MUHL M106 Introduction to Music Literature 2 credits Spring semester 2019

Ravi Shankar and Philip Glass working on Passages, 1990 (image from Maria Popova, “Remembering the Godfather of World Music: Ravi Shankar + Philip Glass, 1990,” Brain Pickings (13 December 2013), https://www.brainpickings.org/2012/12/13/pa ssages-ravi-shankar-philip-glass-1990/ , accessed 1 January 2020)

Classes TR 8:30-9:20, CM 204g WF 10:30-11:20, CM 135

Bulletin description This course is an introduction to fundamental musical concepts and terminology as applied to listening skills. Students will study a selected body of standard genres and styles used in western art music from c. 800 to the present.

This semester I am experimenting: rather than the “snapshots” focused on single pieces we have used in this course in recent years, we will consider specific decades (“snapshots”) in the “long twentieth century” (for me starting in 1889, the year Claude Debussy encountered gamelan music at the Paris World Exhibition), bringing together musics from across the traditional boundaries of western art music (aka “classical” music), jazz, popular, and world musics. We will, as usual, begin with a more general unit on the elements of music. A major focus throughout the course will be on developing skills in active listening and writing/talking about music.

Prerequisites Co-requisite: MUTH-M103. This means you must currently be taking (or have taken) Theory II. Please let me know if you have questions on this front or are unsure if this course is appropriate for you. This course is not available for Loyola Core credit.

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Course objectives and learning outcomes The main goal of the course is for students to become more informed and engaged listeners and thinkers about music, able to articulate their observations about music orally and in writing.

By the end of the semester, students should improve their ability to: • identify and describe (orally and in writing) key elements of music as embodied in specific pieces (known and unknown) • find and evaluate information about pieces of music and their creators (composers, performers, etc.) • describe how specific pieces of music interact with the time and place of their creation

Instructor Dr. Alice V. Clark phone 865-3065 Monroe Hall 303 (note office location!) e-mail [email protected] Office hours by appointment (sign up at avclark.youcanbook.me). This is not a throwaway line; I really do want to see you! I’m around campus a lot, so you’re welcome to drop by my office, but I ask you to make an appointment just to ensure that I’ll be there. Pronouns: She, her, hers Preferred title: Dr. (or Professor) Clark

It is often easiest to communicate with me by e-mail between classes; barring emergencies or natural disasters, I will answer messages within 24 hours, except on weekends, during breaks, and while out of town at conferences. (This is a minimal goal, and in real life I usually will reply much sooner, even on weekends!) Please be aware that I will occasionally contact you by e- mail, using your loyno account, so please be sure either to check it regularly or forward it to an account you check regularly.

Some background: I started my undergraduate career as a music education major, until I encountered a course in music history that answered questions I hadn’t known how to ask. While I don’t expect you to have a similar experience in this course (!), I hope you will come to value thinking and writing about music as useful in its own right, and as helpful to your work.

Textbooks and other course materials There is no textbook to purchase for this course; readings, scores, and other materials will be posted on Blackboard (http://loyno.blackboard.com), placed on reserve at Monroe Library, or available through one of the databases to which the library subscribes. For instance, recordings of many of the works we will study will appear on a series of course playlists on Naxos Music Library, available to members of the Loyola community from the library’s web page 3

(library.loyno.edu ; note that you will have to login, using your loyno userid and password, if you access this or any other subscription service from off campus.)

Every musician should own and use a calendar!! Put your assignment due dates into it, along with concerts, gigs, and other commitments. Being a music major, or a professional musician of any sort, is a juggling act, and it really helps to see everything on the page (or the screen) so you can plan ahead and make sure everything gets done. You should also, as a matter of course, always have paper and a writing implement with you—staff paper too, which can be easily printed for free at sites such as http://www.blanksheetmusic.net/ . I may also ask you to print and bring to class in hard copy specific readings, scores, etc. that are on reserve or posted on Blackboard; this will usually be because I want you to be able to examine (and take notes on!) specific aspects of that material during class.

Course requirements / Types of assignments There will be some listening and/or reading in preparation for each class, and perhaps also a short video lecture; for many days there will also be a pre-class assignment (usually as a Google form, due one hour before class). Pre-class assignments will be posted on Blackboard at least a week in advance. During class I will not lecture extensively, but we will engage in discussion and activities (solo, pair, small group, and/or full class). That means you must come to class having prepared the assigned reading, listening, and other work!

Naturally there will be exams—I know those can cause anxiety, but studies show that learning increases when it is tested, and you will see that exams count for only about a quarter of your final grade, far less in many other classes. That is because this class is less about covering content and more about learning habits of mind that you can carry to the year-long music history survey (which is necessarily content-heavy) and other courses.

Writing about music is hard but important, and learning to write clearly and use evidence to prove a case are skills that will serve you whatever you go on to do after graduation. You will therefore complete a series of writing assignments over the course of the term.

Note that higher-education professionals generally say that each hour spent in class should be supported by 2-3 hours of work out of class; while we all know that doesn’t usually happen, you should do more than simply show up! That’s not just because I say so, but because you won’t get much out of the class if you aren’t prepared.

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How should you spend that out of class time? I’d suggest the following: • Start by reviewing briefly the previous class: listen to the music (with score, text, etc., as applicable), reread your notes, and identify anything you don’t understand or any questions you still have. See if you can fill in those gaps by going back over the assigned material; if you can’t, ask! It can also help to ask yourself what the most important points are. • Look to the next class: start by listening to the music (with score, text, etc., as applicable). If it’s got text, read the text in English to get a general idea, but also identify important words or phrases in the original, and look at how they are set to music. (This is one of those times you should draw circles or otherwise point to things in the score or text.) • Do any listening and reading that’s assigned for the next class. Write down any questions you have, and make notes about what you think is most important about this material. • Look ahead: note when the next test is, or start work for the next writing assignment. (If assignment due dates and exam dates aren’t in your calendar, put them there!) • On a regular basis (maybe not for every class): o identify useful terms and practice defining them o for each piece we’ve studied, identify who-what-when-where-why-how, and think about how that piece fits into its time and place o compare pieces to identify differences in genre, composer, style o rewrite notes, combining notes from different sources, making corrections, etc. o think about what you’d ask if you were the one making an exam!

Note that some of this can be time-shifted, so in a particularly busy week you can focus on the basics, and the next week you can do some of the bigger-picture things. If you do any of this consistently, though, it will mean you’ve got a good foundation for exam studying.

In the end, this is your education—I’ve had mine—and if it’s going to be effective, you must take control of your learning. Like a personal trainer, I can help, but the ultimate responsibility, and the ultimate benefit, is yours. You are always welcome to come to me for advice if you feel at all uncomfortable about your study habits or want additional tips.

University policies A number of University policies that apply to this and other classes are separately communicated, but I’ll call attention to some of them here: • Academic integrity: everything you submit for this class should represent your work, and I expect you to be ethical in how you use library materials and other resources. That includes respecting copyright law and properly attributing your use of the words, images, music, or ideas of others. This is a matter not only of intellectual property but of personal integrity, and it is also a service to your reader. Academic 5

dishonesty (including, but not limited to, unauthorized collaboration on assignments, plagiarism on papers and essays, and cheating on exams) will receive a penalty; this goes for the person providing information for copying as much as for the person doing the copying. If you have any questions, please ask. • Accessible education: I am glad to do what I can to help students who need accommodations, but keep in mind that you must begin that process with the Office for Accessible Education. Once you have documentation from them, we can talk! • Emergency procedures: this is less of an issue in the spring semester than in the fall (since the beginning of the fall semester coincides with the height of hurricane season), but it’s worth remembering that there are official policies on this point, and in the event of an emergency we are required to continue class electronically. • Finally, there are a wealth of support services available to all students, most housed in the Student Success Center and the University Counseling Center. Please don’t be afraid to get whatever help you need!

I’ll add one more thing here: • Any student who faces challenges securing food or housing and believes this may affect performance in the course is urged to contact the office of Student Affairs, Danna Center 205, for support. (There is, for instance, a food pantry, Iggy’s Cupboard, in the basement of the Danna Center.) You may also contact me or another faculty member, if you are comfortable; we may be able to help you navigate University resources or identify other resources. (adapted from Sara Goldrick-Rab)

Attendance, preparation, and class policies For each regular class meeting, you can earn up to 15 points, based on attendance, preparation, pre-class assignments, participation in class activities, and in-class assignments. This includes a combination of passive participation (being present and attentive), active participation (answering and asking questions, etc.), and activities (quizzes, discussion questions, in-class assignments, etc., whether or not they are collected). My expectation is that every student who successfully completes any pre- or in-class assignments (that is, who makes a reasonable effort, whether or not answers are completely correct) and is present and engaged for the entire class will receive all available points, but if a student is disruptive or clearly not participating in class discussion or other activities, I reserve the right to deduct points from the daily score. Similarly, if I ask you to bring something to class (such as a reading or score excerpt in hard copy or PDF format), and you don’t, you may lose some daily points. (Dr. Frazier correctly observes that if you don’t bring your music to rehearsal, you are not fully present—the same could be said about materials for class!) Enough daily points are available to 6

allow for at least two “free” absences for the term, consistent with the attendance policy many use, and extra credit is available. (Like many faculty, I do not distinguish between excused and unexcused absences.) Due dates for writing assignments will not be modified because of absence from class.

During class we will discuss the music, readings, and other material assigned for the day on the syllabus. That means you need to have done that listening, reading, etc., in advance! What it doesn’t mean is that you have all the answers; indeed, sometimes it’s more important to have questions, so try always to bring in something to ask or something you found interesting to contribute for each class. (Note that “interesting” doesn’t always mean “important”; the former is by definition highly personal.) You do not need to bring hard copies of assigned readings (unless I specify otherwise), but I would strongly recommend you take notes as you read, and bring those notes (as well as notes from listening, etc.) to class.

Be aware that we may sometimes deal with difficult or controversial issues—but here we do it as historians, so our goal is not to defend our own beliefs or express our own feelings, but rather to learn about how others have thought and felt, whether or not we agree with those views and feelings today. Let’s all work to maintain an open atmosphere where ideas can be exchanged and challenged while still remembering the fundamental human dignity of everyone in the class. Free speech allows for speech that may offend, but not speech that threatens or harasses, and disruptive behavior is a violation of the Student Code of Conduct. Learning how to deal appropriately and effectively with ideas that may offend us (whether we choose to engage or let go) is a useful skill—especially in these difficult times. I’m glad to discuss any concerns you may have privately.

In this course and throughout your degree, you may encounter topics that you may find emotionally challenging, even difficult. If some of this makes you feel uncomfortable, that’s completely normal, and I encourage you to talk with me, your friends, and any campus resource that can help you. Keep in mind that education is supposed to challenge and sometimes even threaten your worldviews. If you feel intellectually or emotionally disturbed by what you learn in class, don’t assume that you should be concerned. It may only mean that you are engaging with new perspectives, which is what college is all about. (adapted from Stephen J. Ceci, Scott O. Lilienfeld, and Wendy M. Williams, “The One-Time- Only Trigger Warning,” Inside Higher Ed, 18 October 2016)

Late arrivals are distracting to the rest of the class, as is coming and going during class. This is especially true for the WF 10:30 section in CM 103, which will be packed and has a door that can’t be unlocked! (I know—I hate it too…but I will not teach with the door propped open, 7

because that distracts those in the hallway who may be studying, and they can distract us. If you need to arrive late, please knock and wait for me to come open the door.) For both sections, if you arrive more than five minutes late (or leave class early), I reserve the right to deduct points from that student’s daily score. Things happen, but please try to minimize the distraction that coming and going during the class period inevitably creates.

Please don’t talk while music is playing! Performers on a recording can’t be distracted, but conversation distracts others in the room. Besides, as musicians, listening to music should be one of the most important things we do, and it deserves your full attention. There is some limited scope for talking about specific aspects of the music while it’s happening, but that is often ineffective, because either your words can’t be heard or they distract from the music you’re talking about! It’s usually more effective to note what you want to call attention to (write it down if need be, as specifically as possible) and tell the class either before (if possible) or after the music is played. If we need to, I will go back and play the excerpt again.

Technology: Practice being truly present by limiting your use of electronic devices to what is relevant to class, and be aware that your inappropriate use of such technology distracts others in the class (including me). If there is an emergency that requires you to keep an eye on your phone (beyond any class-related activity), please let me know before class, as a courtesy to your colleagues as well as to me. (I will follow this policy as well.) If that emergency requires you to answer your phone (by either voice or text), you should leave the room. I will not place specific rules on the use of electronics at this time, though I reserve the right to do so later if it becomes a problem. I know staying away from texting, e-mail, and Instagram for an hour can sometimes feel like a challenge, but this is a good time to practice.

Life is about showing up—physically and metaphorically. Since our class will not be dominated by my lecturing, it’s important to have your voice as part of the discussion, and that only happens if you are present and prepared. That’s why attendance and preparation is a significant part of your grade.

Evaluation Grades will be calculated as follows: elements quiz: 50 points exams: 200 points (100 each) individual assignment (all stages): 300 points total song essay (total): 150 points attendance and preparation (total): 300 points total: 1000 points 8

The grading scale is as follows: A excellent 930-1000 points A- 900-929 B+ 870-899 B above average 830-869 B- 800-829 C+ 770-799 C average 700-760 D+ 670-699 D minimal pass 600-699 F fail below 600

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 who earn a grade below C must therefore retake the course.

Exams Information about exams will generally be distributed about a week before the test in question. You should count on each exam including both listening/score identification and short answer/definition questions, and perhaps one or more essays as well. Exam dates are subject to change.

You must take each exam (including the final) with the section in which you are registered. I will only approve an exception for a compelling reason, and only well in advance of the exam. Also, you are all on your honor not to discuss any exam until all students have taken it. The two sections may have exams that are completely different, or totally identical, or anything in between—you can’t know in advance, so finding out what happened on one exam therefore really wouldn’t help with the other one anyway.

If you must miss an exam, you must tell me in advance, and you must provide documentation sufficient to schedule a make-up exam. (A holiday plane reservation does not constitute a compelling reason, nor does a jury, so schedule such things accordingly.) This is mostly to protect all of you, including the students who take the test at the appropriate time. If your absence is due to a professional commitment like a concert tour or conference, you must discuss it with me well in advance, and you will more than likely need to take the exam before you go. You must also provide me with written documentation of that commitment— it’s your responsibility, not mine or any other faculty member’s. If your absence is something sudden, such as illness, you must inform me immediately, not later than 15 minutes before 9

the starting time of the exam, and you must provide me with documentation of medical treatment that accounts for your absence during the exam period. (I don’t need to know medical details, as long as a medical professional or a member of the University administration certifies that you had reason to miss the exam. It is often easiest to begin this process with the Office of Student Affairs.) Scheduling of make-up exams is at my discretion, and, while I will do my best to take your schedule into consideration, the time and format of the exam are not negotiable. I reserve the right to give you a totally different, and perhaps less congenial, format, such as all score identification, or all essay, or even oral. You also obviously may not discuss the exam that has occurred with others in the class until you have taken the make-up exam.

Writing assignments Instead of a formal paper, you will do a series of smaller writing assignments. More information will follow. Due dates listed on the syllabus are tentative and subject to change.

Pre-class and in-class assignments These will usually be one or two questions in a Google forms (linked on Blackboard) due one hour before class. (That means 7:30 am for the TR 8:30 class and 9:30am for the WF 10:30 class; this is so I can look at them before class.) Be aware that you will need to be logged into your loyno Google drive to get to these. These assignments will be evaluated more for effort than achievement (so not like true quizzes), because their goal is to hold you accountable for preparing for class and get you to think about the material. Because the point of these assignments is to help you prepare for class, late assignments will not be accepted—TR students should be especially aware of this, since the form will still be open for WF students after your class has happened. I know who’s in which section….

During class there may also be quizzes (closed- or open-note) or other assignments.

Late penalties and other things In-class assignments and those submitted as part of class preparation clearly can’t be turned in late, but other assignments I’d almost always rather you turn in late than not at all! That said, it’s not fair to those who turn in work on time for late work to receive full credit, so a late penalty of 5% will apply for each day (not class period) late, including weekends. Absence from class does not affect assignment due dates, and late penalties can only be waived because of documentation comparable to that needed for makeup exams. (Note that, as with exams, if your absence is because of a conflict known in advance, you should submit the assignment early.) I cannot accept any assignment after I have handed it back to other students—or, in the case of assignments submitted electronically, posted grades on Blackboard. Assignments must be submitted in the format requested—for instance, if I ask you to post an essay on Blackboard, you may not e-mail it to me instead. No work of any kind will be accepted after the final exam. 10

The bottom line for most of these rules is fairness: while I want you all to do the work and succeed, it’s not fair to those who show up and do work on time if some of you can take tests, turn in assignments, etc., late without any penalty. In a required course like this one, we have to keep policies as uniform as possible.

Course outline (subject to change) Readings, scores, and other materials are linked on Blackboard unless specified; recordings are usually on class playlists on Naxos. Remember that the listening, score study, and reading are to be done in preparation for class on the given date! Pre-class assignments are not indicated here, but you should plan on having one for just about every class; they will be linked on Blackboard. I reserve the right to add or change materials and/or assignments if necessary.

Tuesday 7 January / Wednesday 8 January: Introduction

Elements of music For Thursday 9 / Friday 10 January: timbre and musical instruments • Individual assignment stage 1 due (Word or PDF file posted to Blackboard by 10pm Friday 10 January) • Read pp. 1-14 of N. Alan Clark, et al., Understanding Music: Past and Present, Fine Arts Open Textbooks 1. Some of this will likely be familiar to you, and we won’t go into the details of sound waves (there’s a course on the physics of sound for that!), but bring questions about anything that you don’t understand! • Bring instruments to class! We’ll talk briefly about how the various instruments work, so it would help if you could demonstrate for each other. • extra: a series of interviews and demonstrations on the various orchestral instruments can be found on Blackboard, as can a performance of Benjamin Britten’s A Young Person’s Guide to the Orchestra, so you can see them at work.

For Tuesday 14 January / Wednesday 15 January: elements of music • Read pp. 14-33 of Clark, et al., Understanding Music. Much of this should be familiar, but bring questions! I will also make available practice quizzes on aspects of the elements of music discussed in this chapter and in class.

For Thursday 16 January / Friday 17 January: no class (AVC at National Seminar on Jesuit Higher Education) • Individual assignment stage 2 due (Word or PDF file posted to Blackboard by 10pm Friday 17 January) 11

For Tuesday 21 January / Wednesday 22 January: Franz Schubert’s Erlkönig • Bring hard copy of the score and text/translation to class • Read the text and translation of Goethe’s poem; you may focus on the English translation, but identify important words or lines in the German text Schubert sets. Think about how you might set this text—what would you emphasize, and how? • Listen to Schubert’s setting of this text (recording on Naxos playlist), at least three times (it’s only five minutes long!). The first time you might want to follow the (German) text, but at least once try to follow the score. What does Schubert do to express this text through music? What does (or can) a performer do to express the text and music? (Note that these are separable.) Try to articulate your thoughts as clearly as possible, using musical terminology as appropriate, circle or draw arrows to moments in the text and music that you find important or interesting, and otherwise take notes on and mark up your score.

For Thursday 23 January / Friday 24 January: Elements of music and style periods • Song approval due by 5pm Friday 24 January • Listen to the following four keyboard works, each from a different historical style period: o Baroque: Johann Sebastian Bach (1685-1750), Prelude and Fugue in C Major, Well-Tempered Clavier I, BWV 846 (We’ll focus on the fugue, but I’ve included both on the playlist. I’ve also included performances on both harpsichord and piano; the piano was a new instrument in Bach’s time, so he would likely have expected these pieces to be performed mostly on harpsichord, though “clavier” in this context can refer to any keyboard instrument.) o Classical: Wolfgang Amadeus Mozart (1756-1791), Piano Sonata in Bb Major, K. 333 (We’ll focus on the first movement, but I’ve included all three on the playlist. I’ve also included both a performance on a fortepiano, an instrument made in 1817, and a modern piano, so you can hear the difference between the two.) th o 19 century: Frédéric Chopin (1810-1849), Nocturne in Db Major, op. 27 no. 2 th o 20 century: Elliott Carter (1908-2012), Night Fantasies (This piece was commissioned by four pianists, and I’ve included performances by two of them: Charles Rosen and Ursula Oppens) • Think about, and be able to discuss in class, how these pieces differ from each other in musical style. How can we use these differences to begin to generalize about musical style in different historical periods? Bring notes and questions to class!

For Tuesday 28 January / Wednesday 29 January: QUIZ (elements of music)

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Music in the 1890s Thursday 30 January / Friday 31 January: Antonín Dvořák (1841-1904), Amy Beach (1867- 1944) and the New World • Listen: o Dvořák, Symphony no. 9 in E minor, op. 95 (“From the New World”), second movement (1893) o Beach, Symphony in E minor, op. 32 (“Gaelic”), second movement (1894-96) • Look at the full scores of these movements. Locate the various instrument families on the page, and try listening to the music with the score, mostly following the strings (since they tend to play most of the time). • Read (all linked on Blackboard): o the articles on Dvořák (by Jan Smaczny) and Beach (by Paul Griffiths) in The Oxford Companion to Music. We will often use the more substantial Grove Dictionary of Music and Musicians (available through Oxford Music Online), but the shorter articles here are enough for now. o Tom Huizenga, “How the ‘New World’ Symphony Introduced American Music to Itself,” American Anthem, National Public Radio (24 November 2018) o Douglas W. Shadle, “Did Dvorak’s ‘New World’ Symphony Transform American Music?,” New York Times (14 December 2018) o [James Creelman], “Real Value of Negro Melodies,” New York Herald, 21 May 1893; reprinted in Direct Testimony: From the New World: A Composer’s American Sojourn o Jonathan Blumhofer, “Rethinking the Repertoire #9—Amy Beach’s ‘Gaelic’ Symphony,” the arts fuse (10 March 2016) • Think about, and be prepared to discuss in class: o Who was Antonín Dvořák? Why was he in New York? What advice did he have for composers in the United States? o Dvořák’s symphony is subtitled “From the New World.” What aspects of the piece support that title? o Beach’s symphony is said to be a response to Dvořák’s. How does it respond to the “New World” Symphony? What did she say about it?

Tuesday 4 February / Wednesday 5 February: Claude Debussy (1862-1918), Prélude à L’après- midi d’un faune (1891-94) (continued on next page) • Listen to the piece—since it’s short, you should be able to listen to it a couple of times: o First, you may listen without any prior study (but with attention, not just as background) and just get a general impression. If you want to get a head start on score reading, try listening to the animated graphical score (on Blackboard). 13

o Next, read the background information listed below and download the score. (If you can’t annotate PDF files, and maybe even if you can, you might want to print this—it’s 31 pages, but that amounts to eight pieces of paper if you print two pages on each side of a double-sided sheet. I won’t insist on hard copy, but you should have access to the score during class, so you should at least download the score, and it would help if you could mark it up!) o Now listen again, and mark on the score where the main melodies are, so you can find them again. If you don’t have the score in hard copy, then take good notes and bring those to class! • Read: o the articles on Debussy (by Robert Orledge) and Impressionism (by Richard Langham Smith) in The Oxford Companion to Music o a translation of the poem by Stéphane Mallarmé on which the piece is based • Think about, and be able to discuss in class: o How does the music relate to Mallarmé’s poem? o Debussy’s music loosely outlines an ABA form. Where do you see a new section begin, and where does the music return to the opening? Be aware the answer may not be completely clear or have multiple possibilities! o What key is the music in? How do you know, or why may you not be sure?

Thursday 6 February / Friday 7 February: Arnold Schoenberg (1874-1951) and the move toward atonality • Listen to Arnold Schoenberg’s Verklärte Nacht (1899). Since there are only six parts here, it’s a good opportunity to practice score reading! • Read: o the article by Schoenberg (by Paul Griffiths) in The Oxford Companion to Music o notes by Paul Schiavo to a performance of the piece (as arranged for string orchestra) by the Seattle Symphony (2016) • Think about, and be prepared to discuss in class: o How does Schoenberg’s approach to harmony sound different from Debussy’s? It may help to start by thinking of how each makes you feel, then think about what the composer does to create those feelings.

Tuesday 11 February / Wednesday 12 February: John Philip Sousa (1854-1932), Charles Ives (1874-1954), and the band in the US (continued on next page) • Listen: o John Philip Sousa, El Capitan (1895; focus on march, but I’ve put band arrangements of some of the other music on the Naxos playlist) 14

o Charles Ives, “The Circus Band” (march for chamber orchestra and optional choir c. 1898-99, piano march contemporary, song c. 1899; both versions later adapted); https://songofamerica.net/song/circus-band, accessed 22nov18 (The Naxos playlist has recordings both of the song and an arrangement of the song as a march for band.) • Read: o article on Sousa (by Paul E. Bierley and H. Wiley Hitchcock) in Grove Music Online (not the Oxford Companion! There’s a link on Blackboard, or you can find it through Oxford Music Online) o article on Ives (by Paul Griffiths) in The Oxford Companion to Music o optional: Stephen L. Rhodes, “The Nineteenth-Century Wind Band,” chapter 6 of A History of the Wind Band (2007) (link on Blackboard; focus on the section on Sousa and the Sousa band) • Think about, and be prepared to discuss in class: o Why is the concert band so important at the turn of the century? What kinds of music did audiences hear at band concerts? o What makes Sousa’s marches so effective? o How does Ives use, and also play with, the experience of the circus band in his song?

Thursday 13 February / Friday 14 February: gathering and evaluating information (class meets in Library Instruction Classroom, first floor of Monroe Library) • Assignment TBA

Tuesday 18 February / Wednesday 19 February: Tin Pan Alley and Ragtime (continued on next page) • Listen: o Charles K. Harris (1865/67-1930), “After the Ball” (1892; use voice and piano score) o Ernest Hogan (c. 1860-1909), “La Pas Ma La” (1895) o Scott Joplin (1867/68-1917), “Maple Leaf Rag” (1899) o Joe Howard (1867-1961) and Ida Emerson (1873-1945), “Hello! Ma Baby” (1899): WARNING: only listen to the first verse! (You may go ahead and read the second verse, but be aware that it includes offensive language. We’ll talk about that issue during class.) • Read: o articles on Charles K. Harris (by Joan Morris), Tin Pan Alley (by Thomas S. Hischak), Ragtime (by Edward A. Berlin), Ernest Hogan (by Henry T. Sampson 15

and Brandi A. Neal), Scott Joplin (by Edward A. Berlin), and Joe Howard (by Gerald Bordman and Jonas Westover) in Grove Music Online o Rick Reublin, “America’s Music Publishing Industry: The Story of Tin Pan Alley,” The Parlor Songs Academy: Lessons in America’s Popular Music History (2009) • Think about, and be prepared to discuss in class: o What do you think made “After the Ball” so popular? What about the other songs by Hogan and Howard and Emerson? o What are the main musical features of ragtime?

Thursday 20 February / Friday 21 February: putting it all together • Song essay draft due (Word or PDF file posted on Blackboard by 10pm Friday 21 February) • Timeline: post by 10pm Wednesday 19 February (so we all have time to look at the complete timeline) on a class Google doc (linked on Blackboard) one event outside music and one musical event (not covered in class) from the 1890s. I’m going to try to have one big timeline for both classes, so try to keep your contributions organized! • Look at the full timeline and review your notes for this unit • Think about, and be prepared to discuss in class: o What generalities can you make about musical trends in the 1890s? What differences do you see? o Do you see any potential connections between musical developments and other developments?

Monday 24-Friday 28 February: Mardi Gras break (no class)

Tuesday 3 March / Wednesday 4 March: EXAM (1890s)

Music in the 1920s Thursday 5 March / Friday 6 March: Edgard Varèse (1883-1965) and new sounds • Listen to Intégrales (1923) • Read the article on Varèse (by Paul Griffiths) in The Oxford Companion to Music • Scores on reserve: M1045.V32I5 1966, M1045.V32I5 1980

Tuesday 10 March / Wednesday 11 March: early recordings of jazz and blues: Joe “King” Oliver (1885-1938), Louis Armstrong (1901-71), and Bessie Smith (1894-1937) (continued on next page) • Listen: o 1923 performance of Dippermouth Blues by King Oliver’s Creole Jazz Band o 1928 performance of West End Blues by Louis Armstrong and his Hot Five 16

o 1923 recording of Down Hearted Blues by Bessie Smith • Listen to 15:22-21:40 (at least) of Thomas Brothers’ Library of Congress lecture on Dippermouth Blues (Posted on Blackboard) • Read articles on King Oliver (by Lawrence Gushee et al.), Louis Armstrong (by Gene H. Anderson; you may skim sections after 1930), and Bessie Smith (by Paul Oliver) in Grove Music Online • Read Mark Katz, “Capturing Jazz,” chapter 3 of Capturing Sound: How Technology Has Changed Music, rev. ed. (University of California Press, 2010) • Questions to think about: o What are the main features and conventions of these styles? How do they differ from other pieces we’ve studied? o What does the fact of recording do to our perspective? How does recording technology help us, and how might it cloud our view of the past?

Thursday 12 March / Friday 13 March: extensions of jazz and blues: William Grant Still (1895- 1978) and Darker America (1924) • Individual assignment stage 3 due (Word or PDF posted by 10pm Friday 13 March) • Listen to Darker America • Read the article on Still (by Gayle Murchison and Catherine Parsons Smith) in Grove Music Online • Read the section on Still’s Afro-American Symphony in Carol J. Oja, “Symphonic for the People: The Mid-Century American Symphony,” Deceptive Cadence, NPR (20 August 2013)

Tuesday 17 March / Wednesday 18 March: using library resources (class meets in Library Instruction Classroom, first floor of Monroe Library) • assignment TBA

Thursday 19 March / Friday 20 March: Heitor Villa-Lobos (1887-1959) and the chôro • Song essay final version due (Word or PDF file posted to Blackboard by 10pm Friday 20 March) • Listen to: Chôros no. 3 (“Pica-Pau,” 1925; choir and chamber ensemble) and 5 (“Alma brasiliera,” 1925; piano) • Listen to “Carinhoso,” an example of a chôro by Pixinguinha (1897/8-1973), a composer also active in the 1920s and ‘30s • Read: articles on the Villa-Lobos and the choro (both by Gerard Béhague) in Grove Music Online (You may skim the sections of the Villa-Lobos article that fall after 1930.)

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Tuesday 24 March / Wednesday 25 March: Igor Stravinsky (1882-1971) and neo-classicism • Listen to Stravinsky’s Symphonie des Psaumes (1930) • Read: o articles on neo-classicism and Stravinsky (both by Paul Griffiths) in The Oxford Companion to Music o Anya Grundman, “Symphony of Psalms,” 24 December 2000, The NPR 100 o Notes by Phillip Huscher for the Chicago Symphony, 2009 • Two scores on reserve: M2023.S88S97 1948a; MM2020.S88S95 1948

Thursday 26 March / Friday 27 March: Aaron Copland (1900-90) and his Piano Variations (1930) • Individual assignment stage 4a due (Word or PDF file posted by 10pm Friday 27 March) • Listen to Piano Variations (in addition to Naxos playlist, there is a recording with score on YouTube, linked on Blackboard) • Read the articles on Copland (by Paul Griffiths) and Nadia Boulanger (by Arnold Whittall) in The Oxford Companion to Music • Read David Hamilton, liner notes to Aaron Copland: Works for Piano 1926-48 (New World Records NW 277, 1976), http://www.newworldrecords.org/liner_notes/80277.pdf , accessed 31dec19 (You may skip the discussion of individual works other than the Piano Variations.) • Score on reserve: M27.C66 1959 (2 copies)

Tuesday 31 March / Wednesday 1 April: putting it all together • Timeline: post by 11:59 Monday 1 April (no joke!) on Google doc one event outside music and one musical event (not covered in class) from the 1890s • Look at the full timeline and review your notes for this unit • Think about: what generalities can you make about musical trends in the 1920s? What differences do you see? Do you see any potential connections between musical developments and other developments?

Thursday 2 April / Friday 3 April: EXAM

A 1960s quartet Tuesday 7 April / Wednesday 8 April: Ravi Shankar (1920-2012) (continued on next page) • Listen to: o Shankar, performance of raga Maru-Bihag o Shankar, Arpan (2001), composed for Concert for George (listen at least to the first few minutes and the last few, including Eric Clapton’s solo starting about 20:20) • Read the article on Shankar (by Stephen Slawek) in Grove Music Online 18

• Questions to think about: o What are the main styles you hear in the performance of the raga Maru-Bihag? How does this music seem different from what you’re used to? What can those differences start to tell us about music in India? o How does Arpan mix elements of Indian and western art music?

Thursday 9-Monday 13 April: Easter holiday (no class)

Tuesday 14 April / Wednesday 15 April: John Coltrane (1926-67) • Listen: o “India” from Live at the Village Vanguard, New York (1961) o “Song of Praise” from The John Coltrane Quartet Plays (1965) • Read: o Article on Coltrane by Lewis Porter (2013) in Oxford Music Online (Note that there is an earlier article by Barry Kernfeld; this is because these articles come from different printed works.) o Ravi Shankar, “Reminiscences about John Coltrane, 2001” (11 July 2013) o Carl Clements, “Indian Concepts in the Music of John Coltrane,” Newsletter of the Institute for Studies in American Music 37/1 (Fall 2007): 6-7, 14-15.

Thursday 16 April / Friday 17 April: George Harrison (1943-2001) • Individual assignment stage 4b due (Word or PDF file posted by 10pm Friday 17 April) • Optional peer review partners due (e-mail to [email protected]) • Listen: o The Beatles, “Love You To,” Revolver (1966; remastered 2009) o The Beatles, “Within You Without You,” Sgt. Pepper’s Lonely Hearts Club Band (1967; remastered 2009) o George Harrison, “Bangla Desh” (1971) • Read: o Philip Glass, “Open to the Influence of Unfamiliar Cultures,” New York Times, 9 December 2001 o Jonathan Bellman, “Indian Resonances in the British Invasion, 1965-68,” Journal of Musicology 15/1 (Winter 1997): 116-36 (you may skim the section on the Moody Blues and other aspects that don’t relate to Harrison and the Beatles) o Optional: Claire Hoffmann, “How the Beatles in India Changed America,” Rolling Stone, 16 February 2018 (note that this article does not mention Ravi Shankar or any aspect of music, and its starting point takes place in 1967, the year after Harrison and Shankar first met.) 19

Tuesday 21 April / Wednesday 22 April: Philip Glass (b. 1937) • Listen: o Glass, Strung Out (1967) o Glass, Music in Contrary Motion (1969) • Read: article on Philip Glass (by Edward Strickland) in Grove Music Online (You may skim after the section on the Philip Glass Ensemble.)

Thursday 23 April / Friday 24 April: no class (AVC at National Seminar on Jesuit Higher Education) • Optional peer review partners should exchange draft essays and complete peer review forms (Word or PDF file posted to Blackboard by 10pm Friday 24 April)

Tuesday 28 April / Wednesday 29 April: overflow (assignment TBA)

Individual assignment stage 4c (Word or PDF file) must be posted on Blackboard by 10pm Tuesday 5 May. I will accept late essays until noon Thursday 7 May, with the normal penalty, but I will not accept any work after that time.

Final exam: The official final exam times for this course are: • TR 8:30 section: Tuesday 5 May • WF 10:30 section: Friday 1 May We will not have a final exam, but you will note that I have made your final assignment due on the later of those days. Be aware that final exam times are mandated by the University, so make sure you know when all your finals are before you schedule juries and flights!