Music 121 Spring 2011:
HISTORY OF WESTERN MUSIC II
Course Syllabus
Instructor: Grey Brothers
5 Porter Hall
Office x6279 Home
Office Hours: MWTh 1:00-2:30
Course Meeting Time: MWF: 11:30-12:35
Texts:
J. Peter Burkholder, Donald J. Grout, and Claude V. Palisca. A History of Western Music, eighth edition.[WI1]
J. Peter Burkholder, Claude V. Palisca, ed. Norton Anthology of Western Music, sixth edition, volumes II and III.[WI2]
J. Peter Burkholder, Claude V. Palisca, ed. Norton Recorded Anthology of Western Music, sixth edition, volumes II and III.
Course Description:
This course is a chronological study of the development of cultivated music in the western world from the Classical era through the present.
Course Objectives:
To understand what music is.
To understand how music communicates thought and emotion.
To appreciate music as a vehicle by which we commune with God.
To develop a deeper knowledge and understanding of God as Creator through the study of the creative process.
To develop tools to examine music critically.
To appreciate cultivated music of the western world as one of many musical traditions of the world.
To develop an understanding of the historical development of musical form, style, and compositional technique.
To gain knowledge of historical developments as they have influenced the development of music, specifically:
how cultural forces have affected the purposes for which music has been created, and
how changing desires and tastes have shaped musical style.
To become acquainted with the lives of specific composers and familiar with important pieces of music.
To develop facility in the written and oral communication of musical ideas.
To gain an understanding and appreciation of historically appropriate performance practices.
To become acquainted with musical instruments as they have developed through the centuries.
To more fully enjoy listening to music.
Course Requirements and Policies:
Attendance at and participation in all classes. You will record your attendance at each class session on the Attendance and Listening Checklist. In accordance with Westmont College policies, you may miss up to three class meetings without penalty. Participation in class precludes engaging in private conversation, browsing the web, checking email, texting, playing video games, or anything else that takes your attention from class activities.
Reading of the textbooks and the anthology. [WI3]You are expected to read the required pages before the class period for which they are assigned. This includes both the pages in Burkholder, Grout, and Palisca, A History of Western Music, and the pages in the anthology that accompany the assigned listening examples in Burkholder and Palisca Norton Anthology of Western Music, volumes II and III.
Listening outside of class. You are expected to listen to the musical examples, following their scores and reading the pages accompanying them in Burkholder and Palisca Norton Anthology of Western Music, volumes II and III, before the class period for which they are assigned. You must submit a properly completed Attendance and Listening Checklist in order to receive credit for outside listening.
Completion of quizzes. Brief quizzes on the readings and listening will be administered at the beginning of many class sessions. If missed due to lateness or absence, these quizzes may not be made up. To help you prepare, you will receive study guides in advance.
Completion of exams. [WI4]Exams can be taken late only in an emergency. If you need to take an exam at a time other than it is scheduled, notification must be given at least two weeks in advance. Rescheduling of the final exam must be accomplished through the office of the Registrar.
Completion of papers. [WI5]Two papers will be required. Paper drafts must be submitted by the dates assigned. Late submissions will receive a grade of no credit.
Completion of class presentations. During the semester, you will be required to give two brief presentations on the subjects of your papers. Each must be delivered on the date assigned. The schedule of these presentations will be developed as the semester progresses.
Demonstration of academic integrity. Instances of academic dishonesty, including plagiarism, cheating, or falsification, will result in a grade of “F” in the course and may result in suspension from the college (See, on the Westmont College Webpage: Academics/Registrar/Academic Policies/Policies & Procedures (Academic Dishonesty) and Plagiarism Policy.
General Education:
Writing about music within a historical context presents unique challenges involving synthesis of the abstract and the concrete. This course includes a significant writing component, including opportunities to revise written submissions in response to the instructor’s written comments. As such, it satisfies the Westmont College General Education requirement of a Writing-Intensive Course within the Major.
Grading:
Attendance and participation5 points
Listening5 points
Quizzes15 points
Exams (3)51 points
Papers (2)20 points
Presentations (2)4 points
Total 100 points
Grading Scale:
100-97A +96-93A92-90A -
89-87B +86-83B82-80B -
79-77C +76-73C72-70C -
69-67D +66-63D62-60D -
Course Outline:
January
10Introduction
Course Objectives, Requirements, and Resources
Outline of Western Music History, Terminology
12Introduction
Papers and Presentations
14Introduction
Classical Structures and Forms
17Martin Luther King, Jr. Day
18Introduction
Classical Structures and Forms
Musical Taste and Style in the Enlightenment
Burkholder/Grout: Pages 468-82
Unit I: The Classic Period through Beethoven
19Opera and Vocal Music in the Early Classic Period
Burkholder/Grout: Pages 483-93
Anthology: Examples 101-2
21Opera and Vocal Music in the Early Classic Period
Burkholder/Grout: Pages 493-505
Anthology: Examples 103-5
24Instrumental Music: Sonata, Symphony, and Concerto at Midcentury
Burkholder/Grout: Pages 506-15
26Instrumental Music: Sonata, Symphony, and Concerto at Midcentury
Burkholder/Grout: Pages 515-25
Anthology: Examples 106-10
28Classical Music in the Late Eighteenth Century
Burkholder/Grout: Pages 526-46
Anthology: Examples 111-13
31Classical Music in the Late Eighteenth Century
Burkholder/Grout: Pages 546-65
Anthology: Examples 114-17
February
2Revolution and Change
Burkholder/Grout: Pages 566-85
Anthology: Examples 118-19
4Revolution and Change
Burkholder/Grout: Pages 585-94
Anthology: Example 120
Paper 1 due
7Review
9Exam 1: The Classic Period through Beethoven
Unit II: Romanticism and the Nineteenth Century
11The Romantic Generation: Song and Piano Music
Burkholder/Grout: Pages 595-615
Anthology: Examples 121-4
14The Romantic Generation: Song and Piano Music
Burkholder/Grout: Pages 616-32
Anthology: Examples 125-9
16Romanticism in Classic Forms: Orchestral, Chamber, and Choral Music
Burkholder/Grout: Pages 633-48
Anthology: Examples 130-2
Paper 1 revised draft due
18Romanticism in Classic Forms: Orchestral, Chamber, and Choral Music
Burkholder/Grout: Pages 648-60
Anthology: Examples 133-6
21Presidents’ Day
23Romantic Opera and Musical Theater to Midcentury
Burkholder/Grout: Pages 661-73
Anthology: Examples 137-8
25Romantic Opera and Musical Theater to Midcentury
Burkholder/Grout: Pages 673-84
Anthology: Examples 139-40
28Opera and Musical Theater in the Later Nineteenth Century
Burkholder/Grout: Pages 685-707
Anthology: Examples 141-2
March
2Opera and Musical Theater in the Later Nineteenth Century
Burkholder/Grout: Pages 707-23
Anthology: Examples 143-6
4Late Romanticism in Germany and Austria
Burkholder/Grout: Pages 724-35
Anthology: Examples 147-8
7Late Romanticism in Germany and Austria
Burkholder/Grout: Pages 735-49
Anthology: Examples 149-50
9Diverging Traditions in the Later Nineteenth Century
Burkholder/Grout: Pages 750-61
Anthology: Examples 151-2
11Diverging Traditions in the Later Nineteenth Century
Burkholder/Grout: Pages 761-9
Anthology: Examples 153-4
14-18Spring Recess
21Review
23Exam 2: Romanticism and the Nineteenth Century
Unit III: The Twentieth Century and After
25The Early Twentieth Century
Burkholder/Grout: Pages 770-90
Anthology: Example 155
28The Early Twentieth Century
Burkholder/Grout: Pages 790-809
Anthology: Examples 156-9
30Modernism and the Classical Tradition
Burkholder/Grout: Pages 810-829
Anthology: Examples 160-3
Paper 2 due
April
1Modernism and the Classical Tradition
Burkholder/Grout: Pages 829-54
Anthology: Examples 164-8
4Between the World Wars: Jazz and Popular Music
Burkholder/Grout: Pages 855-68
Anthology: Examples 169-71
6Between the World Wars: Jazz and Popular Music
Burkholder/Grout: Pages 868-76
Anthology: Examples 172
8Between the World Wars: The Classical Tradition
Burkholder/Grout: Pages 877-92
Anthology: Examples 173-6
11Between the World Wars: The Classical Tradition
Burkholder/Grout: Pages 892-905
Anthology: Examples 177-82
Paper 2 revised draft due
13Postwar Crosscurrents
Burkholder/Grout: Pages 906-29
Anthology: Examples 183-6
15Postwar Crosscurrents
Burkholder/Grout: Pages 930-56
Anthology: Examples 187-96
18Music Since 1970
Burkholder/Grout: Pages 957-75
Anthology: Examples 197-8
20Music Since 1970
Burkholder/Grout: Pages 975-86
Anthology: Examples 199-205
22, 25Easter Recess
27Review
May
5(8:00-10:00 a.m.) Exam 3: The Twentieth Century and After
1
[WI1]This text includes many excerpts of primary music and prose sources.
[WI2]The anthology includes 105 musical scores, the primary documents that comprise the core of the course.
[WI3]This requirement calls for intensive score study in preparation for most class sessions.
[WI4]These exams include a 40% score-identification component, encouraging familiarity with these primary sources.
[WI5]Each of these papers requires extensive analysis of primary source documents (i.e. a musical score or scores) as the basis of a thesis argument.