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Music in the Classical Era (Mus 7754)

Music in the Classical Era (Mus 7754)

MUSIC IN THE CLASSICAL ERA (MUS 7754)

LOUISIANA STATE

COLLEGE OF & DRAMATIC

FALL 2016

instructor Dr. Blake Howe ([email protected]) M&DA 274

meetings Mondays, Wednesdays, and Fridays, 9:30–10:20 M&DA 221

office hours Fridays, 8:30–9:30, or by appointment

prerequisite Students must have passed either the Music Diagnostic Exam or MUS 3710.

Howe / MUS 7754 Syllabus / 2

GENERAL INFORMATION

COURSE OBJECTIVES

This course pursues the diversity of musical life in the eighteenth century, examining the styles, , forms, and performance practices that have retrospectively been labeled “Classical.” We consider the epicenter of this era to be the mid eighteenth century (1720–60), with the early eighteenth century as its most logical antecedent, and the late eighteenth and early nineteenth century as its profound consequent. Our focus is on the interaction of French, Italian, and Viennese musical traditions, but our journey will also include detours to Spain and England.

Among the core themes of our history are

• the conflict between, and occasional synthesis of, French and Italian styles (or, rather, what those styles came to symbolize) • the increasing independence of instrumental music (, keyboard and accompanied , ) and its incorporation of galant and empfindsam styles • the expansion and dramatization of binary forms, eventually resulting in what will later be termed “” • signs of wit, subjectivity, and the in music of the “First Viennese ” (, Mozart, early Beethoven).

We will seek new critical and analytical readings of well-known from this period (Beethoven, Gluck, Haydn, Mozart, Pergolesi, Scarlatti) and introduce ourselves to the music of some lesser-known figures (Alberti, Boccherini, Bologne, Cherubini, Dussek, Galuppi, Gossec, Hasse, Hiller, Hopkinson, Jommelli, Piccinni, Rousseau, Sammartini, Schobert, Soler, Stamitz, Vanhal, and Vinci, plus at least two of J. S. ’s sons). The term paper assignment will give students the opportunity to become experts in the music of an obscure or marginalized musical tradition. Students are encouraged to use this course to seek out unfamiliar repertoire for future study and performance.

Reading assignments mostly consist of short excerpts from eighteenth-century texts (often from digitized copies of the eighteenth-century publication itself), and so another important component of this course is the examination and interpretation of primary sources. These include historical essays on and (Avison, Diderot, Hegel, Kant, Michaelis, Noverre, Rousseau, Schiller, Wackenroder, Wieland, Winckelmann), politics (Jefferson, Swift, Robespierre), performance practice (Bach, Cambini, Czerny, Türk, Quantz), and music (Forkel, Koch, Galeazzi); historical encyclopedias and dictionaries (Diderot, Koch, Rousseau, Sulzer); contemporary biographies and autobiographies (Da Ponte, Griesinger, Ries, Wegeler); and letters, diaries, and travelogues (Beethoven, Burney, Haydn, Mozart, Reichardt, Riesbeck). Secondary sources include recent historical and analytical studies from leading musicologists, music theorists, and performers. Howe / MUS 7754 Syllabus / 3

COURSE MATERIALS

There are four required textbooks:

• Enrico Fubini, Music and in Eighteenth-Century Europe, edited by Bonnie J. Blackburn, translated by Wolfgang Freis, Lisa Gasbarrone, and Michael Louis Leone (Chicago and : Press, 1994). • Vernon Gotwals, ed. and trans., Haydn: Two Contemporary Portraits (Madison, Milwaukee, and London: University of Wisconsin Press, 1968). • Robert Spaethling, ed. and trans., Mozart’s Letters, Mozart’s Life (New and London: W. W. Norton, 2000). • Frederick Noonan, trans., Beethoven Remembered: The Biographical Notes of Franz Wegeler and Ferdinand Ries (Arlington, VA: Great Ocean, 1987).

All other reading and listening assignments will be posted onto Moodle. If you would like to purchase books for reference purposes, the following general titles are recommended:

• Daniel Heartz, Music in European Capitals: The Galant , 1720–1780 (New York: W. W. Norton, 2003). • Charles Rosen, : Haydn, Mozart, Beethoven [expanded edition] (New York and London: W. W. Norton, 1997). • , The Oxford History of Western Music, Vol. 2, The Seventeenth and Eighteenth Centuries (Oxford and New York: , 2005).

CLASSROOM ETIQUETTE

Students must have access to all relevant readings, translations, scores, and handouts during class. Students should also bring materials for taking lecture notes, including staff paper. Laptop computers may be used as long as the wireless function has been disabled. In order to foster a productive learning environment, students must silence or shut down all other electronic devices. Per the policy of the University, no food or drink is allowed in the classroom.

Because participation is graded heavily, regular attendance is imperative to the successful completion of this course. Students who must be absent due to illness, family emergency, or an official University function should inform the instructor in advance and obtain all lecture notes (and any other missed announcements) from a fellow student.

In order to ensure that all students have the opportunity to gain from time spent in class, students are prohibited from engaging in any form of distraction or disruption. (Examples of disruptive behavior—which include tardiness, excessive talking out of turn, inappropriate use of Howe / MUS 7754 Syllabus / 4

electronic devices, and reading material not relevant to the course—are provided by the Office of Student Advocacy & Accountability.)

ACADEMIC INTEGRITY

All students should acquaint themselves with the University’s Code of Student Conduct. Students caught cheating, plagiarizing, copying, or otherwise violating the University’s policy on Academic Integrity will be reported to the Office of Student Advocacy & Accountability for disciplinary action. (They will also receive a “0” on the relevant assignment or exam.)

DISABILITY ACCOMMODATION

Students with disabilities—including invisible disabilities—are encouraged to contact the Office of Disability Services (112 Johnston Hall) should they require accommodation. There is absolutely no stigma attached to any such request.

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GRADING

Performance in the course will be assessed with a letter grade, based on the following weighting of participation and papers:

Class Participation and Preparation 60%

1. Listening Log (15%) 2. Reading and Listening Questions (25%) 3. Attendance and Participation (20%)

Term Paper 40%

1. Bibliography (2.5%) 2. Abstract (2.5%) 3. Peer Editing (First Version) (5%) 4. Second Version (15%) 5. Final Version (15%)

Letter grades will be assigned based on final percentages, according to the following table:

A+ 97–100% + 77–79% Grades will not be “rounded up.” For A 93–96% C 73–76% example, 89.7% = B+. A- 90–92% C- 70–72% There is no extra credit. B+ 87–89% + 67–69% B 83–86% D 63–67% No late assignments will be accepted, B- 80–82% D- 60–62% except in cases of family emergency or illness (accompanied by a “doctor’s note”). below 59% In these circumstances, please contact the instructor.

Howe / MUS 7754 Syllabus / 6

CLASS PREPARATION AND PARTICIPATION

For each class meeting, students must listen to the assigned music, input entries to the listening log, read the assigned texts, and answer a short set of reading and listening questions.

• Listening and viewing assignments are listed on the course’s Moodle webpage; they may be streamed there, too. Unannounced quizzes covering the required listening assignments may be given throughout the semester, counting toward the attendance and participation grade.

• For each assigned musical work, students must complete a listening log, listing basic information about each piece (title, , date, region, ), as well as its historical context and stylistic features. This will be done through Moodle and will result in a sortable and searchable database of all the music from the course. Entries in the listening log will be graded at random points throughout the semester.

• Reading assignments are listed on the course’s Moodle webpage; they may also be downloaded there. There are three categories of reading assignments, prioritized in the following order: (1) source readings, (2) historical and analytical studies, (3) additional sources for students interested in exploring a topic further. Unannounced quizzes covering the required reading assignments may be given throughout the semester, counting toward the attendance and participation grade.

• For each class, students must answer a set of reading and listening questions, available on Moodle. Successful answers, consisting of a few sentences each, will demonstrate careful study of the assigned texts and an attempt to understand their relationship to each other. Questions are due three hours before the beginning of class, giving the instructor time to incorporate student answers into the lesson. These questions will be graded randomly throughout the semester.

• Students must attend all classes and contribute actively to class discussions; at random points throughout the semester, the instructor will evaluate class participation. Unexcused absences will result in a “0” grade.

Howe / MUS 7754 Syllabus / 7

TERM PAPER

Students will complete one term paper (of between 2,500 and 3,000 words). The assignment will be divided into several smaller steps, and students must successfully complete (with a passing grade) an initial step before moving onto the next one.

The schedule of the term paper assignment is as follows:

• a short statement of topic of no more than a few sentences (due on Moodle on 9/30)

• a revised statement of topic, along with a bibliography of the five most significant sources on your topic and a repertoire list of musical works you plan on consulting (including performances and editions) (due on Moodle on 10/14)

• an abstract, written in the style of a 350-word conference proposal to the American Musicological Society (due on Moodle on 11/2)

• a first version, uploaded to the “workshop” on Moodle (on 11/21), where your two writing partners must read and evaluate it (by 11/25)

• a second version, submitted to the instructor (due on Moodle on 11/29), which will be returned with comment and suggestions for revision (on 12/2)

• a final version (due on Moodle on 12/5)

Grades on the second and final versions of your term paper will be based on the following rubric (developed by Dr. Brett Boutwell):

20% thesis Does the paper have a point to make? Is the thesis expressed clearly? Is it tightly focused? Sensible?

20% support Are the points of evidence specifically identified? Logically ?

20% depth Does the paper reach an acceptable depth and level of specificity?

10% organization Do individual paragraphs cohere, and does each one lead to the next? Does the paper unfold in a logical manner, advancing an argument or a series of related ideas?

10% writing Are individual sentences written clearly and correctly? Is the prose appropriate to the assignment?

10% use of sources Are the sources cited when necessary? Cited in the specified manner? Howe / MUS 7754 Syllabus / 8

10% bibliography Have you chosen the best sources for your project? Did you include the proper number of sources in the proper categories? Is your bibliography formatted correctly?

Rather than attempting a broad historical survey, focus your attention on a detail that catches your eye/ear, or a historical problem that you seek to solve. Theses will be different, of course, depending on what musical repertoire you have chosen to study, but possible strategies might include a comparative study (two settings of the same poem, first draft vs. final draft, etc.); an analysis of form, , or , positioned within the history of ; or a close reading of a primary source (a composer’s letters or autobiography, historical reviews, a treatise).

Students are strongly encouraged to use the term paper assignment to become experts in the music of (undeservedly?) obscure composers or musical traditions, with a possible goal of later advocating for this music in the hall. Some possible topics include:

• and Italian in St. Petersburg • and the Drama giocoso • and Lutheran Music after J. S. Bach • Goethe’s Erwin und Elmire and Its Settings by Johann André, Johann Friedrich Reichardt, Carl Stegmann, and/or Anna Amalia of Brunswick-Wolfenbüttel • Late Telemann: A Turn to the Galant? • Mozart’s Canons and Other Naughty Works • Performance Practice in the Music of • Zarzuela and Tonadilla • Abroad: Metastasio’s in Spain (Domènec Terradellas) and/or London () • Thomas Arne and the Diversity of English Vocal Genres (, Odes, , , and/or Theatrical Music) • Metastasio’s Correspondence with • Le Chevalier de Saint-George • Women Composers of Opéra-Comique: Lucile Grétry and Others • Cherubini and French at the Time of Revolution • The St. Cecilia Society in Charleston, South Carolina • Johannes Herbst and German Musicians in the Moravian Church of Pennsylvania • William Billings and the Schools of New England

Howe / MUS 7754 Syllabus / 9

COURSE SCHEDULE

Information on assignments for each class meeting will be updated on Moodle.

PRELUDE

8/22 Problems of Periodization Carl Dahlhaus, Daniel Heartz, James Webster, and Charles Rosen

UNIT I: OPERA STYLES (1720–70)

8/24–8/26 Metastasio & Friends , , , Farinelli

8/29 Popular Genres Intertwined: Opéra comique, , Singspiel Alain-René Lesage, John Gay, Christian Felix Weisse,

8/31–9/2 and the Construction of Naturalism Carlo Goldoni, , Niccolò Piccinni, Richardson

9/7–9/9 Querelle! Giovanni Battista Pergolesi, Jean-Jacques Rousseau, Friedrich Melchior Grimm, Jean-Philippe Rameau, Denis Diderot

9/12–9/14 Gluck’s “Noble Simplicity” Christoph Gluck, Ranieri de’ Calzabigi, , Johann Joachim Winckelmann

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UNIT II: NEW INSTRUMENTAL STYLES (1720–70)

9/16 “Delightful” Essercizi and

9/19 Galant Conversations Domenico Scarlatti, Jean-Joseph de Mondonville, Domenico Alberti, Baldassare Galuppi,

9/21–9/26 Singing the Self: Meditations on Empfindsamkeit Carl Philipp Emanuel Bach, Friedrich Gottlieb Klopstock, Denis Diderot, Luigi Boccherini, Jean-Georges Noverre,

9/28–9/30 The Symphony in and Mannheim Giovanni Battista Sammartini, Niccolò Jommelli, , Heinrich Christoph Koch

10/3–10/5 Concert Life in London and , , Fanny Burney, Johann Schobert, François-Joseph Gossec, Pierre Vachon, Joseph Bologne, Heinrich Christoph Koch

10/10 Introducing Topic Theory: Tempests, Dances, Hunts, and More Christoph Gluck, Johann Baptist Vanhal, , and Wolfgang Mozart

Howe / MUS 7754 Syllabus / 11

UNIT III: (1770–1810)

10/12–10/14 Haydn’s Intricate Designs: Early at Esterháza , George August Griesinger, Johann Kaspar Riesbeck

10/17–10/19 Wit, Humor, and Rhetoric Joseph Haydn, , George August Griesinger, , Christian Friedrich Michael, Johann Nikolaus Forkel

10/21–10/24 Catering to Foreign Tastes: Works for Paris and London Joseph Haydn, Wolfgang Amadeus Mozart, George August Griesinger

10/26 Late Haydn and the Musical Sublime Joseph Haydn, Wolfgang Amadeus Mozart, George August Griesinger, Christian Friedrich Michaelis

10/28–10/31 Mozart and the Craft of Opera: Early Ventures in and Singspiel Wolfgang Amadeus Mozart

11/2–11/7 Composer, Performer, Subject: Mozart in C Minor Wolfgang Amadeus Mozart, Daniel Gottlob Türk,

11/9–11/11 The Enlightenment and Its Critics Wolfgang Amadeus Mozart, Immanuel Kant, Christoph Martin Wieland,

11/14–11/16 Mozart’s Final Symphonies: Drama, Expression, and the Sublime Wolfgang Amadeus Mozart, Wilhelm Heinrich Wackenroder, Francesco Galeazzi, Immanuel Kant

Howe / MUS 7754 Syllabus / 12

UNIT IV: BEETHOVEN (1780–1815)

11/18 Liberté! Jan Ladislav Dussek, François-Joseph Gossec, , , Maximilien de Robespierre

11/21–11/23 Beethoven and the Labor of Composition Ludwig van Beethoven,

11/29–11/30 Struggle and Triumph Ludwig van Beethoven, , . T. A. Hoffmann, , Johann Friedrich Reichardt,

12/2 Fantasie and Empfindung, One Last Time Ludwig van Beethoven, Carl Czerny, . W. F. Hegel

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