Vienna: The Capital of Classical Music DIS Fall 2017 European Humanities 1 Credit Course Fridays 14:50 16:10 F24 406 Course starts September 29 th Introduction A music appreciation course focusing on selected composers that worked in Vienna from the classical period to the early 20 th century. The course will provide a historical overview of the development of western music as well as an introduction to musical forms and compositional techniques through listening, discussion, and analysis of selected masterpieces. The music is contextualized through a study of the history of ideas, and the introduction of central themes and concepts to further develop class discussion and interpretation. This course requires no prior music training and is open to all with an interest in music in the classical tradition. The course includes required listening examples in addition to short readings, a performance and discussion with a student from The Royal Academy of Music in Copenhagen, and a study tour to Vienna. Instructor Ian Samuel Terkildsen, Composer. Music theory and composition studies with Robert Cogan at the New England Conservatory of Music. Post-graduate studies in musicology at the University of Copenhagen. Piano studies with Poul Rosenbaum. Performances of piano and chamber music works given in Boston (1997-1999). Violist in several symphony orchestras in the U.S. and Denmark. Instructor of private lessons in piano (since 2011). Assistant instructor of music theory and ear training, New England Conservatory (1997-1999). Ian also holds degrees in economics and business. With DIS since 2007 as assistant director of the study tour department and instructor of music since 2010. Contact (Ian): Work: 33 76 54 05 Mobile: 30 67 10 16 Email: ist@dis.dk DIS Contact Sanne Rasmussen, Program Coordinator, European Humanities Department, sra@dis.dk Class Meetings Fridays, September 29 th December 1 st, 14:50-16:10 Room: F24-406 Wednesday Oct. 18 th : Field Study 13.00-17.00 Oral Exams held Dec. 5 th + 8th Class Format Course lectures and an afternoon field study leading up to the curriculum integrated study tour to Vienna. 1
Study Tour Meeting place & time: Copenhagen Airport, Terminal 2, Thursday, November 23 at 8.15am Course Objectives Provide an understanding of the development of western European music and music s historical significance. Provide insight into the significance of Vienna as a musical center and an understanding of its influence on European music traditions. Become acquainted with some of the leading Viennese composers and their masterpieces. Learn techniques of musical analysis and gain increased understanding of musical forms and compositional techniques. At the end of the course and study tour, students will be able to demonstrate a more significant understanding of music history and western European musical repertoire. Grading elements Study Tour Presentation: 25% Active Participation in class and on study tour: 25% Final Exam: 50% Study Tour Presentation A 3 to 5-minute on-site presentation in Vienna on a subject chosen during class. Final Exam A 7-10-minute oral exam where two of five-six possible pre-announced topics will be discussed with the instructor and an external examiner. Active Participation Students are expected to participate actively during class discussions, the field study and the study tour. Preparation for class sessions includes readings and listening examples and guideline questions. Laptop computers and Mobile Phones Use of mobile phones during class is not allowed and they need to be switched off. Laptop computers can be used as long as connections to social media and instant messaging are disabled during the class. Disability and Resource Statement Any student who has a need for accommodation based on the impact of a disability should immediately contact Office of Academic Support (acadsupp@dis.dk) to coordinate this. In order to receive accommodations, students should inform the instructor of approved DIS accommodations. 2
Course Schedule Session 1, September 29, 2017: Introduction Introduction to the class group: A survey of our interests and backgrounds Vienna: The city that became the capital of classical music Defining Classical Music An introduction to music theory and historical developments up to the classical period: Melody Historical development of modes and scales Using scales to create melodic lines, motifs, and other thematic material Harmony Development of polyphony Tonal Harmony & Counterpoint Required reading for next session (Compendium): The Musical Scene in Vienna, 1781-82 (p. 89-95) Jay & Palisca: The Late 18 th century: Haydn and Mozart (p. 1-6) Weiss & Taruskin: 81 Haydn s duties in the service of Prince Esterhazy (p. 50-51) 85 The young Mozart as a scientific curiosity (p.52-53) 86 From Mozart s letters (p.54-55) 88 Sonata Form and the Symphony (p.56) Required listening for next session (session 2): Haydn Symphony 94: movements 2-3 Mozart Symphony 40: movement 1 Recommended listening for next session: Mozart: Requiem Haydn: Symphony 94: movements 1 and 4 Haydn: String Quartet Op. 74 No. 3, Rider Questions for next session s discussion: Listen to the Haydn symphony 94 movement 3. Try to sense the rhythmical structure (the pulse) of the movement. What does this rhythm refer to? What is the definition of Minuet? What function does a movement like this have in a 4-movement symphony? Listen to the first minutes of the Mozart symphony 40 a few times. Identify the melody and listen to how it is phrased. Think about the melody as a sentence. Identify the punctuation in this sentence. When does the sentence have pauses (commas) and when does it stop (periods). Think about the harmony in this piece. What function does it have? Would you call this use of harmony an example of polyphony or homophony? 3
Session 2, October 6, 2017: The Classical Period and Sonata Form Music s accessibility: the middle class, concerts, education, etc. The Enlightenment The financing of musical institutions and composers (patronage) Joseph Haydn (1732-1809) The father of classical music A short overview of his life and work The structure of the 4 movement symphony with focus on the Minuet Wolfgang Amadeus Mozart (1756-1791) A short overview of his life and work Analysis: Mozart Symphony 40, 1 st mvt. Sonata Form Required reading for next session (session 3): Jay & Palisca: Ludwig Van Beethoven (p.7-35) Weiss & Tarusikin: 92 The first reactions to Beethoven s 3 rd Symphony (p.61) 93 & 94 A contemporary portrait of Beethoven & The first performance of the 9 th (p.61-63) Schubert: Erlkönig Translation of Poem Required listening for next session (session 3): Beethoven: Symphony No. 3 Eroica 1 st movement Beethoven: Symphony No. 6 Pastoral 1 st movement, 2 nd movement, 4 th movement Schubert: Erlkönig Recommended listening for next session: Beethoven: Symphony No. 3 Eroica 2 nd, 3 rd and 4 th movements Beethoven: Symphony No. 6 Pastoral remaining movements Beethoven: Symphony No. 5 Questions for next session: Listen to the first movement of Beethoven s 3 rd symphony, the Eroica. What do you notice about the overall sound as compared to Mozart and Beethoven? Is it easier or harder to follow the phrases? Is the orchestra sound bigger or is it more intimate? Listen to the required listening movements of the 6 th symphony. Concentrating on the 2 nd and 4 th movements, write down a short and concise description of some of the orchestral effects used to depict nature. What do we mean by Romantic music? How is this period different from the preceding classical period? 4
Field Study, October 18, 2017, Afternoon: The Romantic Period: Beethoven Piano Sonata Venue TBA Meeting place and time TBA Live performance and discussion with piano student from The Academy Beethoven Piano Sonata No. 23 in F-minor, Appassionata The session will include a performance of the work, analysis, as well as a discussion about interpretation techniques by the performer. 5
Session 3, October 20, 2017: From the Classical period to the Romantic period: Beethoven Presentations in Vienna: An introduction to the assignment Vienna at the turn of the century (1800) Romantic ideals: The representation of human experience in music Ludwig Van Beethoven (1770-1827) Overview of his life and work Beethoven s three periods The Beethoven symphonies: Focus on the 3 rd and 6 th symphonies Questions to consider: What are the main aspects of the romantic period and what ways are they represented through music of this period? What major style differences are there between Schubert and Beethoven, and how did they contribute to different aspects of the romantic period? Analysis: Schubert, Der Erlkönig A mini-opera in a song Melody and its support of the story Accompaniment and its support of the story Elements of classical form Required listening for tomorrow s field study: Beethoven: Piano sonata No. 23 in F-minor Appassionata 1 st movement Required reading for next session (session 4): Donald Mitchell: Mahler and Freud (p.103-105) Required listening for next session (session 4): Mahler: Symphony No. 1, mvt. 1 & 3 Mahler: Symphony No. 5, mvt. 4 Mahler: Symphony No. 9, mvt. 1 It is recommended that you listen to the remaining movements of the above symphonies. Questions for next session: Listen to the beginning of Mahler s 1 st symphony, (1 st movement). Compare this pastoral movement to the other pastoral symphony that you know, Beethoven s 6 th. How are they similar in their depiction of nature and how are they different. How does the thematic material (melody) develop in each of the works? Listen to the beginning theme of the 3 rd movement of the 1 st symphony. Do you recognize the melody? This movement is a funeral march but has a lot of unexpected elements (especially the last 5 minutes of the movement). What do you think Mahler is lamenting? 6
Session 4, October 27, 2017: From the romantic period to the breakdown of tonality: Mahler Presentations in Vienna: Finalization of the student groups An introduction to central European philosophy and its effect on German composers Gustav Mahler (1860-1911) Overview of his life and work Vienna at the turn of the century (1900) Mahler as a conductor and public figure in Vienna and New York - Mahler s compositional principals Mahler s influence on future conductors and composers Analysis: Mahler Symphonies, excerpts Organic development of thematic material, use of polyphony Elements of classical form and the form of the symphony Orchestration, polyphony & counterpoint, and climax Use of fate motif in symphony 5, farewell motif in symphony 9 Interruptions and the mundane Required reading for next session (session 5): Grout & Palisca: Atonality, Serialism, and recent developments in 20 th century Europe, (p.36-48) Weiss & Tarusikin: 127: The death of Tonality (p.74-75) 128: Arnold Schoenberg on Composition with 12 tones (p.75-77) Required listening for next session (session 5): Schönberg, 6 Kleine Klavierstücke, op. 19 Recommended listing for next session: Mahler: Symphony No. 10, Mvt. 1 Schönberg, Verklärte Nacht Questions for next session: What is the definition of expressionism? Thinking back to the melody as a phrase or a sentence can you sense the punctuation in the Schönberg piano pieces? 7
Session 5, November 10, 2017: From the romantic period to the breakdown of tonality: Schönberg and the Second Viennese School Vienna course paper assignment introduction The Second Viennese School: Schönberg, Webern, Berg Arnold Schönberg (1874-1951) Overview of his life and work A-tonal music: an introduction Analysis: Schönberg, Piano music The emergence of the 12-tone system out of free a-tonality Melody, harmony, and form in an a-tonal composition The 12 tone row and how it is used Final Syllabus Session 6, November 17, 2017: Study Tour Preparation Study Tour Presentations: Presentation expectations and evaluation Discussion: Concert in Vienna Study tour preparation: Introduction to the upcoming study tour Run through of the academic visits Map exercise Practical information regarding our study tour Required reading for next session (session 7): Weiss & Tarusikin: 122: Debussy and Musical Impressionism (p. 71-73) 135: Anti-Romantic Polemics from Stravinsky s Autobiography (p.78-80) 137: The cult of Blague: Satie and The Six (p.81-84) Required listening for next session (session 7): Nielsen: Symphony No. 5 (mvt. 1) Debussy: Suite Bergamasque, mvts. 1+2 Bartok: Music for Strings, Percussion and Celesta, mvt. 2 Stravinsky: The Rite of Spring, Sacrificial Dance Recommended listening for next session: Sibelius: Symphony No. 7 (complete) Ravel: String Quartet (complete) Shostakovich: Symphony 5, mvt. 1 8
Study Tour to Vienna Nov. 23-26, 2017 Student presentations on sites relevant for our class: Vienna State Opera Musikverein Mozart s apartment Leopold Museum Theater an der Wien Vienna Secession Café Central In addition the study tour includes: Walking tour in Vienna led by a local historian Opera Performance with pre- and post-performance discussions Symphony performance with pre- and post-performance discussions Time to explore Vienna on your own Session 7, December 1, 2017: The musical world outside of Vienna at the turn of the century An overview of musical ideas at the start of the 20 th century and Vienna s influence National Identity through Music: Anti-German music and the emergence of new and national musical elements: Scandinavia and Finland: Nielsen & Sibelius The Nordic sound Hungary: Bartok Folk music and ethnomusicology France: Satie, Debussy, Ravel Impressionism Russia (Soviet Union): Stravinsky & Shostakovich Anti-romantic, neo-classical, and post romantic Concluding wrap-up Oral Exams held December 5 + 8 9