MUSC 100-02 ~ F/Understanding Music: A Survey of Musical Styles ~ Spring 2016 ~ Syllabus ~ p.1 CLASS TIME: Tues. & Thurs. 8:30-9:45am PROFESSOR: James Kirkwood 9-Jan-16 version CLASS LOCATION: Brodie Rm. 208 EMAIL: kirkwood@geneseo.edu OFFICE LOCATION: Brodie Rm. 123 PHONE: 585-690-0994 OFFICE HOURS: By appointment This introductory course will survey the six primary Musical Style Periods of Western Art Music. Emphasis will be placed on specific works of music that embody the most important musical style periods, with discussion of social, political, religious and other influences on these musical styles. By the end of the semester, the successful students will understand the stylistic features of the six musical style periods which are the focus of this course, and be able to discuss the these musical styles in terms of the their musical characteristics, chronology, representative musical works, composers, and the social context for each musical style period. Learn the conventional musical vocabulary required for a discussion of music and musical styles. Increase their aesthetic sensitivity, aural perception and general understanding of art music. A.) TEXT: Roger Kamien s Music: An Appreciation (10th edition / 2010.), on sale at Sundance Books and the College Bookstore. All additional reading assignments will be available on My Courses. ISBN-13: 978-0-07-802508-2 B.) LISTENING: 9-CD set of recordings which accompany the textbook, on sale at Sundance Bookstore and the College Bookstore, and also on reserve at Milne Library. The purchase of these is optional, since all the recordings for this course are on electronic reserve on My Courses. Contact me if you have any difficulty with this system. C.) CONCERT ATTENDANCE: Students are required to attend five approved concerts sponsored by the School of the Arts. Check the Music 100 Approved Concert List on pp.5&6 of the Syllabus and plan for these events, they are worth 10% of your course grade. Be sure to sign in before and after each concert to verify your attendance**, at the desk in the lobby of the concert hall. Plan to arrive and sign-in five minutes early and be sure to sign-out after the end of the program. It is not possible to arrange other concert attendance opportunities. Plan your concerts and attend before it is too late to satisfy this requirement. **Attendance without validation will not receive credit. D.) OFFICIAL COMMUNICATION: Students are responsible for reading and responding to email to their college address in a timely manner. Students should use email for communication of any information outside of class which has an impact on their grade (absences, assignment questions, conflicts, etc). E.) EXAMS: There will be six unit tests and a cumulative final exam. Each unit test will focus on the composers in the current unit and their works, and will include both aural discrimination questions and questions relating to the material covered in class, the listening assignments, and in your reading. The emphasis will be upon the stylistic innovations and characteristics of the composers studied and the stylistic characteristics of their time period. The Final Exam will be cumulative, and will conform to the pattern of the unit exams, with the addition of essay questions. F.) ABSENCES: Unexcused absences from quizzes, concerts, or exams will receive a grade of zero. If you must miss tests or concerts, it is important for you to see me well in advance of any planned absence from exams. In the rare case of an emergency absence, be certain to contact me immediately by email or by phone to avoid the effect of a zero on your cumulative average. It is the student s responsibility to schedule a makeup for missed exams at the earliest possible time. PLAN AHEAD. I will post exam stencils, grades, and extra reading on My Courses, but class handouts will not necessarily be posted. Students are responsible for all information from text, listening, classes, hand-outs and home work G.) EVALUATION: The six unit tests are each worth 10% of the final grade. Each test will include listening & short answer or essay questions. Homework and class participation will count for 10% of the final grade. All assignments must be submitted as a wordprocessed attachment by email, submitted before the start class on the day it is due. Attendance at five required concerts is worth a combined total of 10% of the final grade. The cumulative final will be worth 20% of the final grade. H.) GRADES will be calculated using the following scale: A [100 93]; A- [92-90]; B+ [89-87]; B [86 83]; B- [82-80]; C+ [79-77]; C [76-73]; C- [72-69]; D [68-60]; E [59-00] ELECTRONIC DEVICES: The use of electronic devices is forbidden in class. Out of respect for your classmates and teacher, all cell-phones, pagers, laptops and other devices must be turned off before class begins. ACCOMMODATIONS: SUNY Geneseo will make reasonable accommodations for persons with documented physical, emotional, or cognitive disabilities. Accommodations will also be made for medical conditions related to pregnancy or parenting. Students should contact Dean Buggie-Hunt in the Office of Disability Services (tbuggieh@geneseo.edu or 585-245-5112) and their faculty to discuss needed accommodations as early as possible in the semester. STATEMENT OF RESPECT AND DIVERSITY: We, the Geneseo community, embrace both respect for the person and freedom of speech. The College promotes civility and denounces acts of hatred or intolerance. The free exchange of ideas is possible only when concepts, values and viewpoints can be expressed and challenged in a manner that is neither threatening nor demeaning. It is the policy of the State University College at Geneseo, in keeping with its efforts to foster a community in which the diversity of all members is respected, not to discriminate on the basis of race, religion, color, sexual orientation, national or ethnic origin, sex, age, marital or veteran status, disability, carrier status, genetic predisposition or any other protected status. Respect for the dignity of all peoples is an essential part of the College's tradition and mission, and its vision for the future. NB: This syllabus approximates the course s content and schedule. The instructor reserves the right to make changes and alterations of the schedule and content of this syllabus and to announce such changes in class. Students are responsible for fulfilling any new or revised requirements or obligations.
MUSC 100-02 ~ F/Understanding Music: A Survey of Musical Styles ~ Spring 2016 ~ Syllabus ~ p.2 19-Jan #1. Introductory lecture - a.) The syllabus, text, listening & MyCourses as resources; b.) Describing music: sound, line, time, texture; c.) Assignment for class two: The Elements of Music : p.1 66 with listening examples for the unit. 21-Jan #2. Review and continue discussion of the Elements of Music & Music of the Middle Ages (pg. 70-91) Continue discussion of rhythm, add notation, melody, harmony, key, musical texture, musical form, and reach musical style. Anon (?): Alleluia: Vidimus stellam uncertain 26-Jan #3. Hildegard of Bingen (1098-1179): O Successores (c.1150) Rupertsberg, Germany Anon. (13 th century): Estampie uncertain Evolution of Polyphony; Later Medieval Polyphony Perotin (c.1155-1225) : Alleluia: Nativitas (c.1200) Landini, Francesco (? - 1397): Ecco la primavera (c.1375) Florence, Italy Machaut, Guillaume de (1300-1377): Agnus Dei from the Notre Dame Mass (c. 1350) Rheims, Champagne 28-Jan #4. Machaut, Guillaume de (1300-1377): Puis qu en oubli sui sui de vous (c. 1363) Rheims, Champagne Rondeau form as a modified strophic type of form discussion of hearing form by melodic signature, dynamics, harmony, rhythm, tempo, register, etc look at ternary first movement and binary second movement example: Vivaldi RV 46 to develop ideas First Secular Music VCR tape to amplify Medieval to Renaissance contrasts REVIEW Medieval and Elements Units as class needs 2-Feb #5. QUIZ No.1 MEDIEVAL MUSICAL STYLE & ELEMENTS OF MUSIC After quiz, introductory lecture on Renaissance musical style (pg. 92 115) Desprez, Josquin (c.1440-1521): Ave Maria...virgo serena (c.1475) Ferrara, Italy Late Renaissance Style, Counter-reformation, Council of Trent Palestrina, Giovannin Pierluigi da (c.1525-1594): Kyrie from Pope Marcellus Mass (1563) Rome, Italy 4-Feb #6. UNIT III. The Renaissance (pg.99-119) Early and High Renaissance Weelkes, Thomas (c.1575-1623): As Vesta Was Descending (1601) London, England Dowland (1563-1623): Flow My Tears (c.1600) London, England Caroubel, Pierre F. (1576-1611): Passamezzo & Galliard (?) from Terpsichore (1612) Wolfenbüttle, Germany Gabrielli, Giovanni (c.1555-1612): Plaudite (1597) Venice, Italy 9-Feb #7. Late Renaissance Style Motets & Madrigals 11-Feb #8. QUIZ No.2 RENAISSANCE MUSICAL STYLE Introduction to Baroque musical style: (pg.116 181) Baroque homework 1 assigned, on performing media and multi-movement designs, due TH 19-Feb before class 16-Feb #9. Went over Quiz 2. Second Lecture on Baroque musical style: (pg.116 181) Review early Baroque Opera style excerpts from L Orfeo Monteverdi video Monteverdi, Claudio (1567-1643): Orfeo - in five acts, with subdivision into scenes and numbers Mantua, Italy Purcell, Henry Dido & Aeneas compared to media and other stylistic features of Orfeo, and with late aria by Vivaldi Agitata. da due venti The Middle Baroque Style: evolution of the Opera in light of Purcell s Dido & Aeneas 18-Feb #10 Middle baroque development of instrumental music genres Tu sè morta from Orfeo (1607). Review baroque homework #1. Corelli, Arcangelo (1653 1713): Trio Sonata in A minor, op.3 No.10 (1689) Rome, Italy Purcell, Henry (1659-1695): Dido s Lament from Dido and Aeneas (1689) London, England Bach, J.S. Well-Tempered Clavier, Book 1 (1722) Cöthen, Germany o Prelude in C minor o Fugue in C minor - Little Fugue in G minor (1709) Weimar, Germany The Late Baroque Style: Discussion of the multi-movement design of the B Minor Mass, with handout 23-Feb #11. Bach, Johann Sebastian (1685-1750): - B minor mass Part III. Symbolum Nicenum (Credo) Leipzig, Germany o No.5 Crucifixus o No.6 Et resurrexit - Brandenburg Concerto No.5 in D ma. (1721) Cöthen, Germany o First movement Allegro o Second movement Affettuoso o Third movement Allegro Vivaldi, Antonio (1678-1741): La Primavera from the Four Seasons (1725) Venice, Italy o First movement Allegro o Second movement - Largo e pianissimo sempre o Third movement - Danza Pastorale Bach, J.S. Suite No.3 in D major, BWV 1068 (1717) Cöthen, Germany o Second movement Air 25-Feb #12. Bach, J.S. - Cantata No.140 Wachet Auf BWV 140 (1731) Leipzig, Germany o First movement - Wachet auf ruft uns die Stimme Fourth movement - Zion hört die Wächter singen o Seventh movement - Gloria sei dir gesungen Suite No.3 in D major, BWV 1068 (1717) Cöthen, Germany o Fourth movement Bourrée Fifth movement - Gigue Handel, George Frideric (1685-1759): Messiah (1741) in two parts Dublin, Ireland Messiah, Part I, No.1. Overture Messiah, Part I, No.2. Comfort Ye; 3.Ev ry Valley; Messiah, Part I, No.12. For unto Us Messiah, Part II, Finale: Halleluia Chorus Handel: Julius Ceasar GALL / SELLERS PERFORMANCE o Overture to Act I o Aria Empio. 1-Mar #13. QUIZ No.3 BAROQUE MUSICAL STYLE After quiz: Introduction to Classical Style (pg.182-249) discussion of p.122 v 188 in contrasts between baroque and classical styles. Abandoning basso continuo, discontinuity as a new focus: pleasing variety. Ritornello v. sonata-allegro form as a litmus test. Barber of Seville.
MUSC 100-02 ~ F/Understanding Music: A Survey of Musical Styles ~ Spring 2016 ~ Syllabus ~ p.3 3-Mar #14. The Classical Symphony: Barber of Seville revisited, Figaro s aria. Beethoven, Ludwig van (1770-1827): Symphony No.5 in C minor, op.67 (1808) First Movement: Allegro con brio Second Movement: Andante con moto Third Movement: Allegro Fourth Movement: Allegro Mozart Symphony No. 40 in G minor first movement 8-Mar #15. Mozart Symphony No. 40 in G minor second through fourth movements String Quartet: Haydn, Mozart & Beethoven, Ludwig van (1770-1827) Beethoven : String Quartet in C Minor, Op.18 No.4 (1798-1800) Fourth Movement: Rondo Mozart: Serenade: Eine Kleine Nachtmusik in G Major, K. 525 (1787) Third Movement: Minuet (allegretto) 10-Mar #16. Opera Buffa, revisited: Mozart, Wolfgang Amadeus (1756-1791): Don Giovanni K.527 (1787) - in two acts Prague, Bohemia Act I, scene i:. Opening scene Notte e giorno faticar Act I, scene ii: Catalog Aria (Madamina) & Act I scene iii Là ci darem la mano Mozart: Piano Concerto in A Major, K.488 (1786) First movement: Allegro (Second movement: Adagio and Third movement: Allegro assai discussed in text) 14-MARCH through 18-MARCH ~~~ NO CLASS DURING SPRING BREAK 22-MAR #17. Mozart: Requiem Haydn, Franz Joseph: Trumpet Concerto in E-flat Major (1796) Third Movement: Allegro Beethoven, Ludwig van : Piano Sonata in C Minor, Op.13 Pathétique (1798) - live performance and discussion First movement: Grave; Allegro molto e con brio Second movement: Adagio cantabile Third movement: Rondo; Allegro 24-Mar #18. Mozart Piano Concerto No.23 first movement (Tofonov video) Mozart Requiem first four movements (Bourgogne video) Beethoven Symphony No.9 as a new stylistic model of the symphony, noting cyclic technique unifying the entire work, as in the 5 th. Period Review 29-Mar #19. QUIZ No.4 - CLASSICAL MUSICAL STYLE - Introduction to the Romantic Style (pg.250-355) Early Romantic Program Music Berlioz, Hector (1803-69): Symphonie Fantastique (1830) First, Second, & Third movements 31-Mar #20. Berlioz, Hector (1803-69): Symphonie Fantastique (1830) Fourth Movement: March to the Scaffold Fifth movement Dream of a Witches Sabbath Schubert, Franz (1797-1828): The Early Romantics: the Lied Schubert, Franz: Erlkönig (1815) Die Forelle (1817) 5-Apr #21. Review orchestration homework. Announce this week s concerts. Schubert, Franz (1797-1828): Piano Quintet in A Major, D.667, Die Forelle (1819): Fourth movement: Andantino The Character Piece for Piano - New Genres Schumann, Robert (1810-56): Carnaval (1834-35) Leipzig, Germany No.11: Chiarina; No.12: Chopin; No.13: Estrella; No.14: Reconnaissance Schumann, Clara Wieck (1819-1896): Romance in E-flat Minor, Op.11 No.1 Düsseldorf, Germany Chopin, Frédéric (1810-49): Nocturne in E-flat Ma, Op.9, No.2 (1830-31) Chopin, Frédéric (1810-49): Polonaise in A-flat Major, Op. 53 (1842) Chopin, Frédéric (1810-49): Etude in C Minor, Op.10, No.12 (1831) Liszt, Franz (1811-86): Transcendental Étude No.10 in F (1851) Weimar, Germany Mendelssohn, Felix (1809-1847): Violin Concerto in E Minor, Op.64 (1844) Leipzig, Germany First movement: Allegro con molto appassionato 7-Apr #22. The Late Romantic Program Music Mussorgsky, Modest (1839-81) Pictures at an Exhibition (1874) as orchestrated by Maurice Ravel in 1922 Tenth movement: The Great Gate of Kiev St.Petersburg, Russia Tchaikovsky, Peter Ilyich (1840-1893): Romeo and Juliet, Overture-Fantasy (1869) Moscow, Russia Smetana, Bed ich (1824-84): The Moldau (1874) Prague, Bohemia Second Symphonic Poem in the Cycle of Six Symphonic Poems named Má Vlast (1879) Late Romantic Conservative Composers: Dvor ák (1841-1904): Symphony No.9 in E Minor (1893): NYC, USA First movement:. Adagio; Allegro Molto Brahms (1833-1897):Symphony No.3 in F Major, Op.90 (1883) Third movement: Poco allegretto 12-Apr #23. Romantic Opera Verdi (1813-1901): Rigoletto (1851), Act III, La Donna È Mobile and Quartet Venice, Italy Wagner and Music Drama, influence upon other Late Romantic composers Wagner, continued: Die Walküre, (1856) Act I, Excerpt (Love Scene, Conclusion) Munich, Germany - video: Die Walküre
MUSC 100-02 ~ F/Understanding Music: A Survey of Musical Styles ~ Spring 2016 ~ Syllabus ~ p.4 14-Apr #24. Brahms (1833-1897): A German Requiem (1868): Fourth movement: How Lovely Is Thy Dwelling Place Mahler (1860-1911): Lieder Eines Fahrenden Gesellen (1885;1896): Second movement: Ging Heut Morgen Über s Feld Puccini (1858-1924): La Bohème (1896) Act I, Excerpt Mimi s Entrance to end of the Act. Turin, Italy - video: La Bohème 19-Apr 21-Apr GREAT DAY NO CLASSES #25. QUIZ No.5 ROMANTIC MUSICAL STYLE after quiz, introduce Twentieth Century divergence from the accepted norms established by the preceding style periods: ATONALITY (Pierrot Mondestrunken); SERIALISM (Survivor from Warsaw); KLANGFARBENMELODY as an extention of serialism; OSTINATOS and the increased importance of rhythm & percussive effects in twentieth century music; Discussion of the diverging harmonic language of the twentieth century & John Cage on sound and silence (a philosophical campaign to redefine the limits of what comprises music). Schoenberg, Pierrot Lunaire (1912) - First movement: Mondestrunken Schoenberg, A Survivor from Warsaw, Op.46 (1947) Webern Five Pieces for Orchestra, Op.10 (1913) No.3: Very Slow and Extremely Calm 26-Apr #26. Early Twentieth Century Musical Styles: Debussy and Impressionism: Debussy, Claude : Prélude à L Après-midi d un Faune (1894) Stravinsky and the Increased Importance of Rhythm: Stravinsky, Igor: Le Sacre du Printemps (1913) PART ONE Stravinsky and Primitivism: Stravinsky, Igor: Le Sacre du Printemps (1913) PART TWO Ravel, Maurice : Bolero (1928) Debussy, Claude : Preludes for piano solo, Book One (1910): No.2: Voiles Stravinsky and Neoclassicism: Stravinsky, Igor : Symphony of Psalms (1930) - First movement: Psalm 38:13-14 (Prelude) 28-Apr #27. Berg, Alban : Wozzeck, Act III, scenes 4 and 5 (1922) Berlin, Germany premiere Emergence of American compositional styles: Ives, Charles:Three Places in New England No.2: Putnam s Camp, Redding, Conn. (1912) Ives, Charles The Unanswered Question (1908) Modernism in America before 1945: Gershwin, George : Rhapsody in Blue (1924) Still, William Grant : Afro-American Symphony (1931) Third movement: Animato Copland, Aaron : Appalachian Spring (1944) No.7: Theme & Variations on Simple Gifts (1944) Bartók and Ethnomusicology: Bartók, Béla: Concerto for Orchestra (1943) First movement: Introduction Second movement: Game of Pairs Music under the Soviet Regime: Shostakovich, Dmitri : Symphony No.5 in D Minor, op.47 (1937) II. Allegretto NYC Rochester, NY, USA New York City, USA Leningrad, USSR 3-May #28. Quiz 6: TWENTIETH CENTURY MUSICAL STYLE THURSDAY, 5-MAY-2016, 8:30 10:30AM, CUMULATIVE FINAL EXAM Brodie 208 Modernism in America after 1945: Cage, John: Sonatas and Interludes for Prepared Piano (1946-48) - Sonata II Babbitt, Milton: Semi-simple Variations (1956) excerpt Cage, John: Sonatas and Interludes for Prepared Piano (1946-48) - Sonata II Babbitt, Milton: Semi-simple Variations (1956) excerpt Princeton, USA Varèse, Edgar : Poème électronique (1958). (premiere in Brussels) New York City, USA Piazzolla, Astor : Tango Suite: Fugato (1969) Buenos Aires, Argentina Crumb, George : Ancient Voices of Children (1970) - No.3: From Where Do You Come, My Love, My Child? Philadelphia, USA Glass, Philip: Einstein on the Beach: Knee Play 1 (1976) New York City, USA Zwilich, Ellen Taafe : Concerto Grosso 1985 - First movement: Maestoso New York City, USA Adams, John : Short Ride in a Fast Machine (1986) San Francisco, CA, USA
MUSC 100-02 ~ F/Understanding Music: A Survey of Musical Styles ~ Spring 2016 ~ Syllabus ~ p.5 LIST OF APPROVED CONCERTS FOR MUSC 100-02 : Students are required to attend five concerts for 10% of your course grade. It is not possible to make-up these concerts at the last moment, so plan ahead to avoid problems with this assignment. Pre-concert sign-in and post-concert sign-out are required for credit. 1. February 7 Sun. Geneseo Wind Quintet 2. February 21 Sun. Geneseo Wind Ensemble, Ernest Lascell, Conductor Geneseo Clarinet Choir Geneseo Saxophone Quartet 3:00 p.m., Wadsworth Auditorium 3. February 28 Sun. Geneseo Symphony Orchestra, Jim Tiller, Conductor Tchaikovsky Symphony No. 5 Saint Saens Introduction and Rondo Capriccioso An-Chi Lin Violin 3:00 p.m., Wadsworth Auditorium 4. March 5 Sat. Geneseo String Band Pre. St. Pat s Concert Music and Dance in the Celtic Tradition 7:00 p.m., Wadsworth Auditorium General Admission $5.00; 12 and under free, sold at the door 5. March 6 Sun. Spectrum Women s Ensemble, Amy Cochrane, Conductor Geneseo Chamber Singers, Dr. Gerard Floriano, Conductor 6. April 3 Sun. Ernest Lascell, Faculty Recital with Jonathan Gonder, Piano 3:00 p.m, Doty Recital Hall 7. April 6 - April 10 Spring Musical Into the Woods (Wednesday - Sunday) Directed by Scott Scaffidi Music Director Don Kot Wednesday through Saturday 7:30 p.m., Sunday 2:00 p.m. Alice Austin TheatreTickets: $15.00 general admission and can be purchased from www.geneseo.edu/bbo 8. April 9 Sat. Geneseo Symphony Orchestra, Jim Tiller, Conductor Featuring student winners from the 2015 Concerto Competition 3:00 p.m., Wadsworth Auditorium, Please note special day and time 9. April 15 Fri. New Music Concert Directed by Dr. Michael Masci 7:00 p.m., Doty Recital Hall 10. April 17 Sun. Geneseo Piano Trio Andrew Bergevin, violin, James Kirkwood, cello and Jonathan Gonder, piano
MUSC 100-02 ~ F/Understanding Music: A Survey of Musical Styles ~ Spring 2016 ~ Syllabus ~ p.6 11. April 22 Fri. Geneseo Wind Ensemble, Ernest Lascell, Conductor 8:00 p.m., Wadsworth Auditorium 12. April 24 Sun. Spectrum Women s Ensemble, Amy Cochrane, Conductor Geneseo Chamber Singers, Dr. Gerard Floriano, Conductor 13. April 25 Mon. Geneseo Jazz Ensemble, Mark Collins, Director 8:00 p.m., Doty Recital Hall 14. May 1 Sun. Geneseo Symphony Orchestra, Jim Tiller, Conductor Geneseo Festival Chorus, Dr. Gerard Floriano Conductor 3:00 p.m., Wadsworth Auditorium General Admission $7.50; students $5.00, sold at the door 15. May 2 Mon. Geneseo Percussion Ensemble Jim Tiller, Conductor 8:00 p.m., Wadsworth Auditorium