Eastern Kentucky University School of Music MUS 755 – Symphonic Literature CRN XXXXX Credit Hours: 3 Fall XXXX
Instructor: Office Number: Office Hours Office phone number: Instructor e‐mail:
Catalog Description:
MUS 755 Symphonic Music Literature. (3) II. Prerequisite: MUH 371 and 372. Evolution of the symphony from its beginning to the 20th century with emphasis on score reading and listening.
Course Description MUS 755 covers the evolution of the symphony from its beginning to the 20th century with emphasis on score reading and listening.
The course traces the history and development of the symphony from its roots in music of the late Baroque to the 20th century. Rather than a comprehensive look at the Symphony, specific works in the repertory will be the focus of the course; they will be approached through historical context and some musical analysis. Relevant topics include:
the development of sonata/1st movement form. the purpose of the composition and performance of the music. its intended audience. the size and composition of the orchestra in various eras. other relevant historical trends and social context.
Required Materials:
No text is required for the class. Reading, listening, and other material will be made available through Blackboard. Students will require access to a computer with the necessary software for accessing the internet and Blackboard; viewing PDF, MS Word, and similar documents; viewing YouTube files; and listening to streaming audio or MP3 files. It may also be useful to scan documents in order to submit assignments.
Student Learning Outcomes:
Upon completion of this course students will be able to: 1. describe the origination and development of the Symphony from its roots in the Baroque and Pre‐Classical Eras through the 20th Century. 2. identify specific pieces of symphonic music by title, composer, and historical era. 3. explain how the Symphony in the various eras related to the social aspects of its composition and performance. 4. articulate one’s own “personal answer” for why the study of Symphonic Literature matters for us as listeners, composers, performers, educators, or as a combination of these roles. 5. construct a "reasonable defense" for why the study of Symphonic Literature matters for others who may not share our personal convictions ‐ students, for example, or administrators, or politicians.
Grading Methods:
Most assignments are attached to modules and will become available with them. Rubrics will be provided with the assignments as appropriate. Module assignments will be given at least a week before their due date. Other important dates are as follows:
Midterm Exam – available Paper – due end of day Final Exam – available Late work is not accepted, unless an official university‐approved excuse is submitted prior to due date. Your instructor reserves the right to post new due dates when necessary and only under very special circumstances. Please note, though, that LATE POSTS for online discussions can never be awarded points. If there are questions about due dates, please ask the instructor.
Grading Scale
A = 90‐100% B = 80‐89% C = 70‐79% D = 60‐69% F = 0‐59%
Graded Material
Grading Percent Completion of Module 4% each 28% Assignments Listening Quizzes (for each 3% each 21% module) Midterm Exam 17% Final Exam 17% Paper 17% Total 100%
The paper will cover a topic assigned by (or potentially negotiated with) the instructor. It will be approximately 7‐8 pages in length over a topic related to the course. The rubric for the paper will be made available on Blackboard.
The midterm and final exams will consist of essay questions relating to the material from the modules. The final will not be cumulative except insofar as topics continue to be relevant throughout the course.
The listening tests will consist of short excerpts from assigned pieces.
Student Progress:
Grades will be posted in the Bb online grade book and updated weekly. Your instructor is always available to provide additional written progress reports for you, but certainly at least once prior to the mid‐point of this course.
Assignments: All major assignments are designed for you to integrate gained knowledge from this course. They are important not only for learning assessment to take place, but to reinforce long‐term retention and understanding of human communication processes and skills. Therefore, assignments provided in the course be completed in order to receive a passing grade for this course. Failure to complete any assignment or exam worth 20 points or more will result in failure of this course.
Policies regarding late work, academic integrity, “netiquette,” and plagiarism may be found on the course Blackboard site under “EKU Student Policies and Policies for this Course.”
Attendance Policy:
In this online class attendance will be measured by the student’s attending to the assignments in a timely manner that meets assignment deadlines and due dates. Assignments will be made via Blackboard and will have due dates and consequences of missing due dates identified clearly in Blackboard.
Please be advised that instructors have the right to drop students from any course due to non‐ participation. For more information, see the university's First Day Attendance Policy. For this course, you must send me an email saying (literally or figuratively) “I am here” between March 20 and March 23 in order to be considered present for First Day Attendance purposes.
Students will receive feedback on their progress within one week of an assignment being submitted. Grades can be tracked throughout the semester via Blackboard. Please contact the professor by email any time you have questions about your work in this course. To view your grades in Blackboard, click on the “Tools” button, then choose “View Grades”.
Last Dates to Drop Courses (from the University Calendar):
See Colonel’s Compass
Disability Statement:
The University strives to make all learning experiences as accessible as possible. If you are registered with the EKU Center for Student Accessibility, please obtain your accommodation letters from the CSA, present them to the course instructor, and discuss the accommodations needed. If you believe you need an accommodation and are not registered with the CSA, please contact the office in 361 Whitlock Building by email at [email protected] or by telephone at (859) 622‐2933. Upon individual request, this syllabus can be made available in an alternative format.
A student with a “disability” may be an individual with a physical or psychological impairment that substantially limits one or more major life activities, to include, but not limited to: seeing, hearing, communicating, interacting with others, learning, thinking, concentrating, sitting, standing, lifting, performing manual tasks, working. Additionally, pregnancy accompanied by a medical condition(s), which causes a similar substantial limitation, may also be considered under the Americans with Disabilities Amendments Act (ADAAA).
Academic Integrity Statement:
Students are advised that EKU’s Academic Integrity Policy will be strictly enforced in this course. Questions regarding the policy may be directed to the Office of Academic Integrity located in the Turley House, or contact them by phone at (859) 622‐1500.
Official E‐mail:
An official EKU e‐mail is established for each registered student, faculty, and staff member. All university communications sent via e‐mail will be sent to this EKU e‐mail address. Your emails will be answered within 24‐48 hours.
Course Requirements:
Course Outline:
Each module of this course includes readings, listening, activities, and assignments that will help meet our learning objectives.* The schedule below indicates when modules will be available; a given module will be viewable from its initial date through the end of the semester. Assignments may be submitted through Blackboard until the end of the availability period. Please also note that the Eastern Time Zone applied to all due dates in this course. * Listed readings do not include short assignments from the Oxford Music Dictionary Online. Some adjustments in reading or listening assignments may be made to better meet the needs of the course.
Module 1: Essentials of the Baroque Period, Antecedents to the Symphony – available 12:00 AM March 20 – end of day (11:59) April 2 (due dates for specific module assignments can be found on Blackboard)
Reading: o Lawrence Kramer Why Classical Music Still Matters, Ch. 1 "Classical Music and Its Values." o Richard Crocker A History of Musical Style, “Part Music on a Triadic Basis,” pp. 223‐5. o The Grove Dictionary online initial article on the Symphony. Listening: o Archangelo Corelli – Trio Sonata in f minor, Op. 3, No. 9 (Grave, Vivace, Largo, Allegro) o J.S. Bach – Suite No. 1 in C Major, BWV 1066 (Overture, Courante, Gavotte, Forlane, Menuet, Bourree, Passepied) o G.F. Handel – Messiah HWV 56 “Overture” o Antonio Vivaldi – Concerto for 2 Violins in A Minor, Op. 3, No. 8, RV 522 (Allegro, Larghetto, Allegro) o G.F. Handel – Il delirio amoroso “Introduction”
Module 2: The Pre‐Classical Symphony – available 5:00 PM March 26 – end of day (11:59) April 9 (due dates for specific module assignments can be found on Blackboard)
Reading: o Charles Rosen The Classical Style, p. 23‐29. o Charles Rosen The Classical Style, p. 30‐42 “Theories of Form.” o Adam Carse 18th Century Symphonies, p. 3‐4, 14‐18. o Adam Carse The Orchestra in the 18th Century, p. 1‐15. Listening: o G. B. Sammartini ‐ Symphony No. 1 in C Major (JC7). o Johann Stamitz ‐ Sinfonia a 8 (La Melodia Germanica, No. 1). o Joseph Haydn – Symphony No. 6 ("Le Matin").
Module 3: Joseph Haydn – available 5:00 PM April 2 – end of day (11:59) April 16 (due dates for specific module assignments can be found on Blackboard)
Reading: o Charles Rosen The Classical Style, p. 99‐104 “Structure and Ornament” excerpt o Charles Rosen The Classical Style, p. 120 quote, followed by 129 o Pauly, Reinhard G. Music in the Classic Period, p. 93‐99 “The Classic Symphony: Haydn” o Adam Carse The Orchestra in the 18th Century, p. 155‐165 “Conclusion, Arrangements, Standard of Performance.” Listening: o Joseph Haydn – Symphony No. 44 in E Minor, Hob.I:44, "Trauersinfonie." o Joseph Haydn – Symphony No. 45 in F‐Sharp Minor, Hob.I:45, "Farewell." o Joseph Haydn – Symphony No. 104 in D Major, Hob.I:104, "London."
Module 4: Mozart and The Classical Symphony – available 5:00 PM April 9 – end of day (11:59) April 23 (due dates for specific module assignments can be found on Blackboard)
Reading: o Charles Rosen The Classical Style, p. 143‐163 “Symphony” o Pauly, Reinhard G. Music in the Classic Period, p. 99‐108 “The Classic Symphony: Mozart” o Zaslaw, Neal. "Mozart as a Working Stiff. Listening: o Wolfgang Mozart – Symphony No. 29 in A Major, K. 201. o Wolfgang Mozart – Symphony No. 31 in D Major, K. 297, "Paris." o Wolfgang Mozart – Symphony No. 40 in G Minor, K. 550.
Module 5: Beethoven – available 5:00 PM April 16 – end of day (11:59) April 30 (due dates for specific module assignments can be found on Blackboard)
Reading: o Charles Rosen The Classical Style, p. 381‐387 “Beethoven” excerpt o Harold Bloom The Western Canon, “Preface and Prelude” o van den Toorn, Pieter C. "Politics, Feminism, and Contemporary Music Theory." o McClary, Susan. Feminine Endings: Music, Gender, and Sexuality “Getting Off the Beanstalk” Listening: o Beethoven – Symphony No. 3 in E‐Flat Major, Op. 55, "Eroica" o Beethoven – Symphony No. 5 in C Minor, Op. 67 o Beethoven – Symphony No. 9 in D Minor, Op. 125, "Choral"
Module 6: the 19th Century Symphony – available 5:00 PM April 23 – end of day (11:59) May 7 (due dates for specific module assignments can be found on Blackboard)
Reading: o Hanslick, Eduard. "In Their Own Words: Eduard Hanslick on Musical Beauty." o Wagner, Richard. "In Their Own Words: Wagner on Music of the Future." o Harold Bloom The Western Canon p. 15‐41 “An Elegy for the Canon” Listening: o Berlioz – Symphonie fantastique, S470/R134‐136 o Brahms – Symphony No. 3 in F Major, Op. 90 o Liszt – Les Preludes, S637/R359 o Wagner – Tristan und Isolde, Act 1 Prelude o Mahler – Symphony No. 5 in C‐Sharp Minor
Module 7: the 20th Century Symphony – available 5:00 PM April 30 – end of day (11:59) May 12 (due dates for specific module assignments can be found on Blackboard)
Reading: o Brown, Matthew. "Tonality and Form in Debussy's ‘Prélude à 'L'Après‐midi d'un faune’." o Crist, Elizabeth B. "Aaron Copland and the Popular Front." o Gottleib, Jack. "Symbols of Faith in the Music of Leonard Bernstein." o Mothersill, Mary. "Is Art a Language? Listening: o Debussey – Prelude a l'apres‐midi d'un faune o Stravinsky – Symphony in 3 Movements o Copland – Symphony No. 3 o Bernstein – Symphony No. 1, "Jeremiah"