Understanding of Music

Understanding of Music MUS 22111 Mr. Michael J. Fay Kent State University Course Syllabus, Fall Semester

COURSE INFORMATION Description: A survey of the major style periods of serious art music in Music History, beginning with the Medieval period, advancing to contemporary times. Location: Crestview High School, Music Suite Meeting Times M-F, 1:40-2:30 pm Prerequisite: Acceptance into the Middle College Program. No prior musical knowledge is expected. However, the student must be able to correctly format and write a university-level document in proper English. INSTRUCTOR INFORMATION Name: Michael J. Fay E-mail: [email protected] Office: Crestview High School, Music Suite Office Phone: (330)482-4744 Office Hours: by appointment TEXTBOOK

Textbook/Workbook: Kristine Forney and Joseph Machlis: The Enjoyment of Music, Tenth Edition, Shorter Version (Required) Web Site: www.wwnorton.com/enjoy (Required) Also visit: Naxos Music Library (Optional) YouTube (Optional)

COURSE GOALS, OBJECTIVES, OUTCOMES, ETC. Course Goal: The goal of Understanding of Music is to educate non-music students as to the nature of music, including the basic elements of music, the history of music, and the creating of music. By having an understanding of these concepts, students will be better connected with their culture and will hopefully continue involvement to become patrons of musical events, locally and beyond. COURSE POLICIES The following policies apply to all of Mr. Fay’s classes: 1. Attendance will be taken within the first five minutes of class. If a student arrives to class after attendance has been taken, it is the student's responsibility to notify the instructor of their presence after class. Students arriving after attendance has been taken will be counted as tardy. Each unexcused tardy is counted as one half of an unexcused absence. Students attending a section in which they are not enrolled will be counted as absent. 2. Assignments: Late assignments may be submitted up to seven calendar days (168 hours) after the original due date for 50% of their original point value. After seven calendar days, late assignments may still be submitted, but for no point value. It is strongly suggested that students keep old assignments and quizzes until after final grades have been submitted. Old assignments, if not picked up by the student in class, will be placed in the tray on the instructor's office door. 3. Students are encouraged to work together on assignments; however, each student must submit their own assignment, unless otherwise instructed. Photocopied answers, including answers to assignments discussed in class, are not permitted. Assignments that include photocopied answers will be forwarded to the Dean of Students Office for disciplinary action. 4. All electronic devices, including MP3 players, cellular telephones, and pagers, must be turned off or in silent mode during class. All electronic devices should be kept out of sight at all times. 5. Students may not wear headphones of any kind during class unless directed to do so. 6. Laptop computers may only be used during the first and last five minutes of class. The following policies apply to this class: 9. Come to class on time and prepared. Bring your textbook to every class. 10. Assignments are due on Fridays at the beginning of class. Unless otherwise indicated, assignments will be in the form of a Microsoft Word file attached to an email addressed only to [email protected]. When sending assignments by email, students must follow these guidelines. Failure to follow these instructions may result in no credit being earned on the assignment A. The "Subject" field of the email must contain the course name or the email may not be received and read by the instructor. B. The body of the email must contain the student's real name! See specific instructions for each assignment by following links in the schedule below. C. The file name of the attachment must contain the assignment's due date in the following format: "yyyymmdd.doc" For example, and assignment due on February 11, 2010 would include "20100211..." D. Finally, after the date, and a space, the file name should include a description of the assignment as found on the syllabus, such as: "20100211 concert report 1.doc" 11. Concert Reports: Attend live, local musical concerts (excluding rock) of serious art music: professional symphony orchestra, collegiate orchestra, musical, opera production, or wind ensemble. Three reports during the semester will be graded. For each Concert Report, the student is required to: A. See Concert Report for instructions and an example of how to write the concert report. B. The Concert Report, like other assignments, will be submitted as an email attachment. C. Submit a program from the performance signed by one of the performers. If no program is provided, the concert is not eligible for a Concert Report. 12. Quizzes take place in class on Fridays. If a student misses a quiz due to an excused absence (university function, medical emergency, car trouble, etc.), the student may take the quiz during the instructor's office hours. To do so, the student must provide some documentation for his or her absence. 13. Purchase 4x6 spiral bound note cards immediately. For each listening example presented in your book, you will create a note card with the following information: A. Composer's Name B. Composer's Dates (if known) C. Title of Work D. Date of Work (if known) E. Style Period F. Form G. Genre H. Medium I. "What to Listen for" as found in your text. These cards are required for entrance to the Midterm and Final Exams. They are the only "open book" component of the exams. During an exam you may have only the spiral-bound note cards, a pencil, and an eraser on your desk. 14. Most listening will be done in class, but the student is responsible for all listening assignments. 15. The Midterm Exams will be during class on Friday of weeks 5 and 10. GRADING The final grade will be calculated according to the following point values: 1 Assignment 10 points 6 Quizzes 15 points each 3 Concert Reports 100 points each Midterm Exam 1 100 points Midterm Exam 2 100 points Final Exam 300 points Music Composition Project 100 points Total Points Possible 1000 points

Letter grades will be assigned based on the total number of points earned. The instructor may assign a higher (or lower) grade based on the student's effort and rate of improvement throughout the semester. A 900-1000 points B 800-899 points C 700-799 points D 600-699 points F 0-599 points

Week Dates Topic Assignment Test 8/27-8/31 Survey, Performance 1 Forney/Machlis: Part One: Chapters 1-6 None Venues Research 2 9/4-7 Forney/Machlis: Part One: Chapters 7-10 None Quiz 3 9/10-14 Forney/Machlis: Part Two: Chapters 11-16 None None 4 9/17-21 Forney/Machlis: Part Three: Chapters 17-18 None Quiz 5 9/24-28 Review for Midterm 1 None Midterm 1 6 10/1-5 Forney/Machlis: Part Four: Chapters 19-24 None None 7 10/8-12 Forney/Machlis: Part Four: Chapters 25-27 None Quiz 8 10/15-19 Forney/Machlis: Part Five: Chapters 28-29 None None 9 10/22-26 Forney/Machlis: Part Six: Chapters 30-39 None Quiz 10 10/29-11/2 Review for Midterm 2 None Midterm 2 11 11/5-9 Forney/Machlis: Part Seven: Chapters 40-51 None None 12 11/12-16 Forney/Machlis: Part Seven: Chapters 52-62 None Quiz 13 11/19-23 Forney/Machlis: Part Eight: Chapter 63-67 None None 14 11/26-30 Forney/Machlis: Part Eight: Chapter 68-80 None Quiz 15 12/3-7 Review for Written Final None None 16 12/10-14 Review for Written Final None Final 17 12/17-20 Music Composition Project MCP None 18 1/2-11 Music Composition Project MCP MCP

PLAGIARISM/ACADEMIC DISHONESTY STATEMENT STUDENT CHEATING AND PLAGIARISM: Condensed Version Cheating and plagiarism constitute fraudulent misrepresentation for which no credit can be given and for which appropriate sanctions are warranted and will be applied. The university affirms that acts of cheating and plagiarism by students constitute a subversion of the goals of the institution, have no place in the university and are serious offenses to academic goals and objectives, as well as to the rights of fellow students. means to intentionally misrepresent the source, nature, or other conditions of academic work so as to accrue undeserved credit, or to cooperate with someone else in such misrepresentation.

Cheating includes, but is not limited to: 1. Obtaining or retaining partial or whole copies of examinations, tests or quizzes before these are distributed for student use; 2. Using notes, textbooks or other information in examinations, tests and quizzes, except as expressly permitted; 3. Obtaining confidential information about examinations, tests or quizzes other than that released by the instructor; 4. Securing, giving or exchanging information during examinations; 5. Presenting data or other material gathered by another person or group as one's own; 6. Falsifying experimental data or information; 7. Having another person take one's place for any academic performance without the specific knowledge and permission of the instructor; 8. Cooperating with another to do one or more of the above; 9. Using a substantial portion of a piece of work previously submitted for another course or program to meet the requirements of the present course or program without notifying the instructor to whom the work is presented; and 10. Presenting falsified information in order to postpone or avoid examinations, tests, quizzes, or other academic work.

“Plagiarize” means to take and present as one’s own a material portion of the ideas or words of another or to present as one’s own an idea or work derived from an existing source without full and proper credit to the source of the ideas, words, or works. As defined, plagiarize includes, but is not limited to: a. The copying of words, sentences and paragraphs directly from the work of another without proper credit; b. The copying of illustrations, figures, photographs, drawings, models, or other visual and nonverbal materials, including recordings of another without proper credit; and c. The presentation of work prepared by another in final or draft form as one's own without citing the source, such as the use of purchased research papers. Academic Sanctions, From Section D The following academic sanctions are provided by this rule for offenses of cheating or plagiarism. Kent campus instructors shall notify the department chairperson and the student conduct office each time a sanction is imposed. Regional campus instructors shall notify the regional campus dean and the student conduct officer each time a sanction is imposed. Regional campus student conduct officer shall notify the Kent student conduct office each time a sanction is imposed by a regional campus Instructor. The following academic sanctions are provided by this rule for offenses of cheating or plagiarism. In those cases the instructor may: 1. Refuse to accept the work for credit; or 2. Assign a grade of "F" or zero for the project, test, paper, examination or other work in which the cheating or plagiarism took place; or 3. Assign a grade of "F" for the course in which the cheating or plagiarism took place; and/or; 4. Recommend to the department chair or regional campus dean that further action specified in the rule be taken. The department chairperson or regional campus dean shall determine whether or not to forward to the academic dean or to the vice president for the extended university a recommendation for further sanction under this rule.

Procedures for invoking sanctions. (From Section E) (1) Academic administrative procedures pertaining to paragraph (D)(1)(a) of this rule. In the event that an instructor determines that it is more probable than not that a student in a course or program under the instructor's supervision has presented work for university credit which involves an act of cheating, plagiarism or cooperation in either, then the instructor shall: (a) Inform the student as soon as is practical, in person or by mail, of the belief that an act of cheating or plagiarism has occurred. If the student cannot be reached in a reasonable period of time, the instructor may proceed with sanctions, notifying the student in writing as promptly as possible of the belief and the procedural steps the instructor has taken. (b) Provide the student an opportunity to explain orally, in writing, or both, why the student believes the evaluation of the facts is erroneous. (c) If the explanation is deemed by the instructor to be inadequate or if no explanation is offered, the instructor may impose one of the academic sanctions listed in paragraph (D)(1)(a) of this rule. Where appropriate, the instructor may recommend the imposition of academic sanctions listed in paragraph (D)(1)(b) of this rule. In addition, the instructor may refer the matter to the dean of the college, campus, or school in which the student is enrolled for imposition of academic sanctions listed in paragraph (D)(1)(b) of this rule. (d) The instructor shall notify the office of judicial affairs of the circumstances and action taken. Such notification will be used as background information in the event that formal conduct charges are initiated against the student. (e) The instructor shall inform the student in writing of the right to appeal, and the procedure to follow. (f) The instructor shall keep the evidence of cheating or plagiarism in a secure place and provide it upon request to any appeals officer or the conduct officer. The instructor shall provide copies on request to the student at the student's expense. (g) The instructor shall cooperate with academic and student conduct personnel in any appeal of the decision, and/or in adjudication of any disciplinary proceedings. STUDENTS WITH DISABILITIES University Policy 3342-3-18 Kent State University recognizes its responsibility for creating an institutional climate in which students with disabilities can succeed. In accordance with University Policy, if you have a documented disability, you may request accommodations to obtain equal access and to promote your learning in this class. Please contact the Coordinator of Student Disability Services through the campus Student Services Office to inquire about appropriate accommodations. After your eligibility is determined, you will be given a letter, which when presented to instructors, will help us know best how to assist you. CONCERT REPORTS Concert Report  Objective: This assignment gives the student an opportunity, through a written report, to demonstrate the understanding of listening concepts learned in class, as well as to describe music and reactions in personal terms. (See sample concert report).  Types of concerts: (collegiate or professional) o symphony orchestra o chamber ensemble o wind ensemble o student/faculty solo artist recital o Exclusions: rock concerts o If you're not sure, ask!  Formatting: o single-space name/info, upper right-hand corner o double-space body of paper, 1-inch margins, black ink, Times New Roman font o 300-350 words, page numbers in the footer at bottom right corner o Italicize titles, genres, and foreign-language terms. o Consult three or more sources. One must be print. Include formal Sources Cited page.  Paragraph 1: Introduce the event (when, where, who, what). o Introduce and give BRIEF biographical information of ensemble or soloist (no more than a sentence). o Mention the works performed on the program (title and composer). NO discussion here - that's for later. o If there are more than 4 pieces, summarize: four songs by Strauss, one- movement works by Johnson, Ortega, and Sousa, and Beriloz’ Symphonie Fantastique.  Paragraphs 2+ : Choose two works of contrasting style periods you especially enjoyed (one before intermission and one after). Write one to two paragraphs for each chosen selection with these essential facts: o title, composer (dates), his/her nationality and place in history (fame) o genre (ballad, sonata, symphony) Put these into italics so you don’t have to say, "The genre is . . ." o medium/instrumentation (which means the instruments, voices used) o style period (in case of 20th century, the specific style within) o Integrate information you get from published sources with your own observations . general elements—melody, rhythm, range, dynamics, textures, tonality, form etc. . style characteristics to point to a particular period (baroque polyphony, Romantic programme etc.)  Final paragraph: Summarize your reactions to the concert experience--discuss positive and/or negative aspects. o Citing Sources: All published sources must have an in-text citation at end of the appropriate sentence or paragraph and make a full citation at end of paper.

Common Problems in Concert Reports

Developing and experienced writers must practice to master the art and science of good writing, no matter the discipline or assignment. There is always room for improvement. Please review the lists below to avoid these common pitfalls. 1. Common content problems a. FAILURE TO FOLLOW INSTRUCTIONS b. Incorrect usage of musical terms. c. Failure to assign a style period to a composer & his/her work. d. Failure to assign any style characteristics at all. e. Using scholarly excerpt that is beyond the comprehension of the student. (You must understand EVERYTHING you put in your paper.) f. Making a statement then not explaining it. g. Too much composer biography and not enough description of the music. h. 2. Common technical problems a. Failure to paraphrase – put all but the briefest quotes INTO YOUR OWN WORDS. b. Failure to cite source IN the body of paper c. Incorrect formatting of bibliography; overly large margins, etc. d. Incorrect grammar.

SAMPLE CONCERT REPORT

On Thursday, September 19, 2009 I attended a concert performance of the

University Symphony Orchestra in the Fox Fine Arts Recital Hall. Conducted by UTEP

Professor Ron Hufstader, the orchestra is comprised of UTEP students, both instrumental music majors and non-majors. Joining them during the evening was Alex Rivas, a

Master’s degree candidate in vocal performance. (Program notes) Their program for the evening included G.F. Handel’s Music to the Royal Fireworks, Franz J. Haydn’s Symphony No. 94 “Surprise,” and Gustav Mahler’s Von der Jugend, from Das Lied von der Erde.

The program opened with Overture to Music for the Royal Fireworks (1749), by

Baroque composer George Frideric Handel (1685-1759). According to Dean, Handel’s fame has lasted 250 years as an icon of Baroque period internationalism. This overture from an orchestral suite was intended for outdoor performance and specified a very large number of wind instruments and timpani for the original performance. Handel added strings for later (indoor) performances. (Dean 108) Naxos states that the work was performed before a fireworks show to celebrate the Peace of Aix-la-chapelle. (Naxos music library). The instrumentation for this performance included strings, pairs of woodwinds, brass and timpani.

The one-movement overture begins with an Adagio, illustrating a slow introduction at a mezzo forte dynamic. This section is cast in a major key in what seems to be a quadruple meter. In a stately and royal mood, the trumpet initially carries the melody, alternating back and forth with the strings. At a noticeable cadence, an Allegro section follows with vigorous rhythms of different melodic lines that demonstrate polyphonic texture in an exciting and energetic mood. The melody and volume alternate between the brass instruments (louder) and the strings and woodwinds (softer), like an echo. Suddenly, the tempo slows to recall the beginning, but this time the music is definitely in a minor key, is much softer and is conjunct with a relatively narrow range.

Just as quickly, the Allegro part returns. Throughout each section there are alternations of homophonic texture, meaning melody and subordinate accompaniment, with polyphonic texture, where individual parts move independently, both of which are characteristic of the Baroque style.

The final work performed, Von der Jugend, from Das Lied von der Erde (1910), was penned by Austrian composer Gustav Mahler (1860-1911). Mahler, who is described as a Post-Romanticist, completed this song cycle, scored for tenor, contralto and full orchestra, after the death of his daughter. After a period of mourning, he stated,

“I thirst for life more than ever before. . .” The vocal text for the six songs is from Hans

Bethge’s Chinese Flute, translated from the Chinese poems of eighteenth-century poet

Li-Tai-Po. (Forney 481)

The third movement, Von der Jugend (Of Youth) was performed in German by tenor Alex Rivas, but luckily the translation was printed in the program. The music opens with a happy and very tuneful melody, first in the clarinet, flute, and piccolo, then the tenor enters, who sings of sitting with friends, drinking and chatting in a beautiful house of green and white porcelain. According to Forney, the melody is based on the pentatonic scale (an oriental scale) and has a ternary form (Forney 482). I heard a much slower middle section where the melody darkened to a minor key before the happy melody of the beginning returned. Throughout this short movement, soloist and the orchestra seem to have equal amounts of time to portray the sweet and simple nature of the poetry. Characteristics that point to Post-Romanticism would be the tuneful and consonant melody, the musical portrayal of the poetry’s imagery, and the use of a full orchestra.

This was my first time to hear a symphony orchestra in live performance. I was really surprised at how much I enjoyed the three selections and could hear some differences in the style periods. Reading my textbook and program notes beforehand helped immensely to listen for general musical elements, which I found rather easy to hear. I did not, however, appreciate the person whose cell phone rang during a quiet moment. All in all, it was a very positive experience.

Bibliography Dean, Winton. “George Frideric Handel.” The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie. Vo. 8, London: Macmillan, 1980. Print.

Forney, Christine and Machlis, Joseph. The Enjoyment of Music. Ninth edition; chronological version. New York: W. W. Norton & Co., 2003. Print.

Naxos Music Library. http://0-utep.naxosmusiclibrary.com.lib.utep.edu/composer. Biography of G. F. Handel. Accessed September 29, 2009. Web.

University Symphony Orchestra Concert Program. The University of Texas at El Paso, September 19, 2009. Print.

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INSTRUCTOR'S COMMENTS:  Introduction gives who, what, where, when. o Introduces performers o Introduces the program 1* Composer placed into historical era with dates and summation of fame. 2* Full titles are italicized as are foreign language terms. 3* Work classified by genre (italicized) and medium 4* Accurate use of terms shows understanding of concepts 5* Considers many different elements of music (melody, meter, harmony, form, dynamics, tempo, instrumentation); shows understanding that elements change as a piece progresses 6* Narrative style makes clear which piece/movement is being discussed 7* Some information about work from lecture/book/program notes included 8* Attempts to describe the music in his/her own terms, with genuine reaction 9* Summary has subjective opinions, both positive and negative.