Copy of 30Syllabus Spring 2017 PDF

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MUSIC 30: 1000 YEARS OF MUSIC LISTENING (Spring 2017) Section 601 Tuesday. 5:30 to 8:30 P.M. Lerner Hall, room 210 Instructor: Lloyd Frank Office: Van Pelt-Dietrich Library, 4th floor, room 451 Hours: Tuesday 4-5 PM, and by appointment Email: [email protected] COURSE OBJECTIVES: This is a course for music lovers from all backgrounds, whether with or without technical training or a background in performance. Our main focus will be to explain what happens when you listen to music. You will learn much about the different meanings of music in history, and you will also learn to focus your attention and become an active listener. This will in turn help you to articulate your responses to music. All of these skills together will enable you to enjoy and understand new pieces and new kinds of music in the future. TEXTBOOK: (REQUIRED) Joseph Kerman and Gary Tomlinson, Listen, Eighth edition, (W.W. Norton, 2016). http://books.wwnorton.com/books/webad-detail-editions.aspx?id=4294992439 Copies are available for purchase from the Penn Book Center, located at 130 S. 34th St (between Walnut & Sansom Sts. Please note, this store is not the Barnes & Noble University Bookstore. LISTENING: (REQUIRED) The Music 30 listening assignments are found on a six-CD set of recordings. You may also purchase access to all the recordings from a streaming music service provided by the publisher. See the web link previously listed for information on obtaining access. ASSIGNMENTS and CANVAS: Attached to this syllabus you will find a detailed list of the reading and listening assignments for each week of the course. You will observe that not every work listed in the textbook is included on the syllabus. You are responsible only for those pieces listed in the syllabus. Written response materials, final project items, exam preps, class notes, and other supplementary materials used in class will be available for you on our Canvas page. EXAMINATIONS: There will be two midterm examinations and one final examination. The final exam is cumulative and comprehensive. These exams will test your understanding of the course material, and it will explore your ability to abstract that knowledge and apply it to brief excerpts of music we have not studied in class. Three short listening identification quizzes will be given on the listening materials. The dates of the exams, quizzes, and other assignments are given in the calendar. Calculation of the final course average is as follows: Midterm Examination 1 =15%; Midterm Examination 2 =20%; Final Examination = 25%; Quizzes 1-3 (@4%) = 12%; Written Responses 1-3 (@5%) =15%; Structured Discussion Topics = 5%; Final Presentation = 8% WRITTEN RESPONSES (WR): You will be asked to complete three brief written assignments during the semester. These written responses should be only one page or so, and some are open-ended questions, meaning that there are no “right” or “wrong” answers. I am looking for you to engage the music in response to a specific question I pose, which would be relevant to the material we are discussing that week. More specific information will be provided as we approach the due date of the first assignment. STRUCTURED DISCUSSION TOPICS: During select class meetings, we will devote 20 minutes or so to an open-ended discussion. These discussions will frequently center on broad music-related topics. I am looking for you to draw from your experiences and expertise and have you apply these to a thoughtful group discussion. Where appropriate, I will provide materials to you ahead of time,

and I will gently guide the discussion as necessary. My goal here is to have the class engage in critical thinking on a variety of topics. I will be looking for you to take risks and explore questions outside of your normal comfort zones. FINAL PRESENTATION: Students will select a composition from a collection of pieces that will be presented to you after the second midterm exam. After making your selection, you will prepare a 10-minute presentation on your piece to be given to the class during the period set aside on the calendar. I will provide you with guiding questions, which will form the core of your presentation. Creativity in the presentation is highly encouraged. EXPECTATIONS: Regular class attendance is important in Music 30. Students are expected to attend all class meetings and to come to class on time. Please bring your textbook, as we will need to refer to listening diagrams often in our discussion. The use of personal electronic devices, such as cell phones, tablets, and laptop computers, are welcome and encouraged. These tools are appropriately used in class for note-taking and research. Kindly refrain from engaging in all social media, texting, and email during class.

CALENDAR:

January

February

March

April

May

17

Intro / Early Music: Medieval Music / SD: Topos

24

Medieval Music / Renaissance Music /

31

WR-1 DUE / Renaissance Music 2/Baroque Music 1

7

LISTENING QUIZ 1 / Baroque Music 2

14

Classical Period Forms / SD: Humor in Music

21

MIDTERM EXAMINATION 1 / Classical Music

28

WR-2 DUE / Beethoven / Romantic Music 1 / SD: Beethoven 9th Symphony

7

SPRING BREAK: NO CLASS MEETING

14

Romantic Music 2

21

LISTENING QUIZ 2 / Romantic Music 3

28

MIDTERM EXAMINATION 2 / Modernism 1

4

SELECTION OF PRESENTATION PIECE / WR-3 DUE / Modernism 2

11

Modernism between the Wars

18

Music after 1950 / LISTENING QUIZ 3 / Class Presentations

25

Class Presentations

2

FINAL EXAMINATION 5:30 to 7:30 pm

MUSIC 30 READING & LISTENING ASSIGNMENTS

In class:

For Jan. 24:

For Jan. 31:

For Feb. 7:

Reading:

pp. 2-41 (Ch. 1-5) pp. 44-51 (Ch. 6)

Listening:

Gregorian antiphon: “In paradisum” Hildegard of Bingen: “Columba aspexit” Bernart de Ventadorn: “La dousa votz”

Reading:

pp. 52-56 (Ch. 6) pp. 60-69 (Ch. 7)

Listening:

Pérotin: “Alleluia. Diffusa est gratia” anon: “Sumer Is Icumen In” Machaut: “Dame, de qui toute ma joie vient” Dufay: “Ave maris stella” Josquin: “Kyrie” & “Gloria” from Pange lingua Mass Josquin: “Mille regrets”

Reading:

pp. 69-76 (Ch. 7) pp. 79-90 (Ch. 8)

Listening:

Palestrina: “Gloria” from Pope Marcellus Mass Weelkes: “As Vesta Was from Latmos Hill Descending” anon: “Daphne” anon: “Kemp’s Jig” Gabrieli: O magnum mysterium Monteverdi: The Coronation of Poppea, excerpt Purcell: Dido & Aeneas, excerpt

Reading:

pp. 90-93 (Ch. 8) pp. 96-113 (Ch. 9) skim pp. 114-134 (Ch. 10) pp. 135-149 (Ch. 11)

Listening: Frescobaldi: Canzona, Balletto, and Corrente Vivaldi: Violin Concerto in G, op. 4, no. 12, mvt. 1 & 2 Vivaldi: Violin Concerto in E, “Spring,” mvt. 1 Bach: Brandenburg Concerto no. 5, mvt. 1 Bach: Prelude & Fugue no. 1 from The Well-Tempered Clavier I Handel: Minuet from the Royal Fireworks Music Bach: Gigue from Cello Suite no. 2 Handel: “La giustizia” from Julius Caesar Handel: Messiah, excerpts Bach: “Christ lag in Todesbanden,” excerpts

For Feb. 14:

For Feb. 21:

For Feb. 28:

For Mar. 14:

For Mar. 21:

Reading:

pp. 150-160 (Ch. 12) pp. 161-180 (Ch. 13)

Listening:

Mozart: Symphony no. 40 in G minor, mvt. 1 Haydn: Symphony no. 94 in G, mvt. 2 Haydn: Symphony no. 99 in E-flat, mvt. 3 Haydn: Symphony no. 101 in D, mvt. 4

Reading:

pp. 181-195 (Ch. 14)

Listening:

Mozart: Piano Concerto in A, K. 488, mvt. 1 Mozart: Don Giovanni, excerpts

Reading:

pp. 202-217 (Ch. 15) pp. 218-232 (Ch. 16) pp. 233-246 (Ch. 17)

Listening:

Beethoven: Symphony no. 5 in C minor Beethoven: Piano sonata in E, op. 109, mvt. 1 Schubert: “Erlkönig” R. Schumann: Dichterliebe, excerpts C. Schumann: “Der Mond kommt still gegangen”

Reading:

pp. 247-255 (Ch. 17) pp. 256-264 (Ch. 18)

Listening:

Schubert: Moment Musical no. 2 in A-flat R. Schumann: Carnaval, excerpts Chopin: Nocturne in F-sharp, op. 15, no. 2 Berlioz: Fantastic Symphony, mvt. 5 Verdi: Rigoletto, excerpt

Reading:

pp. 264-276 (Ch. 18) pp. 277-296 (Ch. 19)

Listening:

Wagner: The Valkyrie, excerpts Puccini: “Un bel di” from Madame Butterfly Tchaikovsky: Overture-Fantasy, Romeo and Juliet Musorgsky: Pictures at an Exhibition, excerpts Brahms: Violin Concerto, mvt. 3 Mahler: Symphony no. 1, mvt. 3

For Mar. 28:

For Ap. 4:

For Ap. 11:

For Ap. 18:

For Ap. 25:

Reading:

pp. 300-311 (Ch. 20) pp. 312-320 (Ch. 21)

Listening:

Debussy: “Clouds” from Three Nocturnes Stravinsky: The Rite of Spring, excerpt

Reading:

pp. 320-334 (Ch. 21) pp. 335-343 (Ch. 22)

Listening:

Schoenberg: Pierrot Lunaire, excerpts [V/14-15] Berg: Wozzeck, excerpts [V/16-20] Ives: “The Rockstrewn Hills” [V/21-22] Ravel: Piano Concerto in G [V/23-27] Bartók: Music for Strings, Percussion, and Celesta, mvt. 2 [V/28-34]

Reading:

pp. 344-357 (Ch. 22)

Listening:

Crawford: Prelude for Piano, no.6 Still: Afro-American Symphony, mvt. 4 Copland: Appalachian Spring Prokofiev: Alexander Nevsky, excerpt

Reading:

pp. 358-371 (Ch. 23)

Listening:

Varèse: Poème électronique [VI/4] Ligeti: Lux aeterna [VI/5-8] Reich: Music for 18 Musicians, excerpt [VI/9-10]

Reading:

pp. 372-380 (Ch. 23)

Listening:

Crumb: Voices from a Forgotten World [VI/11-12] León: Indígena [VI/13-16]

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