Music in Society (MUS 110AA) Syllabus

Instructor: Dr. Bruce Bonnell Email: bonne1bm@cmich.edu Music in Society (MUS 110AA) Syllabus Bulletin Description Introduction to self-expression through the art of music. An intercultural and interdisciplinary exploration of the elements of music. (Not open to music majors.) *This course meets the requirements for inclusion in Group I/Subgroup B Course Objectives After completing this course, the student will be able to: Demonstrate an understanding of basic musical terminology Identify important composers and representative literature in the history of Western art music Identify major stylistic traits of each of the historical periods in Western art music Demonstrate a basic understanding of several of the world's musical cultures (their instruments, performance practice, and attitudes toward music) Discuss the role, value, and function of music in society (in our own society, as well as in that of selected others) Required Materials Kamien, Roger. Music: An Appreciation, 12th edition. McGraw-Hill, New York, NY, 2018. NOTICE: This class requires the purchase of the McGraw-Hill Connect PLUS bundle for full access to the materials on the McGraw-Hill site. Just owning the book will not be enough to work through the content of this class, you must have access to the website. Please also note, a brief version (softcover) of this text is also available (9 th edition of this version) and looks very similar, but is not the complete text that we will be using, so please do not purchase this text. Student Purchase options: Available from either McGraw-Hill directly or from the Bookstore 1. CONNECT PLUS/Smartbook. ISBN: 1259966399. 2. Looseleaf text with CONNECT PLUS access ISBN is: 9781260296068. To Register: Go to Module 1 via the button on the left of the Blackboard page for this course and click on Module 1 - McGraw Hill Content. Next, click on the Module 1 folder. This brings you to a page of links for Listening Outline Assignments, Learnsmart Assignments and Quizzes. Click on the first Listening Outline link. You will be redirected to McGraw Hill s CONNECT page for this section of the course. You'll be

prompted to either login with an existing Connect account username and password, or to create a new account. Once you've completed your selection, you'll arrive at the start of your first Connect assignment. ***You are required to register in order to complete this course.*** *Be aware that assigned readings must be completed through McGraw Hill s Smartbook. You are welcome to purchase the hardcover option if you are more comfortable with an actual textbook. However, you will still need to access the Smartbook in order to complete the readings each week. In order to test understanding and comprehension, the Smartbook will ask you a series of questions. Once you ve successfully completed all questions for that chapter, you will receive points for completion. This adds up to just over % of your course grade. You can access Smartbook through Blackboard as well as the website listed above. Assigned readings are due at the end of each week. Course Policies To get started with this course, students must go to the Welcome Announcement and the Course Introduction on the tool panel in Blackboard. This document (course syllabus), the course schedule, the communication policy/rubrics and other important information can be found here. After these documents have been read, students will be ready to begin the course work in Module 1. Success as an online student takes great effort from each individual. One must be self-motivated in order to complete all assignments and tasks in a timely fashion. It is required that students have access to a CMU Email account and Blackboard. All course instructions, documents, assignments, readings, and grades will be posted to Blackboard. Communication between the instructor and students will occur through email, Blackboard announcements, online discussion and live chat. Please allow 24 hours for email response from the instructor Students must check grades on a weekly basis. Any assignments or tesing administered through McGraw-Hill s CONNECT portal will show up in your Blackboard grade, the courses are linked together, BUT your TOTAL grade only appears on Blackboard. Please check for feedback on graded assignments by clicking the hyperlink score (under Gradebook). For specific instructions, please go to the Tutorial link. All exam and assignment grades will be posted one week after the due date. Please contact the CMU Help Desk for issues with Blackboard, Email, or other technology-related questions. (989-774-3662)

Course Outline Please see Course Schedule for Specific Dates and Deadlines MODULE 1 (Weeks 1-2) PART I - ELEMENTS Pitch, Dynamics and Tone Color Voices and Instruments Rhythm Notation of Music Melody Harmony Key Musical Texture Musical Form Performance Musical Style PART X ROCK Rock Styles Rock in American Society Homework: Listening Assignments through LEARNSMART Discussion forum Assignment 1: Comparison of two performances of a popular song. (300-500 words) Quiz 1 Module 2 (Weeks 3-4) PART IV-BAROQUE PERIOD Baroque Music (1600-1750) Music in Baroque Society Baroque Forms: Opera, Suite, Chorale and Cantata, Oratorio Representative Composers: Claudio Monteverdi, Antonio Vivaldi, J.S. Bach, G. F. Handel

PART V- CLASSICAL PERIOD The Classical Style (1750-1820) Music in Classical Society Classical Forms: Sonata Form, Rondo, Classical Symphony, Concerto Representative Composers: Joseph Haydn, W.A. Mozart, Ludwig van Beethoven Homework: Listening Assignments through LEARNSMART Assignment 2: Which era is the most innovative Baroque or Classical? (300-500 words) Quiz #2 Module 3 (Weeks 5-6) PART VI- ROMANTIC PERIOD Romanticism in Music (1820-1900) Music in the 19 th Century Society Romantic Forms and Style Characteristics: Art Song, Program Symphony, Nationalism, The Virtuoso Artist/Composer, 19 th Century Opera Representative Composers: Franz Schubert, Clara Wieck Schumann, Franz Liszt, Hector Berlioz, Peter Illych Tchaikovsky, Antonin Dvorak, Giuseppe Verdi, Richard Wagner PART IX- MUSIC FOR STAGE AND SCREEN Musical Theater Music in Film Representative Composers: Leonard Bernstein, John Williams PART XI- NONWESTERN MUSIC Music in Nonwestern Cultures Music in Sub-Saharan Africa Classical Music of India Koto Music in Japan Homework: Listening Assignments through LEARNSMART Discussion forum Concert Performance Review Due (750-1000 words) Assignment 3: Folk Music Traditions (300-500 words) Quiz 3 Module 4 (Weeks 7-8) PART VII- THE 20 th CENTURY AND BEYOND Musical Styles (1900-1945) Music and Musicians in Society since 1900

Musical Trends: Impressionism, Neoclassicism, Atonal Music, American Nationalism, Experimentation and Electronic Music Representative Composers: Claude Debussy, Maurice Ravel, Igor Stravinsky, Arnold Schoenberg, Dmitri Shostakovich, Charles Ives, George Gershwin, William Grant Still, Albert Piazzolla, Philip Glass, John Adams, Eric Whitacre PART VIII- JAZZ Jazz Styles (1900-1950) Jazz Trends: Ragtime, Blues, New Orleans Style, Fusion Representative Artists and Composers: Scott Joplin, Louis Armstrong, Miles Davis, Charlie Parker Homework: Listening Assignments through LEARNSMART Discussion forum Assignment 4: Album Review (300-500 words) Final Assignment: Film Score Review paper. (750-1000 words) Quiz 4 Evaluation Grading Scale ------------------- B+ 89-87 C+ 79-77 D+ 69-67 ------------------- A 100-93 B 86-83 C 76-73 D 66-63 E 59-0 A- 92-90 B- 82-80 C- 72-70 D- 62-60 ------------------- At least fifty percent of the student s final grade will be based on written work. The writing component will be met through the evaluation of two review papers (20%) and six writing assignments, including detailed responses to musical excerpts and/or specific articles. Total Points (1000) Quizzes (200 points) There will be four quizzes (50 points each) that will include multiple-choice and true/false questions. All quizzes will be taken on-line. Each quiz will be presented within a given module. Students may use the text and notes, but be aware that each quiz will be given with a time limit. Once a student has elected to begin the quiz, he/she must complete it at that time. Live Performance Review (150 points)

The review of a live performance will require students to attend a live musical performance of any kind. This assignment will be due during week 5 of the course. Film Soundtrack Review (150 points) Students will be asked to watch a film (from a selected group of films) and describe the impact the musical score has on the film. Students will be given a rubric and sample music reviews in order to complete the assignment, which will be due during week 8 of the course. Writing Assignments (400 points) There will be four writing assignments (100 points each) throughout the eightweek course. Students will be given a detailed rubric for these assignments, which will include a response to a musical excerpt or a response to particular topic. All writing assignments must be submitted electronically by 11:55pm of the assigned due date. Online Discussion (100 points) Online discussion (25 points each post) is an essential component of MUS 110. There will be four discussion topics. These required discussions will enable students to gain knowledge beyond the text and beyond the instructor s presentation of material. A detailed rubric will outline how and when students should post a response to a question designated by the instructor as well as a response to postings by class members. LEARNSMART Extra Credit (up to 5%) Every chapter in each Module will be set up with LEARNSMART exercises to improve comprehension of the material. As we will not be covering every topic in the text, I have selected only the Learnsmart components which apply. These will include listening exercises which have analysis directed through the listening to assist your understanding of the topics covered in each chapter. As you complete each Learnsmart exercise, a score will be entered, and a running total will be tabulated. Completion of all exercises will earn you up to 5% extra credit AND will absolutely improve your understanding of the material thus guaranteeing a better grade. *Please note that evaluation of all writing assignments, including online discussion, will be based on evidence of comprehension of the material, organization, and quality of writing. Late Work Late work will not be accepted for full credit. All late work will receive a minimum 15% deduction from the earned grade. Late work which is submitted more than one week past the due date will receive a minimum of 25% deduction from the earned grade. Discussion Boards and Quizzes are time-sensitive and once closed, can not be made up.

Accommodations for Students with Disabilities CMU provides students with disabilities reasonable accommodation to participate in educational programs, activities, or services. Students with disabilities requiring accommodation to participate in class activities or meet course requirements should first register with the office of student Disability Services (120 park Library, 989-774-3018, TDD: 989-774-2568). Academic Integrity Page 385 of the Undergraduate Bulletin states: In the academic community the high value placed on truth implies a corresponding intolerance of scholastic dishonesty. Written or other work which students submit must be the product of their own efforts and must be consistent with appropriate standards of professional ethics. Academic dishonesty, which includes cheating, plagiarism, and other forms of dishonest or unethical behavior, is prohibited. Please read the entire section of CMU s policy on academic integrity, pages 385-387 in the Undergraduate Bulletin. A student who commits any act of academic dishonesty in this course will receive an E for that particular assignment as well as a possible E for the final course grade. Bibliography Alves, William. Music of the Peoples of the World. Canada: Thomson Schirmer, 2006. Antokoletz, Elliott. Twentieth-Century Music. Englewood Cliffs: Prentice Hall, 1992. Austin, William W. Music in the Twentieth Century from Debussy through Stravinsky. New York: Norton, 1966. Berliner, Paul. The Soul of Mbira. Berkeley: University of California Press, 1978. Blacking, John. How Musical is Man? Seattle: University of Washington Press, 1973. Brown, Howard M. Music in the Renaissance. 2nd ed. New York: Norton, 1999. Bukofzer, Manfred F. Music in the Baroque Era. New York: Norton, 1947. Charlton, Katherine, and Hickok, Robert. Experience Music! New York: McGraw-Hill, 2007. Dahlhaus, Carl. Nineteenth-Century Music. Berkeley: University of California Press, 1989. Densmore, Frances. Chippewa Music I & II (Bulletins 45 and 53 of the Bureau of American Ethnology). Washington: Smithsonian Institution, 1910, 1913. Einstein, Alfred. Music in the Romantic Era. New York: Norton, 1947. Grout, Donald Jay. A History of Western Music. 5th edition. New York: Norton, 1996. Grout, Donald Jay. A Short History of Opera. 3rd ed. New York: Columbia University Press, 1988. Hoppin, Richard. Medieval Music. New York: Norton, 1978. Kaemmer, John E. Music in Human Life: Anthropological Perspectives on Music. Austin: University of Texas Press, 1993. Kamien, Roger. Music: An Appreciation. 11 th Edition. New York: McGraw-Hill, 2015. Lang, Paul Henry. Music in Western Civilization. New York: Norton, 1941.

Longyear, Rey M. Nineteenth-Century Romanticism in Music. 2nd edition. Englewood Cliffs: Prentice Hall, 1973. Machlis, Joseph. Introduction to Contemporary Music. 2nd edition. New York: Norton, 1979. Manuel, Peter. Popular Musics of the Non-Western World: An Introductory Survey. New York: Oxford University Press, 1988. Merriam, Alan P. The Anthropology of Music. Evanston, Ill.: Northwestern University Press, 1964. Morgan, Robert P. Twentieth-Century Music. New York: Norton, 1991. Nettl, Bruno, et. al. Excursions in World Music. 2nd. Ed. Englewood Cliffs: Prentice Hall, 1997. Nettl, Bruno. The Study of Ethnomusicology. Urbana: University of Illinois Press, 1983. Palisca, Claude V. Baroque Music. 3rd edition. Englewood Cliffs: Prentice Hall, 1991. Pauly, Reinhard G. Music in the Classic Period. 3rd edition. Englewood Cliffs: Prentice Hall, 1988. Pestelli, George. The Age of Mozart and Beethoven. Trans. Eric Cross. Cambridge: Cambridge University Press, 1984. Plantinga, Leon. Romantic Music. New York: Norton, 1984. Randel, Don, ed. The New Harvard Dictionary of Music. Cambridge: Harvard University Press, 1986. Raynor, Henry. A Social History of Music: From the Middle Ages to Beethoven. New York: Schocken, 1972. Reese, Gustave. Music in the Renaissance. New York: Norton, 1955. Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. 20 vols. New York: Macmillan, 1980. Salzman, Eric. Twentieth Century Music: An Introduction. 3rd edition. New York: Norton, 1988. Schwartz, Elliott and Barney Childs. Contemporary Composers on Contemporary Music. New York: Holt, Rinehart and Winston, 1967. Simms, Bryan. Music of the 20th Century: Style and Structure. New York: Schirmer, 1986. Stolba, K. Marie. The Development of Western Music: A History. 3rd ed. Madison, Wisconsin: Brown and Benchmark, 1998. Strunk, Oliver. Source Readings in Music History. New York, Norton, 1950. Titon, Jeff Todd, Ed. Worlds of Music: An Introduction to the Music of the World's Peoples. 5th ed. New York: Schirmer, 2008. Turnbull, Colin. The Forest People. New York: Simon and Schuster, 1962. Wade, Bonnie. The Music of India: The Classical Traditions. Riverdale, Md.: Riverdale Co., 1988. Weiss, Piero and Richard Taruskin, eds. Music in the Western World: A History in Documents. New York: Schirmer, 1984. Willoughby, David. The World of Music, sixth edition. McGraw-Hill, New York, NY, 2010.