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ASQ2-History I Syllabus (07F).Doc Course Title Credit MUHL M306 History of Western Art Music I 3 credits Fall semester 2007 Instructor Dr. Alice V. Clark phone 865-3065 Communications/Music 202 e-mail [email protected] Office hours: M1:30, T2:00 (subject to change), or by appointment Classes MWF 9:30-10:20 (section 001) or 11:30-12:20 (section 002), CM 204g Bulletin description This course is the first part of a two-semester survey of western art music, this semester covering music and ideas about music from antiquity to the mid-eighteenth century. Where relevant, we will consider influences on western art music from other cultures and styles. Prerequisites MUTH M103 (Theory II) and MUHL M106 (Introduction to Music Literature), or permission of instructor. Note that Theory III and History I are prerequisites for History II, so students in this class should have completed or be concurrently enrolled in Theory III, and students who have not passed Theory III will not be allowed to continue, even if they have passed History I. Course objectives This class will cover western art music composed before c. 1750. We will consider not only the history of musical style, but also as appropriate how music was composed, performed, transmitted, and used as part of broader culture. Learning outcomes By the end of the semester, students should be able (among other things) to: • differentiate by ear or eye between musical works of different style periods before c. 1750 • identify by ear or eye a group of known compositions composed before c. 1750 • identify major composers active before c. 1750 • define key terms relating to music composed before c. 1750 • explain major historical and cultural influences on the composition, performance, and transmission of music before c. 1750 Textbooks and other materials to be purchased by student Burkholder, J. Peter, Donald J. Grout, and Claude V. Palisca, A History of Western Music . 7 th ed. New York and London: W. W. Norton & Company, 2006. Burkholder, J. Peter, and Claude V. Palisca, eds. Norton Anthology of Western Music . Vol. 1: Ancient to Baroque . 5th ed. New York and London: W. W. Norton & Company, 2006. I have no real objections to your sharing the textbook, or using the library copy instead of purchasing your own—as long as you do the reading, of course (!)—but you really need to own your own copy of the anthology! You should use it constantly, bring it to each class, take notes in it, and otherwise take full ownership of the music it contains. Optional materials available for purchase Burkholder, J. Peter, and Claude V. Palisca, eds. Norton Recorded Anthology of Western Music . Vol. 1: Ancient to Baroque . 5 th ed. New York: W. W. Norton & Company, 2006. These recordings cover the material in the anthology. You are not required to buy this, but it’s convenient, 1 especially around test times and in case of evacuation, to own your own copy, and, while it’s a lot of money up front ($80 for six CDs, according to their web site), it’s a good investment. There should be at least a few copies available at the bookstore—if they’re gone, you can always make a special order in the textbook department or through other sources. One copy of the recordings will be on reserve at the library (call number CD MSCL 00130 vol. 1); the fourth edition CDs are also on reserve (CD MSCL 00009 vol. 1), so there will be another copy of many, but not all, recordings (though not always the same performance). Note that I will always play performances from the fifth edition CDs on exams. Course requirements / Types of assignments Required work for this course will include reading (from the textbook and other sources), listening, and score study (mostly, but not entirely, from the required anthology). Students will also have to take exams, complete a series of writing and other assignments, and participate in class discussion. This course has a Blackboard web page. Go to <loyno.blackboard.com>, and log in using your loyno userid (e.g., avclark, not [email protected] ). If you have not used Blackboard before, your initial password is your birth year and month—for example, Philippe de Vitry, born 31 October 1291, would have a password of 129110). Be sure to change that password right away to something more secure! I will post announcements on the Blackboard page as needed, and you can find there a copy of the syllabus, assignments, images and other interesting links, and so forth; there will also be some assignments that can only be completed through Blackboard. Also, be aware that the University is no longer allowing students to use non-Loyola e-mail addresses within the official system. This means that you must occasionally read your loyno account!!! I realize material is sent to the campus community which you may not find relevant to your life, but we need to be able to reach you, and this is usually the easiest way to do so. You are welcome to put any non-loyno addresses in your Blackboard profile as well, and I’d encourage you to do so, so I can have an alternate way to get hold of you if need be (say in case of evacuation...). Special accommodations A student with a disability that qualifies for accommodations should contact Sarah Mead Smith, Director of Disability Services, at 865-2990 (Academic Resource Center, Room 405, Monroe Hall). A student wishing to receive test accommodations (e.g., extended test time) should provide the instructor with an official Accommodation Form from Disability Services in advance of the scheduled test date. Academic integrity All work you do for this class is expected to be your own, and academic dishonesty (including, but not limited to, plagiarism on papers or cheating on exams) will be punished. A summary of the University’s definitions and procedures concerning academic integrity can be found in the Undergraduate Bulletin (pp. 46-47 of the 2003-5 Bulletin). If you are uncertain how to use and cite the work of others within your own work, consult reference works such as Kate L. Turabian, A Manual for Writers of Term Papers, Theses, and Dissertations , 6 th ed., revised and by John Grossman and Alice Bennett, Chicago Guides to Writing, Editing, and Publishing (Chicago: University of Chicago Press, 1996), or see the instructor. Everything you turn in for a grade in this class must represent your own work unless I specifically say otherwise. Studying together is very useful, and I encourage it, but when you sit down to take a Blackboard quiz, write an essay, etc., you need to do that work alone. The act of putting your name on an assignment and/or submitting it (on paper or electronically) represents a statement that, on your honor, it represents your work. Penalties for submitting the work of others as your own may include (but are not limited to) a lowered grade on the assignment, a zero for the assignment, or even failure of the course. I expect you always to be ethical in how you use library resources and other pieces of intellectual property. That includes, but it not limited to, respecting copyright law and properly attributing your use of the words, images, music, or ideas of others. These principles are not always clearly articulated, but they are important; please let me know if you need to discuss particular aspects. Evacuation Statement 2 Students must log on to the College emergency web site ( www.loyno.la ) and the University Blackboard site ( http://loyno.blackboard.com/ ) within 48 hours of any University evacuation to receive further information regarding contacting course instructors for assignments, etc. Students will be required to do assigned course work for any evacuation of more than 48 hours. Students should also monitor the University site ( www.loyno.edu ) for general information. Attendance Note that attendance and participation together count for 5% of your final grade. That does not mean simply showing up, but being prepared, asking and answering questions, and participating in small- and large-group discussion. From a baseline of 100 points, I’ll subtract three points for each absence. (I will no longer give extra points for class participation, because I expect you all to participate, but I will subtract points if necessary for lack of engagement in class or distracting behavior.) While I appreciate knowing why you weren’t (or won’t be) in class, absences can only be excused with written medical documentation or advance written notice of a professional obligation. If a student is disruptive or clearly not participating in class discussion or pair or group activities, I reserve the right to treat that student as absent for that class. Late arrivals are distracting to the rest of the class. Students arriving more than ten minutes late (or leaving more than ten minutes early) will therefore be penalized one point for each tardiness. My watch is the final authority. I also reserve the right to lock the classroom door ten minutes into class. Please don’t talk while music is playing! I realize the performers on a recording can’t be distracted, but you are still disturbing your neighbors. Besides, as musicians, listening to music should be one of the most important things we do, and it deserves your full attention. Please also ensure that any cell phones or other noise-producing devices are silenced for the duration of class—again this is a courtesy to your colleagues as well as to me. Evaluation Grades will be calculated as follows: exams (total): 30% (10% each) final exam: 10% writing assignments (total): 35% quizzes and other assignments (total): 20% attendance and participation: 5% The following grading scale will be used: A 92-100 B+ 88-91 B 82-87 C+ 78-81 C 72-77 D+ 68-71 D 60-67 F below 60 Note that the state certification board requires that music education students get a grade not lower than C in all music courses; music education students receiving a grade of D+ or below therefore cannot proceed to History II.
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