music history 220: history of western music...

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Music History 220: History of Western Music II

Elizabeth L. Keathley

Spring 2002

History of Western

Music II

MWF 11:15 am —

12:05 pm

145 Music Building

Elizabeth L. Keathley, Ph.D.

Office hours MWF12:20 - 1:10 pm

& by appointment

204 Music Bldg.; ph. 974-9970;

[email protected]

Music History 220, History of Western Music II, is the third of a four-semester Music History

sequence. All music majors are required to complete the course with a grade of "C" or higher.

Prerequisite: To enroll in this class, you must have completed successfully (i.e., with a grade of

"C" or higher) Music History 200: Introduction to Music Literature and Music History 210,

History of Music I. If you have passed 200 but not 210, you may take 220 if you make an

appointment to speak with me within the next week. If you have transferred from another

university and believe that you have completely a course equivalent to MH 200, You must pass

the Music History Placement Test, Thursday. January 10 at 2:10 pm in room 216 in order to

receive transfer credit and to enroll in Music History 220.

Course Objectives:

To become familiar with styles, practices, theories, and contexts of Western art music in

historical periods from the mid-eighteenth century to the present

To develop a recognizable repertory of musical works from the period under study

To develop the ability to discuss music analytically, critically, and historically

To devlop critical thinking and expository writing skills through the study of music

history

Required materials:

K Marie Stolba, The Development of Western Music textbook [DWM]

Stolba score anthology [DWMA] (Vol. II), and recorded anthology (Vol. II, CDs 1-6).

Source readings: Weiss & Taruskin, Music in the Western World,1984 [MWW]

Neuls-Bates, Women in Music: An Anthology of Source Readings, Revised Ed. [NB]

Purchase these materials. If you purchased the materials for MH 210 last semester, the only new

purchase required is the anthology, in both score and recorded form.


Course Requierments:

Successful students will attend class daily; prepare each lesson in advance by doing the

appropriate listening, reading, writing and other assignments; participate actively in class

discussions; perform well on two 50-minute mid-term exams and weekly listening quizzes;

perform well on a 2-hour final examination; write one short papers (~5 pp) and one longer

research paper, which will be presented during the final class meetings; do smaller projects as

assigned. Details of course requirements follow the course calendar.

Grading criteria:

Attendance and preparation 20%

Exams and quizzes 30%

Cumulative final exam 20%

Writing assignments 30%

Any student who, because of a disabling condition, may require some special arrangements in

order to meet course requirements should contact the instructor as soon as possible to make

necessary arrangements. Students should present appropriate verification from Disability

Services.

Course Calendar. Prepare all listening, reading, and writing assignments before the date given.

This calendar is subject to change. For the latest breaking news, study guides, and unannounced

extra credit, see the syllabus from my web page, url above.

Week 1

Wednesday,

January 9

Introduction

Friday, January 11

Stile galant and empfindsamer Stil: the "preclassic"

sonata

Listen: DWMA 120, D. Scarlatti, Sonata in D major,

K. 119;

Read: DWM Ch. 18, pp. 327 - 341; C. P. E. Bach,

from the Versuch über die wahre Art, das Clavier zu

spielen (MWW #77)

Week 2

Monday, January

The 'preclassic' symphony

Listen: DWMA121, C.P.E. Bach, Symphony no. 3 in


14 F, H. 665 (Wq. 183), mvt I; DWMA 122, G.

Sammartini, Symphony no. 32 in F, mvt. I, II, III

Read: DWM pp. 341 - 345; MWW #73, "The Cult of

the Natural," esp. pp. 256-257, excerpts from Johann

Scheibe's journal, Der critische Musicus; MWW #79,

excerpts from Rousseau's Dictionary of Music,

especially his definitions of "composer," "imitation,"

and "overture"

Wednesday,

January 16

Comic opera

Listen: DWMA 124, Pergolesi, "Lo conosco," duet

from La serva padrona; DWMA 125, Rousseau, air

from Le devin du village

Read: DWM pp. 346 - 358; MWW #78, "The Rise of

the Italian Comic Opera Style": excerpts from La serva

padrona; d'Holbach's "Letter...on the Present State of

Opera," and Hiller's opera criticism.

Friday, January 18 Classical genres: the concerto

Listen: DWMA 126, J.C. Bach, Concerto for Klavier

and Orchestra, Op. 7 no. 5 in E flat, mvt. I; DWMA

127, W.A. Mozart, Concerto no. 27 for Piano and

Orchestra in B flat, K. 595, mvt. I

Read: DWM Chapter 19, pp. 359 - 366; NB #13,

"Music as an Accomplishment," and #15, Maria

Theresia von Paradis.

Week 3

Monday, January

21

Martin Luther King, Jr. Birthday -- No Classes; Use

the day to promote social justice.

Wednesday,

January 23

Gluck’s "reform" operas

Listen: DWMA 128 & 129, Gluck, excerpts from

Orfeo ed Euridice: chorus & dance of the Furies, Act

II/i; aria, "Che farò senza Euridice," Act III,/i


Read: DWM pp. 366 - 369; MWW # 82, Gluck’s

dedication of Alceste

Friday, January 25 Haydn: String quartet and symphony

Listen: DWMA 130, Haydn, String Quartet, op. 33,

no. 2, mvt. I;DWMA 131, Haydn, Symphony No. 104

(London) in D, mvt. I

Read: DWM pp. 369 - 379; MWW #81, Haydn's

duties for Esterházy; #87, Haydn in London; NB #14,

Marianne von Martinez

Week 4

Monday, January

28

Mozart: Opera buffa

Listen: DWM DWMA 132, Mozart, Act II trio from

Le nozze de Figaro; DWMA 133, "catalog aria" from

Act I of Don Giovanni

Read: DWMA pp. 379 - 387

Recommended reading: MWW #85, 86, The Young

Mozart & Mozart's Letters

Wednesday,

January 30

Mozart: Instrumental genres

Listen: DWMA 134, Sonata in C minor, K. 457

Read: DWM pp. 387 - 393

Friday, February 1 Exam I -- Chapters 18 - 20

Week 5

Monday, February

4

Other late 18th-century composers; North America

Listen: DWMA 138, Antes, aria & anthem

Practice: DWMA #135, Billings, canon, "When Jesus

Wept"

Read: DWM 393 - 398; NB# 16, Corona Schröter,

Julie Candeille; MWW # 89, A Musical episode of the

French Revolution


Wednesday,

February 6

Beethoven: Sonata and quartet

Listen: DWMA 139, Field, Nocturne #5; 140 & 141,

Beethoven, "Appassionata" sonata, mvt. I & String

quartet op. 131, mvts. I & II

Read: DWM Chapter 20, pp. 399 - 415; MWW #90,

Vienna 1800, #91, Beethoven's Heiligenstadt

Testament

Mozart opera paper due

Friday, February 8 Beethoven: Symphony

Listen: DWMA 142, Beethoven, "Eroica" symphony,

mvt. I

Read: DWM, 415-424; MWW #92, First reactions to

"Eroica"; #94, First performance of B's Ninth.

Recommended: #93, portrait of Beethoven.

Week 6

Monday, February

11

Early Romanticism: German Romantic opera

Listen: DWMA 143, Weber, Der Freischütz, "Wolf's

Glen" scene

Read: DWM Ch. 21, pp. 425-438; MWW #99 The

Virtuoso Conductor

Wednesday,

February 13

Schubert takes the Lied

Listen: DWMA 144-5, Schubert, Erlkönig,

Heidenröslein; 147 Reichardt, Hoffnung

Read: pp. 438 - 447: MWW #97, "Schubert

remembered"; Recommended reading: Women and the

Lied in Bowers & Tick (reserve)

Friday, February

15

Beyond Germany and Austria: Rossini

Listen: DWMA 148, Rossini, Barber of Sevierville...I

mean Seville!


Read: DWM pp. 447 - 454; MWW # 96, Leigh Hunt

on Rossini

Week 7

Monday, February

18

Chopin and the Romantic piano

Listen: DWMA 149 & 151, Chopin, Prelude, op 28 no.

4 & Nocturne, op. 32 no. 2


glimpses of Chopin

Wednesday,

February 20

The Mendelssohns and Schumanns

Listen: DWMA #152, Felix Mendelssohn, Elijah;

#154, R. Schumann, Carnaval; #156, C. Schumann,

Liebst du um Schönheit

Read: DWM pp. 464 - 477

NB #17, 22, 23, Fanny Mendelssohn Hensel & Clara

Schumann; MWW #103, writings of R. Schumann;

#107, Mendelssohn & Queen Victoria.

Recommended reading: "Clara Schumann" by Nancy

Reich in Bowers & Tick.

Friday, February

22

Music in France: Meyerbeer, Bizet, Berlioz, Farrenc

Listen: DWMA 158, Berlioz, Symphonie fantastique,

mvt V

Read: DWM pp. 477 - 487; MWW #101, writings of

Berlioz; #102, program of Symphonie Fantastique

Recommended reading: Susan McClary, Georges Bizet,

Carmen, (Cambridge opera guide)

Week 8

Monday, February

25

Italy, the U.S. and elsewhere at mid-century

Listen: DWMA 159, Bellini, "Casta diva" from Norma

Read: DWM pp. 487 - 493; MWW #111, P.T. Barnum

brings Jenny Lind to the U.S.; NB #21, Sissieretta


Jones

Meta-analysis paper due

Wednesday,

February 27

Wagner and the music drama

Listen: DWMA 160, Wagner, Tristan und Isolde,

Prelude


Wagner's writings; NB #26, Cosima Wagner; #19,

Lillian Nordica

Recommended reading: MWW 109 & 110, "Wagner's

Beethoven" and "Music of the Future controversy"

Friday, March 1 Viva Verdi

Listen: DWMA 161, Verdi, Otello, II/2

Read: DWM pp. 502 - 506; MWW #118, Verdi at the

time of Otello

(Note: this is a short assignment, so use your "spare"

time to read ahead for the Friday March 8 assignment;

it’s a long one!)

Week 9

Monday, March 4

Liszt ; Bruckner

Listen: DWMA 162& 3, Liszt, Les jeux d'eaux...,

Nuages gris; 164, Bruckner, motet, Virga Jesse Floruit

Read: DWM pp. 507 - 515; MWW #104, Liszt, all-

conquering pianist; NB # 18, Amy Fay, pianist.

Recommended reading: MWW #105, Liszt's writing;

#98, Paganini

Wednesday, March

6

Brahms

Listen: DWMA 165, Brahms Symphony no. 4, op 98,

mvt. I



117: "Brahms on Composing," and "The Brahmin point

of view"

Friday, March 8 Nationalism; Musorgsky

Listen: DWMA 167, Mussorgsky, Boris Godunov,

Coronation Scene

Read: DWM Chapter 24, pp. 526 - 547; MWW 113,

"The 'New Russian School,'"

Recommended reading: MWA 114, 119: "Smetana and

the Czech National Style," "Musorgsky, a Musical

Realist," and "Grieg on the Norwegian Element in His

Music."

Week 10

Monday, March 11

Exam II -- Chapters 20-24 (everything since last

exam)

Wednesday March

13

Turn o’ the Century (the last century!): Russia &

Austria

Listen: DWMA 168 - 170


120, 121: Chaikovsky, Mahler, Strauss; NB # 30,

Vienna Damen Orchester

Friday, March 15 Italy and France: Puccini; Fauré; Debussy; Ravel

Listen: DWMA 171 - 173

Read: DWM Chapter 25, pp. 560 - 571; MWW # 123,

Debussy; NB #34, 38 on "the Woman composer

question"

Spring Break

March 18 - 22

No classes (But don't get too relaxed; we still have five

weeks to go when you return!)

Week 11 Britain and the U.S.: Holst, Ives, Cowell

Listen: DWMA #174 - 176: Holst, Hymn of Jesus;


Monday, March 25

Ives, "The Alcotts," mvt. III of 'Concord' Sonata;

Cowell, "The Banshee"

Read: DWMA Chapter 25, pp. 571 - 580; MWW #142,

"The Assimilation of Jazz," #143, "New Musical

Resources; NB #39, "A Corollary to the Question:

Sexual Aesthetics in Music Criticism"

Tuesday, March 26 Abbie Conant performance during solo class time.

Extra credit opportunity!

Wednesday,

March 27

Between the wars: Bartók and friends

Listen: DWMA #177, Bartók, Music for Strings,

Percussion, and Celesta, mvt. I, Andante tranquillo

Read: DWM, Chapter 26, pp. 581 - 595

Recommended reading: MWW #131, "The New

Folklorism," comments by Bartók and Vaughan

Williams

Friday, March 29 Spring recess, no classes

Week 12

Monday, April 1

Schoenberg (my main man!) and the Second Viennese

School

Listen: DWMA #178, 179: Schoenberg, excerpts from

Pierrot Lunaire, op. 21, and Variationen für Orchester,

op. 31

Read: DWM, Chapter 26, pp. 595 - 599

Recommended reading: MWW #128, Arnold

Schoenberg on Composition with Twelve Tones.

Prospectus of final papers due

Wednesday, April

3

Berg & Webern

Listen: DWMA #180, Berg, Wozzeck, Act III, Sc. 2

(murder scene; "invention on a tone"); #181, Webern,

Symphonie, op. 21, mvt 2



"The Making of Wozzeck," and #141, "Approaching

the Limits of Compression"

Friday, April 5 DeFalla; Les Six; Hindemith; Stravinsky

Listen: DWMA 182, 183: Stravinsky, Le sacre du

printemps, Part I, "Adoration of the Earth"; and

Symphony of Psalms, mvt. 2

Read: DWM Chapter 26, pp. 604 - 614; MWW # 129,

"The Rite of Spring"; #134. "The New Objectivity"

Week 13

Monday, April 8

The Americas: Copland, Crawford, Villa-Lobos . . .

Listen: DWMA 184, Copland, Appalachian Spring,

Section 7 (This is a short listening assignment; you

may wish to listen ahead)

Read: DWM Chapter 26, pp. 614 - 622; Morgan # 26,

27 (online reserves): William Grant Still and Olly

Wilson on the status of the African-American

composer

Paper revisions due at the beginning of class

Wednesday, April

10

Post-W. W. II Avant-garde: Messiaen, Boulez,

Stockhausen, Varèse, Babbitt

Listen: DWMA 185 - 187: Messiaen, Méditations sur

le mystère de la sainte Trinité, No. VII; Boulez, Le

marteau sans maître, mvt. 3, "l'artisanat furieux";

Babbitt, Three Compositions for Piano, no. 1.


"The Outlook after WWII"; and 149, "New

Developments in serialism."

Friday, April 12 Indeterminacy, Conceptualism, and Electronics

Listen:



"Postwar Compositional Issues"; 152, "The Master of

Organized Sound"; and "The Music of Chance."

Week 14

Monday, April 15

Unplugged: Crumb, Musgrave, Ligeti, Penderecki

Listen: DWMA #188, Crumb, Apparition: I. "The

night in silence under many a star. . ."; #189, Ligeti,

Éjszka/Night

Read: DWM Chapter 27, pp. 648 - 653

Wednesday, April

17

Minimalism and beyond

Listen: DWMA 190, Reich, Tehillim: part IV; 191,

Zwillich, Concerto Grosso, Mvt. 1.

Read: DWM Chapter 27, pp. 653 - 660

Friday, April 19 Student Presentations

Week 15

Monday, April 22

student presentations

Wednesday, April

24


Friday, April 26 student presentations

Week 16

Monday, April 29


Final papers due

Last day of classes

April 30 and May

1

Study period

Friday, May 3 Final examination, 2:45 - 4:45


ClassProtocols:

Small groups: After initial class meetings, you will be assigned to a small group with which you

will complete group projects, with whom you will sit during class meetings, and with whom you

will conduct small-group discussions. You will elect a group leader who will convene the group

and assist with administrative tasks.

Citizenship: because the smooth operation of the class and, ultimately, everyone's learning, is

dependent upon each member of the class doing his or her part, everyone is expected to exhibit

good citizenship in the class, specifically: attend class daily and punctually; fulfill assignments as

given, including those assigned by your group leader; hand in all work on time; wait to be

recognized to speak; speak politely and respectfully to all members of the class (including the

Graduate Assistant and the Professor).

Absences are excused only with advance notice and documentation of an official school function

or illness; or a documented emergency. If you are late for class, leave early, or are not prepared

when I call on you, your attendance mark for the day will be reduced by half.

No late papers will be accepted. If you have a scheduling conflict, it may be possible to

renegotiate a due date, but no late papers will be accepted without prior arrangement.

All papers must be typed. When references are used, footnotes in Chicago Manual style are

required. All papers are due at the beginning of class. As a courtesy, I will accept them later the

same day, before I leave for the day, as long as the office is open, in no event later than 5:00 pm.

If you miss history or theory class because you are doing last-minute work on a paper, your

grade will be lowered appropriately. See the end of the syllabus for the grading rubric for writing

assignments.

For the shorter of the two papers, you have your choice of a Classical period topic or a 19th-

Century topic. See my web pages for details. The research paper will be completed in stages:

select a subject from a list of possibilities; propose a topic (which must be an argument or

interpretation of your invention); submit an abstract and annotated bibliography; submit a draft;

have an individual consultation with me about your draft; submit a revised paper; present your

findings to the class. More details will be available on my web pages.

Scoring guidelines for music history papers and essays:

100 An Outstanding Paper demonstrates a high degree of proficiency in response to the

assignment, but may have minor errors. A paper in this category:

Fulfills the stated objectives of the paper (refer to assignment for each paper)

Presents an argument clearly and develops it coherently

Clearly explains or illustrates key ideas in appropriate level of detail


Demonstrates a firm understanding of materials discussed in class and in reading

Demonstrates good research skills and uses appropriate sources

Uses examples and citations effectively

Is generally free from errors in mechanics and usage

Fulfills stated specifications (length, appearance, format)

90 A Strong Paper demonstrates clear proficiency in response to the assignment and may have

minor errors. A paper in this category:


Has an argument, and is generally clear and well-developed

Explains or illustrates key ideas with appropriate level of detail

Demonstrates reasonable understanding of materials discussed in class and in reading

Demonstrates reasonable research skills and uses appropriate sources


Is generally free from errors in mechanics and usage


80 A Competent Paper demonstrates proficiency in response to the assignment. A paper in this

category:


Has a discernible argument, and is adequately organized and developed

Explains or illustrates some of the key ideas with some detail

Demonstrates adequate understanding of materials discussed in class and in reading

Demonstrates adequ ate research skills and uses appropriate sources


May display some error errors in mechanics or usage


70 A Limited Paper demonstrates some degree of proficiency in response to the assignment. A

paper in this category reveals one or more of the following weaknesses:

Stated objectives of the paper have not been completely fulfilled

Argument somewhat unclear or organization and development inadequate

Inadequate explanation or illustration of key ideas; insufficient supporting detail

Demonstrates limited understanding of materials discussed in class and in reading

Research skills not adequately demonstrated

Use of examples and citations not very effective

Accumulation of errors in mechanics and usage

Not all stated specifications are fulfilled (length, appearance, format)


60 A Flawed Paper demonstrates marginal proficiency in response to the assignment. A paper

in this category reveals one or more of the following weaknesses:

Limited relationship to stated objectives

Argument unclear, weakly organized, and underdeveloped

Little or no relevant detail

Understanding of class materials not demonstrated

Insufficient research

Poor use of examples and citations

Serious errors in mechanics and usage

More than one specification unfulfilled

0 An Unacceptable Paper demonstrates significant deficiencies. A paper in this category

reveals several of the following weaknesses:

Only vague relationship to stated objectives

Absence of discernible argument, lack of development or organization

No research apparent

Persistent writing errors

More than one specification unfulfilled

(Adapted from Tennessee Writing Assessment Scoring Rubric)

Keathley, Elizabeth L. Music History 220 Syllabus, Music History 220: History of Western

Music II. April 2002. Music Department, University of Tennessee, Knoxville. 16 Dec. 2002.

music history 220: history of western music...

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