opinions that are cited or quoted in order to illustrate and support the conclusions must be documented. Documentation This term applies to the conventional use of footnotes and bibliography required as part of any scholarly paper. Good documentation provides proper acknowledgment of borrowed materials and permits the reader to verify the findings of the writer. Papers that are inadequately or inaccurately documented are not acceptable as college work and will NOT be read. They will also receive a 0/100 grade (see also final paragraph on plagiarism). Assembling a Preliminary Bibliography Bibliography refers to the list of sources you have consulted and used in preparing your research paper. The first step in a good research paper is to find as many sources (books, articles) you can that are relevant to your topic. Research 1. Start with general survey texts, or textbooks on specific periods to begin to assemble a bibliography. The Dictionary of Music is also available; see below, under number 3, for further information about on-line references. 2. Look for a monograph (detailed written study) on your artist, or a text on a relevant group of artists (perhaps from the same city, region, or time period). 3. The ECC library has an online database. Check there to look at the library s collection. You can also search the Grove Dictionary of Music, for information and bibliography. 4. If you find references to articles that may be relevant to your research, don't be intimidated by foreign journals with names in other languages. Usually European journals publish articles in English as well as other languages. 5. You might also find some useful research information and bibliographic sources on certain Websites; however, be aware that most of the information you will find on Websites is highly superficial, and is sometimes completely inaccurate. Website information should be used only to supplement written sources (books and articles), and NEVER as a primary source. If your paper refers mainly to Website sources, and not to written sources, I will NOT read your paper and you will get 0/100. Only University Websites are acceptable (see previous page). Use our own Music Library! For more information supplied by US Universities and Colleges, check their websites. 17
6. Once you have assembled a list of books and articles, try to read the most recent sources first, as that will put you in touch with the most current ideas and information. Pay careful attention to any sources listed in footnotes or in the bibliographies of the things you read, since this will help you find more references. If you can t find a particular book or journal in our library, follow up in the following ways: Many journals that are not in our library (and even some that are) can be accessed online. Try another library that has larger holdings in music i.e., USC or UCLA. Use the Inter-Library Loan service in our own library; you can get books through ILL for a two-week period. If you would like to use this service, you need to speak to a librarian in the library. It will take about five days to receive the requested material. Reading Sources When you are consulting sources, make sure you take down complete and accurate information relevant to your topic. For the footnotes and bibliography, you will need to start with the author s name, the full title, and the place and date of publication, and the name of the publisher. When you copy any information, make sure that the source of every note is fully and specifically identified, especially the precise page number. Take notes that are clear and intelligible; record your relevant opinions, judgments, questions, etc. in square brackets to distinguish what is yours from what belongs to your source. Suggestions Do not take notes haphazardly as you go along. Read an article or book through first and then go back to take your notes after you have seen what it is about, from what point of view it is written, and upon what topic the author is speaking authoritatively. Be sure that your notes are accurate. Verify the source and the page reference. Use quotation marks for all quoted matter: verify spelling, capitalization, and punctuation. If you include quotations in your final paper, use them sparingly most relevant information should be expressed in your own words. Where you do quote, it must be accurate; spelling, punctuation and paragraphing must conform exactly to the original. Also, quote fairly; do not use a quotation in such a way or in such a form as to distort the meaning it had in its original context. Also, introduce the quotation in a way to give some indication of its context. That is, work the quotations carefully into your text, without distorting either your own syntax or that of the quoted material. Always supply a transition to a quotation, so that your reader will understand your reason for quoting. If your quote is longer than two lines, it must be indented and single-spaced. For this paper, you MUST Footnote! Uses of footnotes When you must footnote: a) exact quotes (using quotation marks) 18
b) specific information which may not be generally known, and which you are citing directly from your source c) you use ideas or opinions which are the contribution of a particular author, or paraphrase an author's wording in such a way that the author's ideas and opinions are being used (these are among the trickiest aspects of footnoting!) Other uses of footnotes: a) to expand upon the text you have written perhaps introducing facts, ideas or opinions which are not immediately relevant, but which you (and, perhaps, the reader) may find interesting b) as a disclaimer to cite an author or source to show that you are aware of the work, but may not agree with the ideas, or find it irrelevant. Functions of Footnotes a) to show that you have done your homework i.e., that you have read the proper sources, and know what you are talking about in your paper b) to tell the reader where he/she can look for further information on your topic c) to indicate most clearly what your original contribution to your paper is that is, to differentiate between the ideas, information or opinions you have acquired from your sources and what you have come up with yourself. For students who are to be graded on term papers, this is perhaps the most important aspect of using footnotes properly. Footnotes must be accurate. Page references must be precise. Proper names must be correctly spelled; titles must be underlined accurately (or in italics), and dates must be exact. Attend carefully to the numbering of footnotes. Number your footnotes consecutively throughout your paper. That is, the first footnote is numbered 1, the next is 2 3 etc.; each footnote has its own number. This rule applies even if you re referring to the same source. If that s the case, you need only repeat the last name of the author and the page number (see the form instructions detailed below), but the footnote has the next number in the sequence. In your text, mark footnotes by a superscript numeral placed after the material to be documented. If a note is intended to identify a whole block of material from a single source, place the numeral at the end of the first reference that depends upon the source; if necessary, word your reference so that your reader will understand the extent of your dependence. When you check your final draft for accuracy, make sure that you have included all superscript numerals and their matching footnotes The footnotes themselves may be placed either at the foot of the appropriate page, or as endnotes following the text of the essay. Follow the form indicated below, with these specifications: 1) Use paragraph indentation and write each footnote in the form of a single paragraph. 2) Use single-spacing within footnotes and double-spacing between footnotes. 3) Note that the author s name in a footnote is given in normal order (i.e., first name/last name); in a Bibliography, the author s last name is given first so that it can be listed alphabetically. Note also the difference between the first reference, in which complete information must be provided, and subsequent references, in which only the minimum information needs to be given. 19
Examples of Acceptable Footnote Form (Art Bulletin/Chicago Manual version): Sample Text: Since parts of the altarpiece have been lost, there has been debate among scholars about the original appearance of the polyptych, especially regarding the relationship of the central panel with the side panels that are known to have contained saints. On the basis of shadows visible in the central panel, John Shearman proposed that there was a continuous field connecting the main panels. 1 On the other hand, James Beck proposed that, on the basis of the surviving documentary evidence, there would have been a conventional separation between the center and side panels, reinforced by pilasters in the frame. 2 Footnotes: [At bottom of page, or on separate page(s) at end of paper] 1 John Shearman, Masaccio s Pisa Altarpiece: An Alternative Reconstruction, Burlington Magazine 108 (1966): 452-55. See also John Spike, Masaccio (New York: Abbeville Press, 1996), 200. 2 James Beck, Gino Corti, Masaccio: The Documents (Locust Valley: J.J. Augustin, 1978), 17-18. Also Spike, 200201. (Note that underlining a title is an acceptable alternative to using italics.) The first reference in the footnote must have a full reference (author, name of work, place of publication, etc.), but subsequent references to the same source can merely list the author's last name and page number. The proper citation to a book by a single author can be as follows [form=author's name, title of book (either italicized or underlined), parentheses that enclose (place of publication: name of publisher, date of publication), page number(s)]. Example: John Spike, Masaccio (New York: Abbeville Press, 1996), 200. Proper citation to an article in a footnote [form=author's name, title of article in quotation marks, name of journal (italicized or underlined), volume number of journal, parentheses around (year of journal) followed by a colon: page number(s)]. Example: John Shearman, Masaccio s Pisa Altarpiece: An Alternative Reconstruction, Burlington Magazine 108 (1966): 452-55. Note that in the citation above, the name of the work of art in the title was also italicized. Remember that after the first footnote containing the complete citation, all subsequent references to the same source can be brief: Author s last name, page number(s). Example: Spike, 200-201. Bibliography - this is also required! Your Bibliography should consist of an alphabetized list (by author's last name) of all of the sources you have referred to in your footnotes, placed on a separate page at the end of your 20
paper; examples of proper Bibliography form (Art Bulletin version) [note each reference is single-spaced, but there should be a space left between each reference]. Note that for books, the page numbers consulted need not be listed in the bibliography; for articles, the full range of page numbers (for the entire article) must be listed. Beck, James, with Gino Corti, Masaccio: The Documents (Locust Valley: J.J. Augustin, 1978). Shearman, John, Masaccio s Pisa Altarpiece: An Alternative Reconstruction, Burlington Magazine 108 (1966): 449-55. Spike, John T., Masaccio (New York: Abbeville Press, 1996). SUMMARY - Failure to refer to your sources properly may result in plagiarism! Plagiarism is defined as the act of using the ideas or work of another person or persons as if they were ones own, without giving credit to the source Examples of plagiarism include, but are not limited to, the following failure to give credit for ideas, statements, facts or conclusions with rightfully belong to another; in written work, failure to use quotation marks when quoting directly from another, whether it be a paragraph, a sentence, or even a part thereof; close and lengthy paraphrasing of another s writing. - Footnotes and an acceptable Bibliography are required. - Only University Websites (as a link to a book, encyclopedia, article) are acceptable! - If there is clear evidence of plagiarism in your Final Exam/Paper/Essay, you will receive a 0/100 grade and your name will be given to the ECC Academic Affairs Office for further action. 21
You may bring pages 25-26, 27-28, 29-30, and 31-32 into class with you as Cheat Sheets for the Listening portion of the exam ONLY. Write all over it Limit your comments to the Musical Examples! Exam #1 on the ART SONG and the SYMPHONY Course DVD Art Song 11 tracks The Symphony 30 tracks Identify, define, or describe: Impressionism, expressionism, pentatonic, whole-tone, symphony names such as Eroica, Jupiter, New World, Italian, etc.; Enlightenment, Stürm und Drang, development, strophic, rococo/stile galant, espressivo/empfindsamer stile, rondo, minuet, song cycle, titles of works, Alberti bass, symphony, Italian overture/sinfonia, idée fixe, scherzo, program, lied, C.P.E. Bach, symphonie concertante, orchestration, Traüermarsch, absolute, opus, K., Mannheim school/style, pizzicato, Dies Irae, sonata, string quartet, First Viennese School, art song, 12- tone, Sprechstimme. Also know the composers studied in this section... when and where they worked, other works which they composed, etc. Know the story (text) of the songs studied in this section. Be sure to know who wrote the texts! Especially: Gretchen at the Spinning Wheel, The Erlking, Mine!, Since I first saw him, The Flute of Pan, and Moondrunk. Be sure to review Mannheim orchestra, Galant Style (early Haydn), Stürm and Drang style (late Haydn), and the London Symphonies of Haydn. 22
Exam #2 on CHORAL MUSIC and KEYBOARD Course DVD Choral Music 15 tracks Keyboard 20 tracks Terms -- ordinary, clavier, Manzoni, requiem mass, polonaise, scherzo, mazurka, tone row, La Campanella, Dies irae, character pieces, nocturne, etude, organ, Impressionism, pentatonic, whole-tone, gamelan orchestra, Wilfred Owen, Voiles, titles of works, proper, ordinary, Mass, Missa Solemnis, Stabat Mater, sprechstimme, German Requiem, War Requiem, Symphony of Psalms, Passion, St. Luke Passion and old/new musical techniques, piano invention (when, where, etc.), Romantic elements of music. Exam #3 on CHAMBER MUSIC, CONCERTO, and OPERA Course DVD Chamber Music 21 tracks Concerto 17 tracks Opera 16 tracks Identify and describe: concerto grosso, double concerto, concerto, concertato, Bartók pizzicato, L Histoire du Soldat details, ripieno, concertino, string quartet, Altar de Muertos, Gabriela Ortiz, façade, chamber music, cadenza, tutti, give me your fiddle, opera, opera seria, opera comique, singspiel, expressionism, aria, recitative, leitmotif, bohemian, VERDI, overture, Grand opera, titles and composers of operas, Da Ponte, libretto, detail surrounding Barber s Violin Concerto, 12-tone, tone row, sonata-allegro form in the concerto, neotonal, atonal, Ring Cycle (Der Ring des Nibelungen), expressionism, serialism Know the plot of the operas studied in this unit and relate the music examples (on the listening section) to the plot. (i.e., who is singing, to whom, about what, etc.) Magic Flute, Carmen, Aida, Wozzeck, Salome, La Boheme, Don Giovanni, Nixon in China, etc. 23
Exam #4 on INCIDENTAL, PROGRAM, NATIONALISM, and BALLET Course DVD Incidental 5 tracks Program 16 tracks Nationalism 4 tracks Ballet 15 tracks Terms -- nationalism, tone poem, absolute, program, ballet, The Planets, Victor Hartmann, thematic transformation, idée fixe, leitmotif, primitivism, expressionism, impressionism, Nijinsky, overture, Peer Gynt, suite, Nocturnes, ideé fixe, plot and sources to the Symphonie Fantastique (and background), Scheherazade, Tale of 1001 Nights, incidental music, titles of works and the literature (poetry, novels, etc.) that they are drawn from or based upon 24
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