NYU Paris MPATC-UE9077 001 Music History III – 19th Century
Instructor Information ● Professor Philippe CATHÉ ● [email protected] ● [email protected] ● 06 76 82 41 27 (SMS only)
Course Information ● Using scores and recordings as well as historical and literary documents, this course will draw a clear picture of the history of Western Art Music of the 19th Century. (Lectures & Discussions) ● Prerequisite: Ability to read music ● Wednesday 16:00-17:40 ● Room 802
Course Overview and Goals
Desired Outcomes ● Knowledge of the main events (dates and content) ● Knowledge of the characteristics of the main styles ● Global knowledge of the history of arts during the 19th Century
Course Requirements
Class Participation
Mid-Term Exam
Final Exam
Assigned Music Listening All the works included in a specific session must be listened to in advance with the score.
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Grading of Assignments The grade for this course will be determined according to the following formula: Assignments/Activities % of Final Grade
Homework, Attendance & Participation 20%
Mid-Term Exam 40%
Final Exam 40%
Letter Grades Letter grades for the entire course will be assigned as follows: Letter Grade Points Description
A 16-20 Outstanding
A- 15 Excellent
B+ 14 Very Good
B 13 Good
B- 12 Satisfactory
C+ 11 Above Average
C 10 Average
C- 9 Below Average
D+ 8 Unsatisfactory
D 7 Low Pass
D- 6 Low Pass
F 5 Fail
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Course Schedule
Topics and Assignments Week/Date Topic & Reading Listening
Week1, Sept. 4 Introduction Wolfgang Amadeus Mozart (1756-1791): Symphony N°41 in C Major, K. 551: Final Romanticism: (NAWM 123) Revolution and Ludwig van Beethoven (1770-1827): Piano Sonata in C minor, I (1797-1798) (NAW Change Ludwig van Beethoven (1770-1827): Violin Concerto, op. 61, I (1806) Beethoven Ludwig van Beethoven (1770-1827): Symphony N°7 in A Minor, op. 92, II (1813) Week 2, Sept. 11 Intimate Expression I Franz Schubert (1797-1828): Gretchen am Spinnrade (1814) (NAWM 128) & Music and (Franz Schubert (1797-1828): Winterreise, V, Der Lindenbaum (1827) (NAWM 129 Litterature I: Songs Robert Schumann (1810-1856): Dichterliebe, VII, IX, XII, XIII, XVI (1840)
(Read Chapters 24 & 25) Week 3, Sept. 18 Intimate Expression II: Frédéric Chopin (1810-1849): Mazurka in A minor, op. 17-4 (1833) Piano Music Robert Schumann (1810-1856): Carnaval (excerpts) (1835) (NAWM 132) Frédéric Chopin (1810-1849): Nocturne in D-flat Major, op. 27-2 (1835) (NAWM 1 Franz Liszt (1811-1886): Trois Etudes de concert: N° 3, Un Sospiro (1849) (NAWM Week 4, Sept. 25 Music and Litterature Hector Berlioz (1803-1869): Symphonie fantastique, V Songe d’une nuit du sabbat II: Orchestral Music (NAWM 138) Franz Liszt (1811-1886): Mazeppa (tone poem) (1851) Camille Saint-Saëns (1835-1921): Le Rouet d’Omphale, op. 31 (1869) (Read Chapter 26) Richard Strauss (1864-1949): Till Eulenspiegels lustige Streiche, op. 28 (1895) Paul Dukas (1865-1935): L’Apprenti Sorcier (1897) Week 5, Oct. 2 Intimate Expression III: Ludwig van Beethoven (1770-1827): String Quartet in C-sharp minor, op. 131 (182 Chamber Music (NAWM 127) Franz Schubert (1797-1828): String Quintet in C Major, D. 956, I, Allegro ma non t (1828) (NAWM 141) Johannes Brahms (1833-1897), Quintet for Piano and Strings in F Minor, op. 34, I, non troppo (1862-1864) (NAWM 156) César Franck (1822-1890): String Quartet in D Major (1890) Amy Beach (1867-1944): Piano Quintet in F-sharp Minor, op. 67 (1907) (NAWM 1 Week 6, Oct. 9 Romantic Opera to Gioachino Rossini (1792-1868): Il Barbiere di Siviglia, Act I , N° 7, Una voce poco fa Midcentury: Italy (NAWM 145) and Germany Carl Maria von Weber (1786-1826): Der Freischütz, Act II, Finale (1821) (NAWM 14 Vincenzo Bellini (1801-1835): Norma (excerpt from Act I Scene 4) (1831) (NAWM (Read Chapter 27) Week 7, Oct. 11 * Romantic Opera: Daniel-François-Esprit Auber (1782-1871), La Muette de Portici (1828) (excerpt) French Grand Giacomo Meyerbeer (1791-1864): Les Huguenots, Conclusion of Act II (1836) Opera, Opéra- (NAWM 147) Comique, Operetta in Charles Gounod (1818-1893): Faust, Act III, Marguerite’s Garden (1859) (excerpts France and in England Jacques Offenbach (1819-1880): Orphée aux Enfers (1858) (excerpt) Hervé (1825-1892): Les Chevaliers de la Table Ronde (1866) (excerpts) Arthur Sullivan (1842-1900): The Pirates of Penzance, Major-General's Song (1879 Arthur Sullivan (1842-1900): The Mikado, Little List (1885)
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Week/Date Topic & Reading Listening
Week 8, Oct. 16 Mid-Term exam
Week 9, Nov. 6 Romantic Opera in the Richard Wagner (1813-1883): Der fliegende Höllander, Act II, Scene 1, Ballade (18 Later Nineteenth Richard Wagner (1813-1883): Tannhäuser, Act III, Scene 1 (1845) Century: Wagner Richard Wagner (1813-1883), Tristan und Isolde, Prelude (NAWM 149) (1865) Richard Wagner (1813-1883): Parsifal, Act II (excerpts) (1882) (Read Chapters 28 & 29) Week 10, Nov. 13 Romantic Opera in the Giuseppe Verdi (1813-1901): La Traviata, Act III (excerpts) (1853) (NAWM 150) Later Nineteenth Modest Musorgsky (1839-1881): Boris Godounov, Coronation Scene (1868-1874) Century: Italy, Russia (NAWM 153) and France Georges Bizet (1838-1875), Carmen, Séguedille (1875) (NAWM 152) Week 11, Nov. 20 The Grotesque and the Felix Mendelssohn (1809-1847): Violin Concerto in E Minor, op. 64, I (1844) (NAW Monster Franz Liszt (1811-1886): Piano Concertos (1853 & 1861) (excerpt) Anton Bruckner (1824-1896): Symphony N°9 in D Minor II Scherzo (1887-1896) Franz Liszt (1811-1886): Piano Sonata (1853) (excerpt) Giuseppe Verdi (1813-1901): Requiem (1874) (excerpt) (Hector Berlioz (1803-1869): Requiem (1837) (excerpt)) Week 12, Nov. 27 Exoticism Félicien David (1810-1876), Le Désert (1844) (excerpts) Louis Moreau Gottschalk (1829-1869): Souvenir de Porto Rico, op. 31 (1858) (NAW Camille Saint-Saëns (1835-1921), Samson et Dalila (1877) (excerpts) Alexander Borodin (1833-1887), In the Steppes of Central Asia (1880) Léo Delibes (1836-1891), Lakmé, Air des clochettes (1883) Pyotr IlyitchTchaikovsky (1840-1893), The Nutcracker, op. 71 (1892) Camille Saint-Saëns (1835-1921), Piano Concerto N° 5 in F Major, op. 103, II (1896 Week 13, Dec. 4 Art Music and Popular Frédéric Chopin (1810-1849): Mazurka in B-flat Major, Op. 7, N° 1 (1831) (NAWM Music Anton Dvorak (1841-1904): Slavonic Dances, op. 46, N° 1, Presto (1878) (NAWM 1 Johannes Brahms (1833-1897), Deutsche Folkslieder (1894) (excerpts) John Philip Sousa (1854-1932): The Stars and Stripes Forever (1897) (NAWM 163) (Read Chapter 30) Gustav Mahler (1860-1911): Symphony N° 4, IV, Das himmlische Leben (1900) Week 14, Dec. 11 Late Romanticism: Franz Liszt (1811-1886): Nuages gris (1881) Chromaticism, Franz Liszt (1811-1886): Am Grabe Richard Wagners (1883) Progressive Franz Liszt (1811-1886): Bagatelle ohne Tonart (1885) Dissolution of Tonality Hugo Wolf (1860-1903): Mignon’s Lied (1888) and the Progressive Richard Strauss (1864-1949): Salome, Scene 4, conclusion (1905) (NAWM 166) Shift to Modality Claude Debussy (1862-1918): Images (1905-1907) Week 15, Dec. 18 Final Exam
Course Materials
Optional Textbooks & Materials ● J. Peter Burkholder & Claude V. Palisca: A History of Western Music, 9th Edition, New York, W.W. Norton & Company, 2014 (Any equivalent music history book would be perfect) ● J. Peter Burkholder, Donald J. Grout & Claude V. Palisca: Norton Anthology of Western Music, Volume Two: Classic to Romantic, 7th Edition, New York, W.W. Norton & Company, 2014
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Suggested Co-curricular Activities Attending concerts, listening to (French) radio broadcasts, especially France Musique (91.7 MHz or through the Internet), playing music, joining a choir…
Course Policies
Attendance and Tardiness ● Study abroad at Global Academic Centers is an academically intensive and immersive experience in which students from a wide range of backgrounds exchange ideas in discussion-based seminars. Learning in such an environment depends on the active participation of all students. And since classes typically meet once or twice a week, even a single absence can cause a student to miss a significant portion of a course. To ensure the integrity of this academic experience, class attendance at the centers is mandatory, and unexcused absences will be penalized with a two percent deduction from the student’s final course grade for every week's worth of classes missed. Students are responsible for making up any work missed due to absence. Repeated absences in a course may result in harsher penalties including failure.
● Unexcused absences affect students’ grades: unexcused absences will be penalized with a 2% deduction from the students’ final course grade.
● Absences are excused only for illness, religious observance, and emergencies. Illness: For a single absence, students may be required to provide a doctor’s note, at the discretion of the Associate Director of Academics. In the case of two consecutive absences, students must provide a doctor’s note. Exams, quizzes, and presentations will not be made up without a doctor’s note. Religious Observance: Students observing a religious holiday during regularly scheduled class time are entitled to miss class without any penalty to their grade. This is for the holiday only and does not include the days of travel that may come before and/or after the holiday. Students must notify their instructor and the Academic Office in writing via email one week in advance before being absent for this purpose. If exams, quizzes, and presentations are scheduled on a holiday a student will observe, the Associate Director, in coordination with the instructor, will reschedule them. Please note: if you are unable to attend class, you are required to email your professors directly to notify them.
Late Assignment Late submission or work will be accepted only with justifiable reasons of health or family emergency.
Academic Honesty/Plagiarism At NYU, a commitment to excellence, fairness, honesty, and respect within and outside the classroom is essential to maintaining the integrity of our community.
Plagiarism: presenting others' work without adequate acknowledgement of its source, as though it were one’s
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own. Plagiarism is a form of fraud. We all stand on the shoulders of others, and we must give credit to the creators of the works that we incorporate into products that we call our own. Some examples of plagiarism:
▪ a sequence of words incorporated without quotation marks ▪ an unacknowledged passage paraphrased from another's work ▪ the use of ideas, sound recordings, computer data or images created by others as though it were one’s own ▪ submitting evaluations of group members’ work for an assigned group project which misrepresent the work that was performed by another group member ▪ altering or forging academic documents, including but not limited to admissions materials, academic records, grade reports, add/drop forms, course registration forms, etc.
For further information, students are encouraged to check www.nyu.edu/about/policies-guidelines- compliance/policies-and-guidelines/academic-integrity-for-students-at-nyu.html
Disability Disclosure Statement Academic accommodations are available for students with disabilities. Please contact the Moses Center for Students with Disabilities (212-998-4980 or [email protected]) for further information. Students who are requesting academic accommodations are advised to reach out to the Moses Center as early as possible in the semester for assistance.
Instructor Bio
Full professor in musicology at Sorbonne Université, Philippe Cathé is both a music theorist focusing on harmonic music from the end of Renaissance till present time and a musicologist, specialist of the composers Charles Koechlin and Claude Terrasse and, more generally, of French music of the end of the nineteenth and the first half of the twentieth century. He works on developing Nicolas Meeùs’ theory of harmonic vectors. Besides, he saves a part of his time to analyze the importance of sound in films. He is also a regular musical commentator on French musical radio station France Musique. He is member of the Institute of Research in Musicology IReMus (UMR 8223).
For further details, positions held, list of main publications, conferences, see: http://www.iremus.cnrs.fr/fr/membres-permanents/philippe-cathe
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