MUTH 4520 Course Outline

Dr. Timothy L. Jackson (Distinguished University Research Professor of Music, Music Building, Room 111, tel. (940) 565-3748 (wk), e-mail: [email protected]. Re. Private consultations: the student is responsible for requesting meetings with the instructor. The best times to meet are MW 11pm.

The primary focus of the course will be the music of Schoenberg, Webern, Berg (The Second Viennese School), Bartok, Hindemith, and Stravinsky. Other composers to be discussed include: Richard Strauss, Sibelius, Vaughan Williams, Rachmaninov, Shostakovich, Prokoviev, Messiaen, Boulez, Ligeti, Xenakis, Ives, Carter, Babbitt, etc. time permitting.

Learning to write well about music a primary goal of the course:

The assignments will involve approximately three short essays (6-8 pages) supported by clear musical examples and bibliographies. The student is encouraged to avail him/herself of all library resources, including RILM, ILL (inter-library loan), The Music Index, jstor, worldcat, naxos, imslp etc. to gain access to needed materials. Our librarians will help you. Ask lots of questions!

After a certain amount of prevarication, I have decided to send you a "Listening List." The stimulus for this decision is the fact that so many students have not yet studied Mahler's Das Lied von der Erde. The institution of this list is not punitive, but informative. Ignorance is NOT bliss. Music students need to know something about real music. I easily could make the list ten times as long and add more pieces from the second half of the 20th century, but I have restricted it to a few seminal figures from the end of the 19th century and the first half of the 20th century because I am of the view that if you do not assimilate this repertoire, you do not have a solid basis on which to build - indeed, I would go so far as to suggest that you really don't have any basis whatsoever. Additionally, I have decided to institute a "Listening Test/Repertoire Examination" that will be more than just identify the piece. In addition to asking you to identify the piece, either from hearing a segment or from identifying a few pages of the score, I will ask some directed questions that will require you to have studied the score and read up about the piece. Let's discuss this test tomorrow. Some pieces, not necessarily discussed in class but on the Listening List, are included to give you a certain command of the literature. Warning: Do not wait until late in the semester to listen to and read up on the items on the list. Rather, spread listening and study out over the entire semester. Experience shows that crammed listening and reading simply do not work; the student does not retain what he/she hears and simply confuses and confounds one work with another. The student should allocate approximately eight hours per week for listening to recordings and

1 studying pieces. Always listen to the music with the score. I have shared some scores with my analytical notes to facilitate your comprehension.

Portfolio of Work Presented at the End of the Semester and Breakdown of Final Grade:

1) Short papers 60% 2) In-class participation 10% 3) Final Examination and Listening test 30%

Marking policy:

To receive a grade, all written assignments must be submitted no later than one class after the announced due date. One unit will be deducted for lateness (e.g. A becomes A-). Attendance is expected at all classes. Student's may obtain advance permission to submit work late or miss class.

Berlioz

Symphonie fantastique

Wagner

Tristan, Acts I and III Parsifal Acts I and III

Bruckner

Seventh Symphony Eighth Symphony Ninth Symphony

Mahler

Kindertotenlieder Rückertlieder Fifth Symphony Sixth Symphony Eighth Symphony Ninth Symphony Das Lied von der Erde Tenth Symphony

Debussy

Prelude to "The Afternoon of a Faun" (L'Apres-midi d'un faune) La Mer (The Sea)

Richard Strauss

Macbeth Salome Elektra Also sprach Zarathustra Alpensinfonie

Schoenberg

Gurrelieder Pelleas und Melisande Verklärte Nacht Kammersymphonie No. 1 Second String Quartet Pierrot Third String Quartet Fourth String Quartet

3 Jakobsleiter Ich darf nicht dankend and In diesen Wintertagen Op. 14 Das Buch der hängenden Gärten (The Book of the Hanging Gardens) Herzgewächse, Op. 20 Piano Pieces, Op. 23 and Op. 33 Violin Concerto, Op. 36 Survivor from Warsaw, Op. 46

Berg Songs, Op. 2 Altenberglieder Three Orchestral Pieces, Op. 6 Chamber Concerto Wozzeck Violin Concerto Lyric Suite

Webern Movements for String Quartet, Op. 5 Fünf Kanons, Op. 16 Symphonie, Op. 21 Variations for Piano, Op. 27 Cantata I, Op. 29 Cantata II, Op. 31

Stravinsky

Rite of Spring Petrushka L'Histoire du Soldat Les Noces Symphony of Psalms Mass Agon Abraham and Isaac

Bartok

The Miraculous Mandarin Fourth String Quartet Music for Strings Percussion and Celesta Sonata for Two Pianos and Percussion Concerto for Orchestra

Shostakovich

Second Symphony (first movement only) Fifth Symphony Eighth Symphony

Prokofiev

Seventh Sonata for Piano Fifth Symphony

Rachmaninov

Island of the Dead Third Piano Concerto Second Symphony

Sibelius

Fourth Symphony Fifth Symphony Seventh Symphony Luonnotar

5 Messiaen

Quatuor pour la fin du Temps

Hindemith

Mathis der Maler Symphony The Four Temperaments

Vaughan Williams

Fantasia on a Theme by Thomas Tallis Fifth Symphony

Gyoergy Ligeti

Lux aeterna Requiem Piano Etudes Lontano

Iannis Xenakis