music history and lit syllabus & guide

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5/20/2018 MusicHistoryandLitSyllabus&Guide-slidepdf.com http://slidepdf.com/reader/full/music-history-and-lit-syllabus-guide 1/10  1 Syllabus MSC 241 01, History and Literature of Music I, Fall 2014 (3 credits) MWF: 10:00-10:50 a.m. in BMC 23 Dr. Stephen R. Greene Office: BMC 111, x6912, [email protected]  Hours: MWF 12:45-1:45 p.m. and TTh 3-4 p.m. Appointments recommended. Course Objectives The three main objectives of this course are:  Students will learn musical-historical categories for the beginnings and development of notated Western art music.  Students will employ precise terminology to describe musical sounds.  Students will learn information literacy skills for music research. Related objectives from the IDEA course evaluation system are: 1. Gaining factual knowledge (rated as ―essential‖) 7. Gaining a broader understanding and appreciation of intellectual/cultural activity (rated as ―important‖) 9. Learning how to find and use resources for answering questions or solving  problems (rated as ―important‖) This course is intended for music majors and minors, although other qualified students may enroll. Students must have experience with music theory and analysis to succeed in this class. (Experience equivalent to MSC 115, Music Theory I, is adequate.) Materials Required: Burkholder/Grout/Palisca,  A History of Western Music  9 th  edition, 2014.  Norton Anthology of Western Music, vol. 1: Ancient to Baroque, 7 th  edition, 2014  Norton Anthology of Western Music, vol. 2: Classic to Romantic, 7 th  edition, 2014  Norton Anthology of Western Music, vol. 3: Twentieth Century, 7 th  edition, 2014 These materials are available in a bundle from the LVC bookstore. They are the required texts for both semesters of music history. Recordings of all the music in the three volumes of the anthology are available as streaming audio online, using a key on a card labeled ―Total Access‖ in the front of the textbook. In addition DVDs containing MP3 files of all the music are available from the publisher, W. W. Norton, in case you want to own the hard copies. Purchase of these DVDs is NOT REQUIRED  as long as you are able to access and listen to the recordings. The complete recordings are contained on 3 DVDs that include: vol. 1: Ancient to Baroque (ISBN 978-0-393-93687-2); vol. 2: Classic to Romantic (ISBN 978-0-393- 93688-9); and vol. 3: Twentieth Century (ISBN 978-0-393-93689-6). A single DVD

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Course information for MSC 241.01 at Lebanon Valley College. Includes due dates with homework, class rules, and other information for the fall semester.

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Semester Calendar

SyllabusMSC 241 01, History and Literature of Music I, Fall 2014 (3 credits)MWF: 10:00-10:50 a.m. in BMC 23

Dr. Stephen R. GreeneOffice: BMC 111, x6912, [email protected]: MWF 12:45-1:45 p.m. and TTh 3-4 p.m. Appointments recommended.

Course ObjectivesThe three main objectives of this course are: Students will learn musical-historical categories for the beginnings and development of notated Western art music. Students will employ precise terminology to describe musical sounds. Students will learn information literacy skills for music research.

Related objectives from the IDEA course evaluation system are:1. Gaining factual knowledge (rated as essential)7. Gaining a broader understanding and appreciation of intellectual/cultural activity (rated as important)9. Learning how to find and use resources for answering questions or solving problems (rated as important)

This course is intended for music majors and minors, although other qualified students may enroll. Students must have experience with music theory and analysis to succeed in this class. (Experience equivalent to MSC 115, Music Theory I, is adequate.)

MaterialsRequired:Burkholder/Grout/Palisca, A History of Western Music 9th edition, 2014. Norton Anthology of Western Music, vol. 1: Ancient to Baroque, 7th edition, 2014Norton Anthology of Western Music, vol. 2: Classic to Romantic, 7th edition, 2014Norton Anthology of Western Music, vol. 3: Twentieth Century, 7th edition, 2014These materials are available in a bundle from the LVC bookstore. They are the required texts for both semesters of music history. Recordings of all the music in the three volumes of the anthology are available as streaming audio online, using a key on a card labeled Total Access in the front of the textbook. In addition DVDs containing MP3 files of all the music are available from the publisher, W. W. Norton, in case you want to own the hard copies. Purchase of these DVDs is NOT REQUIRED as long as you are able to access and listen to the recordings.The complete recordings are contained on 3 DVDs that include: vol. 1: Ancient to Baroque (ISBN 978-0-393-93687-2); vol. 2: Classic to Romantic (ISBN 978-0-393-93688-9); and vol. 3: Twentieth Century (ISBN 978-0-393-93689-6). A single DVD containing selected recordings from the anthologies is also available from the publisher, the Norton Recorded Anthology of Western Music: Concise Version, 2014 (ISBN: 978-0-393-93694-0). The direct publisher price for each DVD is $62.50 ($187.50 for the complete 3 DVD set).While recordings drawn from the entire collection will be used in class, only examples contained on the concise version will be included on quizzes and exams.Other materials may be placed on the librarys reserve as needed.

Course RequirementsIn-class assessments: 50%Exam #110%Exam #210%Exam #310%Final Exam20%Snapshot quizzes (unscheduled)All quizzes (averaged)10%Semester Project (worksheets): 40%First worksheet submission05%Second worksheet submission05%Third worksheet submission10%Fourth worksheet submission10%Class Participation10%Exams include a mixture of objective and short answer (subjective) questions. Listening and score reading questions will be included. Each exam is comprehensive in that it will include some materials from previous assessments, assignments, and class discussions. The final exam is fully comprehensive.

Students will develop tables, working with peers, that record and organize selected portions of the semester course content. This project is described below in this syllabus.

The class participation grade will be based on homework assignments and in-class work. Reading assignments are expected to be completed before class on the date they are assigned. Unannounced assessments may be given for any reading assignment. An average of these will comprise the snapshot quizzes portion of the semester grade.

Extra credit options are available; guidelines are provided near the end of this syllabus.

Academic SupportPeer tutoring is available via http://www.lvc.edu/peer-tutoring. Writing help is available through the Writing Center, located in the lower level of the library and at http://www.lvc.edu/writing-center. Academic workshops on skills such as note-taking and exam preparation are given periodically by the Student Affairs Office.

This course uses Blackboard, an online educational platform. If you have any questions regarding Blackboard, please see Dr. Greene or visit Instructional Technology Services in the lower level of Lynch. You may also visit ITS online at www.lvc.edu/it-services or email them at [email protected].

Individuals with disabilities are guaranteed certain protections and rights of equal access to programs and activities under Section 504 of the Rehabilitation Act of 1973 and the Americans with Disabilities Act Amendments Act (ADAAA) of 2008. Therefore, Lebanon Valley College recognizes the responsibility of the college community to provide equal educational access for otherwise qualified students with disabilities.

Any student who needs classroom or testing accommodations is invited to present letters from the Center for Disability Resources, located in the Lebergern Learning Commons on the ground floor of the Mund College Center. Class PoliciesAttendance is not graded; however, class participation is graded. Students must be present in class to receive credit for class participation activities. Missed class participation grades may be made up at Dr. Greenes discretion if acceptable documentation for an excused absence is provided.

Regarding deadlines and missed or late assessments: Exams cannot be made up without acceptable documentation for an excused absence. Email messages are not acceptable documentation. Written assignments (including the four worksheet assignments) are due at the beginning of class on the dates listed on the calendar, below. Late assignments will receive a 10% grade reduction. No late assignment will be accepted a week after its deadline. Assignment deadlines are non-negotiable. This includes computer and printer problems.

During exams, unless otherwise instructed by the professor, Students may not leave the classroom except in an emergency and with the permission of the professor. All electronic devices must be turned off and put away, and all notebooks, papers, and the like must be placed out of sight. Violation of this policy may result in a failing grade for the assessment.

Regarding classroom behavior: Please be respectful of all persons in the classroom, and avoid distracting others Food and beverage is not allowed in Blair Music Center Electronic devices such as notebook computers, tablets, and cell phones may not be used during class.

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Academy honesty: Unless otherwise and explicitly stated by the professor, all assignments and assessments are to be completed by individual students, not as group work, and must comprise the students own thoughts and ideas. Failure to comply with this policy could result in a failing grade. Any student who cheat or submits plagiarized work will be subject to the penalties described in the Student Handbook and outlined in LVCs Academic Honesty Policy (http://www.lvc.edu/catalog/acad-reg-procedures.aspx ). In this course you may be asked to submit some or all of your assignments for review by an on-line plagiarism service. This service will compare the content of your work to content found on the internet and several proprietary databases. Any work submitted to this service may become part of the services permanent collection of submitted papers. After your work is submitted, the service will generate an originality report which will be sent to your instructor. Any student who submits plagiarized work will be subject to the penalties outlined in LVCs Academic Honesty Policy found in the Student Handbook. Guidelines for the Semester Project (worksheets)

Objectives Students will demonstrate their mastery of information acquired through the assigned readings and in class by organizing and classifying selected information. Students will practice applying information literacy skills to music research Students will correctly use analytical musical terminology Students will accurately describe the fit (or lack of fit) between a piece of music and general expectations for the style, time period, and/or genre within which it is classified in the tables.

Requirements of the worksheetsThis project requires the student to organize, classify and to a limited extent analyze the information encountered during the semester, by creating a series of tables, or through some other method the student may choose with the approval of the instructor.A blank table provided on the Blackboard course master page will serve as a point of departure. It is expected that you may save it multiple times and modify it, adding labels, and columns and rows and as needed. It is anticipated and perhaps even desirable that you modify each table as you acquire more knowledge over the semester, and if you encounter any problems with your initial choices. At four points during the semester, as shown in the tentative course calendar, you will submit all of your current worksheets to the instructor using the journal feature of Blackboard.The creation and submission of these tables will be an individual project carried out with the support of your peers, in small groups within which you may collaborate by sharing the ways you have chosen to organize your information you have assembled as well as the particular observations you have made. You should take great care not cross the fine line separating collaboration that is intended to advance your own learning and its documentation, and avoid simple copying of someone elses work. To help facilitate this you should document the source of any borrowed ideas in your tables in endnotes.You will be required to have a number of tables (or other tools you may devise) but you may choose to organize them in a number of different ways, as long as you can convince me that your approach makes sense. There will be more than one way to split the apple, so to say: some of your approaches to classifying the information and the tables that result may vary tremendously from others in your group or in the class. However, what you produce should be easily recognizable by others as comprehensive and useful.Despite the flexible nature of the methods open to you, everyone will be required to organize and document, from your earliest efforts, information related to genreswhich we will be discussing throughout the semester, constantly adding to or modifyingand in addition, by the end of the semester, the various styles we will have covered.For your additional tables you may consider a wide variety of factors as long as they are truly meaningful and useful in helping you understand the material youre studying. These might include temporal or geographical factors, chains of influence, religious or political or commercial factors that impacted the music, and in addition might include any number of other ways of grouping your thoughts about the information.HOWEVER: while you should allow your mind to range widely as you consider your options, you should always try to find the simplest, most streamlined way possible to organize and document your knowledge. Here are the principal steps of this project. The tentative semester calendar provides dates: You will consult with your peers and form proposed groups containing four to five students, then submit your requests to me. As you do this I suggest you do your best to include those who think in a variety of different ways in each group, as long as you feel you can work together. I reserve the right to modify the groups. Next we will have a group activity in class. This will not be directly related to the tables but it will be supportive of the types of thinking youll need for the assignment. Before the Monday, September 8 class each of you will submit your first tables to me using the Blackboard journal feature. As the semester progresses the amount of information youll be organizing will increase, and in addition your sense of how it should be organized will evolve. I expect to see these progressions in the three subsequent table submissions as the semester unfolds.

Music History -- Tentative Semester CalendarAll reading assignments are from Burkholder, Grout, and Palisca, A History of Western Music, 9th edition (2014).DateTopicPreparatory Reading Assignments

Mon., 8/25Intro to course

Wed., 8/27Overview / individual worksheetsxxxi-xxxvii-b

Fri., 8/29Musical categories[xxxi-xxxvii-b]

Mon., 9/1The Beginnings of Western Music: Pythagoras and Plato Group requests duepp.9-16a (through Greater Perfect System), skim pp.16b through 18a and ponder ex 1.3; pp.18-19

Wed., 9/3The development of notation and early music theorypp.32b-38a, 40-43b, figure 2.12 (p.44), p.45b COMPARE EX. 2.4 (p.41) with EX.1.3 (p.17)

Fri., 9/5Gregorian chant and the Masspp.29b-31a, 46-52, Trope on p. 61

Mon., 9/8 Group work: special projectpp.53-63a

Wed., 9/10Hildegard of Bingenpp. 64-66

Fri., 9/12Troubadour Songpp.71c-79a, and Medieval Instruments pp. 80-82

Mon., 9/15Early polyphony: organum First worksheet posting duepp.84-90

Wed., 9/17Notre Dame polyphonypp.91-100a

Fri., 9/19Motetpp.100b-107a,107b-110

Mon., 9/22Ars Novapp. 111-115,118-119

Wed., 9/24Guillaume de Machaut; Landinipp. 119-127a; 133c-135b

Fri., 9/26 Review for Exam # 1

Mon., 9/29 Exam # 1

Wed., 10/1Introduction to the Renaissancepp. 143-145a,151b-164

Friday, 10/3English Musics107b-110, 165-173a

Mon., 10/6 -- FALL BREAK --

Wed., 10/8Franco-Flemish polyphony: Du Fay173b-187

Fri., 10/10Franco-Flemish polyphony: Isaac; Josquinpp. 198b-200a; 200b-211a

Mon., 10/13Reformation Second worksheet posting duepp. 211b-218a, 228-233a

Wed., 10/15Madrigalspp.241-243a; Timeline (sidebar, 244-245); The Italian Madrigal (introduction) 245b-246a; Later Madrigalists, 253b-255a, and English Madrigals, pp. 260-261

Fri., 10/17Instrumental musicLute songs pp. 261b-262 and pp. 264-269a

Mon., 10/20 Review for Exam # 2

Wed., 10/22 Exam # 2

Fri., 10/24Introduction to the Early Baroquepp. 288, 292a, 296-306a

Mon., 10/27Early Baroque operapp. 309b-319a

Wed., 10/29Other vocal and concerted genrespp. 328-333b, and Oratorio 336-337a

Fri., 10/31Keyboard Musicpp. 342-346, 363b-368b

Mon., 11/3Music for strings, CorelliSonata p. 347b; pp. 384b-391

Wed., 11/5 Review for Exam 3

Fri., 11/7 Exam # 3

Mon., 11/10Introduction to the 18th century (late Baroque)pp. 407-411a, 425-428 top

Wed., 11/12Late Baroque operapp. 380b-386a

Fri., 11/14Antonio Vivaldipp. 413c-422 top

Mon., 11/17Franois Couperin Third worksheet posting duepp. 422 (Music in France)-424

Wed., 11/19 J. S. Bachpp. 435b-442a

Fri., 11/21J. S. Bachpp. 442b-443a

Mon., 11/24J. S. Bachpp. 443b-449b

Wed., 11/26Section 01 meetsBox on p. 412

Fri., 11/28-- THANKSGIVING BREAK --

Mon., 12/1Handelpp. 449c-455a

Wed., 12/3Handelpp. 455b-461

Fri., 12/5Review for final exam Final worksheet posting due

The final exam will be given at its scheduled time during final exams week.Guidelines for Extra Credit PapersThere are several possible extra credit projects for this class. Each is described below. A student may do only one of each assignment type during the course of the semester for extra credit purposes. Each good paper will add up to 5 points to an exam grade of the students choice, for a possible total of 20 points. Please note on your paper which exam grade you would like the points added to. If this information is not provided, the extra credit points will be assigned to the most recently completed exam. No extra credit assignments will be accepted after the last day class. Each of these options is offered on a credit / no credit basis. All written extra credit work is to be submitted via Turnitin.Concert ReportAttend a recital or concert or stage work of your choice. The performance must be of Western classical music, non-Western music (in concert), jazz (in concert), opera, or a musical. It should not be a performance in which you are performing. Write a 750-word report on the performance. Your report should: Provide the reader a feeling for the personality of the program (as opposed to a dry list of its contents) and a description of the performance venue, audience, and purpose. Feature in-depth musical analysis for two pieces. Be sure to use correct and accurate terminology when writing musical analysis. Place the analysis in historical context when was it written? Does it appear to be typical for its time? (The document titled Musical Style Periods in Blackboard may help you with this.) Provide historical background on two of the composers represented on the program. These may or may not be the composers of the pieces you analyze. If you do not know who the composers are (for example, if no written program was provided), please see me. Provide in-text citations and a bibliography (which does not have to be on a separate page) for any external sources, including the course textbook. This paper is due two weeks after the concert took place. Please submit a program, brochure, etc., with your paper.Art exhibitVisit the art exhibit currently in the Arnold Art Gallery and write about it. Describe the general content of the exhibit, the layout of the exhibit, and then describe two specific artworks in detail. Include a physical description of the works and describe some of the history behind them (as provided by the exhibit materials). Your essay should be about 750 words, typed and double-spaced. Include citations and a bibliography, even for the exhibit booklet (the bibliography does not have to be on a separate page). Special EventsA special event includes workshops, dance/visual art events, and so on. Music should be an important part of the event, but it need not be the only purpose of the event. Write a short paper (750 words) based on your experience attending the event.

Your paper should broadly describe the purpose of the event, contributors, venue, and audience. You also should pick two musical highlights of the event to describe in detail using appropriate musical terminology.

If you use any outside sources, including program booklets, pamphlets, and so on, please provide in-text citations and a bibliography (the bibliography does not have to be on a separate page).

This paper is due two weeks after the special event. ResumeWrite resumes for three composers. The composers you may choose from are listed below. The resumes should include the approximate number and types of works by the composer, a list of significant contributions of the composer, and pertinent biographical information. The resume should not be in essay form, but should list this information in a typical resume format (see the model below). The resume for each composer should be one page in length, double-spaced. Use your textbook and Grove Music Online. Include citations and a bibliography, even for the textbook. Only one bibliography is needed for all three resumes.Possible composers: Hildegard of Bingen, Perotin, Philippe de Vitry, Gilles de Binchois, Johannes Ockeghem, Tomas Luis de Victoria, Thomas Morley, Barbara Strozzi, Tomas de Torrejon y Velasco. A model resume for a fictitious composer is shown on the next page:

John Wellington Smith1657-1702

Biographical informationBorn in London, England1670-1685: Choirmaster at Westminster Chapel 1685-1700: Director of music, court of Gustav the Great, Kiev, RussiaInclude here other such information that seems relevant; dont forget to include dates and places, as known.

Output23 English madrigals14 Italian operas6 overturesAnd so on. This list does NOT have to be comprehensive, but it should be representative.

Importance to the history of music

Smith demonstrates Italian influence in his use of concertato style for 10 of his 23 English madrigals and his composition of Italian operas for the Russian court.

He frequently employed the virginal as an accompanying and solo instrument.

He was the teacher of ____________.

And so on. Comments in this section might include innovations by the composer, unusual uses of instruments, modifications to typical genres, who the composer was influenced by and who he influenced, and so on.

Special opportunity

On Saturday, November 22, LVC alumnus Dr. Tony Leach will be presenting workshops at LVC on Conducting and Performing African-American Spirituals and Gospel Music which will culminate in an evening concert involving participants. The event is funded by the Woomer Diversity Fund and will be open to the community. It includes a registration fee for community participants but is free to current LVC students and faculty:CONCERT FOLLOWS WORKSHOPS10:00 a.m.Workshop I:Leachs One-page Guide to PerformingAfrican American Spirituals11:30Workshop II:Leachs One-page Guide to PerformingTraditional and Contemporary Gospel Music1:00 p.m.Lunch3:00 Concert Rehearsal (open to non-workshop choristers; pre-registration required)5:30 Dinner6:30Concert Rehearsal Review7:00Doors Open for Free Concert7:30Concert Performance

Workshop Registration: $10.00 (LVC Students: FREE)Lunch Ticket: $5.00 Dinner Ticket $5.00

No cost for rehearsal. Registration includes all sheet music.

MSC 241 Students Attend both workshops, rehearse and sing in the concert and RECEIVE CREDIT FOR ONE SPECIAL EVENT PROJECT; NO ESSAY REQUIRED.