Syllabus: Music Appreciation 10386 Spring, 2016 1 Instructor: Francis Léger Office: Founder s Hall, Room 221a Phone: 254.519.5441 Email: Francis.Leger@tamuct.edu Office Hours: By appointment Texas A&M University Central Texas MUSK 313 115 MUSIC APPRECIATION 11:00-1:45, MW Founder s Hall, Room 203 UNILERT Emergency Warning System for Texas A&M University Central Texas. UNILERT is an emergency notification service that gives Texas A&M University-Central Texas the ability to communicate health and safety emergency information quickly via email, text message, and social media. All students are automatically enrolled in UNILERT through their myct email account. Connect at www.tamuct.edu/unilert to change where you receive your alerts or to opt out. By staying enrolled in UNILERT, university officials can quickly pass on safety-related information, regardless of your location. Course Overview: Music Appreciation Is Presented In Six (6) Parts I: ELEMENTS OF MUSIC II: EARLY MUSIC III: BAROQUE IV: CLASSICAL V: ROMANTIC VI: 20TH CENTURY AND AFTER PART 1 PARTS 2-3 PART 4 PART 5 PART 6 PARTS 7 11 Concepts: Music Appreciation in a Historical and Cultural Context This is a course consisting of an introduction and overview of the music of Western Civilization. Study of the various historical periods is presented within the context of music and its overall development. The class covers the cultural background of each period and includes aspects of musical literature along with exposure to some of the most significant musicians of each period. We will approach the process of learning and understanding music through the use of various materials for listening activities, ongoing reading and listening assignments, class discussions, and include the practice and development of basic musical skills. All students are welcome. At the beginning of the course it is important that each student identify his/her level of musical interest and pursuit as well as vocal and/or instrumental proficiency. Participation in musical activities facilitates your musical and overall understanding, as well as the use of terminology presented throughout the course. Learning Goals of the Course Upon successful completion of this course you will be able to: 1. Identify and discuss aspects of music from different centuries with informed reference to time periods before and after.
Syllabus: Music Appreciation 10386 Spring, 2016 2 2. Identify some principal or significant musicians up to the present day. 3. Identify (through listening/aural and stylistic analysis) the different types of music created and performed in different centuries. When applicable, you will learn and practice using musical parameters for formal analysis such as melody, rhythm, harmony, tonality, texture, form, and orchestration/instrumentation. 4. Apply formal analysis* (= stylistic analysis) and interpret works from each period of music. Please note that the extent to which one can describe music in detail depends, in part, upon previous musical training in theory, instrumental or vocal proficiency, etc. 5. Better understand and appreciate the requirements for making music and know how to practice and develop basic musical skills and musicianship. Instructional Materials Music: An Appreciation (MAA) (11 th Edition) Looseleaf Version, by Roger Kamien Published by McGraw-Hill, Copyright 2014 ISBN 10: 1259241319 ISBN 13: 9781259241314 LearnSmart 1-Term Online Access for Music: An Appreciation (11 th Edition) ISBN10: 1259214052 ISBN13: 9781259214059 The instructional materials identified for this course are also viewable through http://www.bkstr.com/tamuctstore/home Required Work - Mid-term Test, written and listening test, one hour and fifteen minutes, 40% A written and listening test consists of a series of questions in print along with a listening segment. You will have to answer questions in True or False, multiple choice, or fill in the blank segments, and identify a series of musical works from audio musical examples played in succession. You will not specifically be tested on, say, the dates of a particular composer, but you must demonstrate your knowledge of music literature and composers in their historical context. - Final Test, written and listening test, one hour and fifteen minutes, 40% A written and listening test consists of a series of questions in print along with a listening segment. You will have to answer questions in True or False, multiple choice, or fill in the blank segments, and identify a series of musical works from audio musical examples played in succession. You will not specifically be tested on, say, the dates of a particular composer, but you must demonstrate your knowledge of music literature and composers in their historical context. - Attendance, 10% It is expected that you attend every class and also understood that difficult circumstances and emergencies do arise.
Syllabus: Music Appreciation 10386 Spring, 2016 3 - Participation, 10% This I normally apply in your favor to reward class participation, improvement, and effort to raise the grade above the strict mathematical average. Paper* (extra credit) You may exercise initiative to improve your grade by preparing a two (2) to three (3) page paper. It can be based upon a topic from the assigned reading material or something discussed in class. This would in effect become a resource paper to distribute to the rest of the class. You can submit the paper to me as a.doc or.pdf as late as Tuesday, April 28 th through email (francis.leger@tamuct.edu) and I will print copies. * I record the grade as a note and YES, it can actually factor into the semester grade. Instructor and Class Policies Instructor s Professional Statement: I want to empower you to build a competitive musical foundation on which to cultivate your present and future love for music and yes, to change your life. Should you want to know more about my work as a concert artist and unique perspectives on music and teaching, please visit my professional website at www.francisleger.com Instructor s Discretion: For this class, I reserve the right of final decision in course requirements. Late Work and Make-Up Work Policy: Your acceptance and enrollment at the University confirms your commitment to attend classes. Therefore, late work and make-up work are not accepted. If a test or exam is missed because of illness or extenuating circumstances, the student must contact me as soon as possible to schedule a make-up exam. All make-up exams should be taken within one week of the missed exam date unless a suitable make-up time is not available. Required papers and extra credit papers must be submitted by the appropriate date. Cell Phones: Cell phones must be turned off, and there is no text messaging. For TAMUCT safety requirements I will leave my cell phone on. Communications: E-mail is an official way of communicating with the class. Please check your email regularly for any changes to assignments, etc. I accept papers only in digital format, preferably a.pdf, but also as a.doc. Computers: Generally, it is better not to have computers for taking notes in class. You may bring computers to test review sessions.
Syllabus: Music Appreciation 10386 Spring, 2016 4 Study Notes: Please be aware that study notes will be made available to you as pdfs or handouts. Therefore, you do not have to take notes about details such as names, dates, etc. because you will have access to those later. This should leave you free to look at the texts and images, listen to the lectures and music examples played in class, and join in any discussion while taking only minimal notes along the way. How to Organize Your Studying Study and review the set of Study Notes thoroughly and repeatedly for definitions, concepts and information. Take notes on the class lectures, but only limited notes. All the names, dates, and much text are in the Study Notes. Keep up with reading the texts, preferably before the lectures, to enable questions and class discussions. I recommend that you start: referring to your timelines and outlines, learning the main musical / historical periods, dates, and the context of musical, historical events and culture. familiarizing yourself with musical works by period styles, always being aware that a work may arguably be transitional or placed in more than one style. You should know why a work is in this or that particular style, and not just memorize it as a certain fact. Think critically* whenever possible. reading so as to enlarge your awareness and love of music, its importance to you and the larger world, and your overall English and foreign language vocabulary, which will help you gain a better understanding of every aspect of music. * What is the definition of critical thinking? Evaluation of the extent to which a statement is true, partly true or false. * What is the definition of analysis? Unraveling of an object or phenomenon into its constituent parts.
Syllabus: Music Appreciation 10386 Spring, 2016 5 The Syllabus Calendar Every effort is made so that the lecture topics along with reading and listening assignments align with the appropriate day. Assignments and work due are indicated in bold type. Week 1 Mon., January 18 (Martin Luther King Jr. Day / No Class) Wed., January 20 The Elements of Music Sound 4: Pitch 4, Dynamics 6, Tone Color 7, Listening Outlines, Vocal Music Guides, Properties of Sound 7 Melody 40, Melody and Words 44, Song Forms 45 Rhythm 31: Beat 32, Meter 33, Accent 34, Syncopation 34, and Tempo 34 Harmony 45: Consonance and Dissonance 46, The Triad 46, Broken Chords (Arpeggios) 47 Tonality (Key) 49: Major Scale 50, Minor Scale 51, Key Signature 52, Chromatic Scale 53, Modulation: Change of Key 53, Tonic Key 54 Syllabus: textbook Preface, and selected topics listed above Stravinsky: The Firebird, Scene 2 Ellington: C-Jam Blues The Elements of Music Musical Texture 54: Monophonic 54, Polyphonic 54, Homophonic 55, Changes of Texture 56 Musical Form 58: Techniques That Create Musical Form 58: Repetition, Contrast, Variation Types of Musical Form 59: Ternary 59 and Binary 60 Listening for Form 62 Bizet: Farandole from L'Arlésienne Suite No. 2 Tchaikovsky: "Dance of the Reed Pipes" from The Nutcracker Bach: Bourrée from Suite in E Minor for Lute The Elements of Music Orchestration/Instrumentation (Performing Media 10): Voices 10, Musical Instruments 12, Strings 13, Woodwinds 17, Brass 20, Percussion 22, Keyboard Instruments 25, Electronic Instruments 27 Notation 36: Notating Pitch 36, Notating Rhythm 37, Notating Silence 38, Notating Meter 38, the Score 39 Performance 62 Musical Styles 66 Britten: The Young Person's Guide to the Orchestra (complete work)
Syllabus: Music Appreciation 10386 Spring, 2016 6 Week 2 Mon., January 25 and Wed., January 27 Early Music 71 The Middle Ages (Medieval) 71: Gregorian Chant 75, Hildegard 79, Secular Music 81, Polyphony 82, New Art 84, Landini 86, Guillaume de Machaut 86 The Renaissance 93: Music and Society 98, Words and Music 98, Texture 99, Rhythm and Melody 99, Sacred Music 99, Josquin 100, Palestrina 102, Secular Music 105-114 Anon.: Estampie Josquin Desprez: Ave Maria Weelkes: As Vesta Was Descending The Baroque Period 117 Baroque Music 122: Mood 122, Rhythm 123, Melody 123, Dynamics 123, Texture 123, Basso Continuo 123, the Orchestra 125, and the Forms 125 Baroque Society 126 the Sonata 145 Antonio Vivaldi 146 Vivaldi: Spring ( La Primavera ) from The Four Seasons The Baroque Period (cont.) The Concerto Grosso and Ritornello Form 128 J. S. Bach 151 the Baroque suite 159 The Chorale and Church Cantata 160 Bach: Brandenburg Concerto No. 5, 1st movement Cantata No. 104 "Wachet auf", 4th and 7th movements The Baroque Period (cont.) The Fugue 136 The Oratorio 168 G. F. Handel 168 Bach: Organ Fugue in G minor Handel: selections from Messiah Week 3 Mon., February 1 and Wed., February 3 The Classical Period 181 Classical Style 186: Mood 186, Rhythm 186, Texture 187, Melody 187, Dynamics and the Piano 187
Syllabus: Music Appreciation 10386 Spring, 2016 7 The Classical Orchestra 187 Classical Form 188 The Composer, Patron, and Public 189, Social Trends 190, Vienna 190 Theme and Variations 195 Minuet and Trio 197 Rondo 199 Mozart: Eine kleine Nachtmusik, 3rd movement Beethoven: String Quartet in C minor, Op. 18, No. 4, 4th movement The Classical Period (cont.) The Classical Symphony 200 Sonata Form 191 Chamber Music 202 Franz Joseph Haydn 203 Part V Chap. 3, 7, 9, & 10 (pp. 193-196, 203-204 and 205-211) Mozart: Symphony No. 40 in g minor, 1st movement Haydn: Symphony No. 94 in G Major "Surprise", 2nd movement The Classical Period (cont.) The Concerto 210 Wolfgang Amadeus Mozart 210 The Opera: Don Giovanni 213 the Piano Concerto 225 Mozart: excerpt from Don Giovanni Mozart: Piano Concerto in A Major, K. 148, 1 st movement Week 4 Mon., February 8 and Wed., February 10 [Test Review] The Classical Period (cont.) Ludwig van Beethoven 232 The Piano Sonata 236 Symphony No. 5 238 Beethoven: Symphony No. 5 in c minor Summary Assignment: Prepare for the Mid-Term Examination. (See Part Summaries at the end of each PART.)
Syllabus: Music Appreciation 10386 Spring, 2016 8 Week 5 Mon., February 15 The Mid-Term Test Wed., February 17 [Test Returned] The Romantic Period 251 Romanticism in Music 257: Individuality 257, Expressive Aims 257, Nationalism 258, Program Music 258, Expressive Color 258 and Harmony 259, Expanded Ranges 259, Forms 259 Composers and their Public 260 Schubert: Erlkönig The Romantic Period (cont.) The Art Song 263: the Song Cycle 263 Franz Schubert 263 Robert Schumann 271 Frederic Chopin 274 Franz Liszt 279 Felix Mendelssohn 283 Program Music 289 Hector Berlioz 290 Berlioz: Symphony fantastique, 4th movement The Romantic Period (cont.) Nationalism in Nineteenth-Century Music 299, The Russian Five 299 Peter Ilyich Tchaikovsky 303 Bedrich Smetana 307 Antonin Dvorak 309 Johannes Brahms 315 Smetana: The Moldau Brahms: Symphony No. 3 in F Major The Romantic Period (cont.) Giuseppe Verdi 323 Giocomo Puccini 330 Richard Wagner 340 Gustav Mahler 347 Puccini: La Bohème Wagner: Die Walkure
Syllabus: Music Appreciation 10386 Spring, 2016 9 Week 6 Mon., February 22 and Wed., February 24 The Twentieth Century and Beyond 355 Musical Styles: 1890-1950 361 Tone Color 363, Harmony 365, Alternatives to Traditional (Tonality) Tonal Systems 365 Rhythm 366, Melody 367 Music and Musicians in Society Since 1900 368 Impressionism and Symbolism 369: French Painting 369, and Poetry 370 Claude Debussy 370 Maurice Ravel 376 Debussy: Prélude à L'Aprés-midi d'un faune Still: Afro-American Symphony, 3rd movement The Twentieth Century and Beyond (cont.) Neoclassicism 379 Igor Stravinsky 380: The Rite of Spring 381 Expressionism 389 Arnold Schoenberg 389: Atonality 391, the Twelve-Tone System 392 Survivor from Warsaw 394 Pierrot Lunaire, Op. 21 (Moonstruck Pierrot) 396 Stravinsky: excerpts from Le Sacre du printemps Schoenberg: A Survivor from Warsaw, Op. 46 Schoenberg: Pierrot Lunaire, Op. 21 The Twentieth Century and Beyond (cont.) Alban Berg 398 Anton Webern 402 Béla Bartók 404 Dmitri Shostakovich 411 Music In America 414 Amy Beach 418 Charles Ives 420: Three Places in New England George Gershwin 424: Rhapsody in Blue George Gershwin: Porgy and Bess William Grant Still 428 Aaron Copland 430: Appalachian Spring Alberto Ginastera 434 Musical Styles since 1945 438-465 Bartók: Concerto for Orchestra, 2nd movement Copland: Appalachian Spring, section 7 (various composers and their styles)
Syllabus: Music Appreciation 10386 Spring, 2016 10 Week 7 Mon., February 29 and Wed., March 2 Jazz 467 Jazz in Society 467: Roots 470, Ragtime 473, Blues 474, New Orleans Style 479, Swing 482 (Ellington, Hampton, etc.), Bebop 485, Cool Jazz 488, Free Jazz 489, Jazz-Rock Fusion 490 Smith: Lost Your Head Blues Music for Stage and Screen 495 Musical Theater 497: Characteristics and Development 497 Leonard Bernstein 499: West Side Story 500 Music in Film 503 Bernstein: America and Tonight from West Side Story Rock 511 Development of Rock 513: Characteristics 516, Tone Color 516, Rhythm 516, Form 516, Melody 516, Harmony 516 Rock in American Society 518, Rock and Recordings 519, Rock and Television (MTV) 520 Rock and Dancing 520 The Beatles 521 Rock from your CD collection that is referred to in the textbook; bring examples to discuss in class Week 8 Mon., March 7 [Test Review] Non-Western Music 529 Music in Non-Western Cultures 529 Characteristics 529: Oral Tradition 529, Improvisation 529, Voices 529, Instruments 529, Melody 530, Rhythm 530, Texture 530 Interaction between non-western and Western Music 531 Music in sub-saharan Africa 531: Music in Society 532 Elements of African Music 533: Rhythm and Percussion 533, Vocal Music 533, Texture 533 African Instruments 533 Classical Music of India 537, Performers 538, Improvisation 538, Elements 538, Instruments 540 Koto Music of Japan 542 Shankar: Maru-Bihag Mitsuzaki: Godan-Ginuta Assignment: Prepare for the Final Test See Part Summaries (pp. 354, 460, 490, 504, 522, 546.) ANY AND ALL PAPERS DUE* (extra credit)
Syllabus: Music Appreciation 10386 Spring, 2016 11 Wed., March 9 [The Final Test] Friday, March 11 FINAL GRADES SUBMITTED TO REGISTRAR (By 3:00pm) Some suggested topics for papers (extra credit) - a particular musical form or compositional style (ex. use of polyphony, etc.) - a particular musical work with some specificity regarding stylistic analysis and its impact on music of the time - a significant composer, perhaps an important time period or overall career of prolific accomplishment in his/her life (ex. Franz Joseph Haydn contributed to the development of the string quartet, composed over 100 symphonies, etc.) - how a key historical event impacted music at the time - why a single work may be widely considered as one of the greatest ever composed - any other subject that may be appealing and of special interest to you (double check with me) Recommended or Optional Sources for Further Study and Research Harvard Dictionary of Music Naxos music library online McGraw-Hill companion website* (www.mheducation.com) * Purchase of the latest edition of the textbook, Music: An Appreciation (11 th Edition) by Roger Kamien along with access to LearnSmart gives you access to extensive online study and listening materials. According to the publisher -- Powered by innovative technology, this learning system (LearnSmart) provides each student a fully customized experience by identifying the student s strengths and weaknesses and responding with personalized instruction that guides the learner to understand and retain the course material.
Syllabus: Music Appreciation 10386 Spring, 2016 12 COURSE AND UNIVERSITY POLICIES AND PROCEDURES Drop Policy: Occasionally, one encounters life circumstances that require extensive immediate attention. Should you be challenged by such a predicament that does not allow you to devote the necessary time, effort, disciplined work and attention to complete the course, then a suitable choice may be to drop the course before the drop deadline. If you discover that you need to drop this class, you must go to the Records Office and ask for the necessary paperwork. Professors cannot drop students; this is always the responsibility of the student. The record s office will provide a deadline for which the form must be returned, completed and signed. Once you return the signed form to the records office and wait 24 hours, you must go into Warrior Web and confirm that you are no longer enrolled. Should you still be enrolled, FOLLOW-UP with the records office immediately! You are to attend class until the procedure is complete to avoid penalty for absence. Should you miss the deadline or fail to follow the procedure, you will receive an F in the course. Incomplete Policy: If you want to discontinue the course and a drop is not possible because the drop deadline has passed, then an incomplete may be an appropriate alternative. An incomplete does not dismiss you from the rigors of the class offerings and course requirements. However, it does enable you to complete all requirements by allotting sufficient time to give your best scholastic effort. Academic Integrity: Texas A&M University-Central Texas values the integrity of the academic enterprise and strives for the highest standards of academic conduct. A&M-Central Texas expects its students, faculty, and staff to support the adherence to high standards of personal and scholarly conduct to preserve the honor and integrity of the creative community. Academic integrity is defined as a commitment to honesty, trust, fairness, respect, and responsibility. Any deviation by students from this expectation may result in a failing grade for the assignment and potentially a failing grade for the course. Academic misconduct is any act that improperly affects a true and honest evaluation of a student s academic performance and includes, but is not limited to, cheating on an examination or other academic work, plagiarism and improper citation of sources, using another student s work, collusion, and the abuse of resource materials. All academic misconduct concerns will be reported to the University s Office of Student Conduct. Ignorance of the University s standards and expectations is never an excuse to act with a lack of integrity. When in doubt on collaboration, citation, or any issue, please contact your instructor before taking a course of action. Access & Inclusion: At Texas A&M University Central Texas, we value an inclusive learning environment where every student has an equal chance to succeed and has the right to an education that is barrier-free. The Office of Access & Inclusion is responsible for ensuring that students with a disability enjoy equal access to the University's programs, services and activities. Some aspects of this course or the way the course is taught may present barriers to learning due to a disability. If you feel this is the case, please contact Access & Inclusion at (254) 501-5831 in Warrior Hall, Ste. 212. For more information, please visit their website at https://www.tamuct.edu/departments/disabilitysupport/index.php Any information you provide is private and confidential and will be treated as such.
Syllabus: Music Appreciation 10386 Spring, 2016 13 Tutoring: Tutoring is available to all TAMUCT students, both on-campus and online. Subjects tutored include Accounting, Finance, Statistics, Mathematics, and Study Skills. Tutors are available at the Tutoring Center in Warrior Hall, Suite 111. Visit www.tamuct.edu/academicsupport and click "Tutoring Support" for tutor schedules and contact information. If you have questions, need to schedule a tutoring session, or if you are interested in becoming a tutor, contact Academic Support Programs at (254) 501-5830/5836, or by emailing cecilia.morales@tamuct.edu Chat live with a tutor 24/7 for almost any subject on your computer! Tutor.com is an online tutoring platform that enables TAMUCT students to log-in and receive FREE online tutoring and writing support. This tool provides tutoring in Mathematics, Chemistry, Physics, Biology, Spanish, Calculus, and Statistics. To access Tutor.com, click on https://www.tamuct.edu/departments/academicsupport/tutoring.php University Writing Center: The University Writing Center at Texas A&M University-Central Texas is a free workspace open to all TAMUCT students. The UWC is located in 416 Warrior Hall. The center is open 11am-6pm Monday-Thursday during the spring semester. Students may work independently in the UWC by checking out a laptop that runs Microsoft Office suite and connects to WIFI, or by consulting our resources on writing, including all of the relevant style guides. Students may also arrange a one-on-on session with a trained and experienced writing tutor. Tutorials can be arranged by visiting the UWC. Tutors are prepared to help writers of all levels and abilities at any stage of the writing process. Sessions typically last between 20-30 minutes. While tutors will not write, edit, or grade papers, they will help students develop more effective invention and revision strategies. University Library: The University Library provides many services in support of research across campus and at a distance. We offer over 200 electronic databases containing approximately 250,000 ebooks and 82,000 journals, in addition to the 72,000 items in our print collection, which can be mailed to students who live more than 50 miles from campus. Research guides for each subject taught at TAMUCT are available through our website to help students navigate these resources. Oncampus, the library offers technology including cameras, laptops, microphones, web cams, and digital sound recorders. Research assistance from a librarian is also available twenty-four hours a day through our online chat service, and at the reference desk when the library is open. Research sessions can be scheduled for more comprehensive assistance, and may take place on Skype or in-person at the library. Assistance may cover many topics, including how to find articles in peer-reviewed journals, how to cite resources, and how to piece together research for written assignments. Our 27,000-square-foot facility on the TAMUCT main campus includes student lounges, private study rooms, group workspaces, computer labs, family areas suitable for all ages, and many other features. Services such as interlibrary loan, TexShare, binding, and laminating are available. The library frequently offers workshops, tours, readings, and other events. For more information, please visit our homepage: https://tamuct.libguides.com/ Technology Support: For technology issues, students should contact: Help Desk Central (24 hours a day, 7 days a week) Email: helpdesk@tamu.edu Phone: (254) 519-5466 Web Chat: http://hdc.tamu.edu When calling for support please let your support technician know you are a TAMUCT student. For issues related to course content and requirements, contact your instructor.