MUHL M307-001 and 002: History of Western Art Music II General Syllabus Spring 2020 (Please note: this syllabus is very similar to, but not identical to a syllabus designed by Dr. Valerie Goertzen, who usually teaches this class.) Instructor: Dr. William Horne, Monroe Hall 302 985-892-9124, [email protected] Office hours: MWF 10:30-11:20, or by appointment Class times: MWF 9:30-10:20 for section 1 and 11:30-12:20 for section 2 Location: Classroom CM 204G Bulletin description: This course is the second part of a two-semester survey of Western art music, this semester covering music and ideas about music from the mid- 18th century to the present. Prerequisites: MUTH M202 (Theory III), MUHL M106 (Introduction to Music Literature), and MUHL M306 (History of Western Art Music I) Prerequisites may be waived through consultation with a student’s advisor. Course objectives: This course examines art music in Europe and the United States in the past 260+ years. It is designed to help students increase their knowledge of repertoire, compositional styles, and principal composers and to develop an understanding of historical, social, and aesthetic contexts for composition and performance—in short, to help students become better and more informed musicians and educators. We will study compositions and issues with the help of readings, scores, and recordings. Students will be challenged to improve their listening skills and their ability to speak and write about music, and to become more proficient at score-reading and analysis. Students will also gain experience using library resources relating to the study of music history. Learning outcomes: It is expected that students who complete the course will • have an understanding of the broad outlines of the history of European and American art music since the mid-eighteenth century. • have a detailed knowledge of representative compositions and excerpts. • understand relevant historical, social, and aesthetic developments. • have a better understanding of the role and power of music in human life. • have improved their ability to develop and communicate interpretations of musical works orally and in writing. • have a better knowledge of library materials and methods of research in music. Materials: 1. Burkholder, J. Peter, and Claude Palisca. Norton Anthology of Western Music. Vol. 2: Classic to Romantic. 8th ed. New York: W.W. Norton, 2019. ISBN 978-0-393-65642-8 REQUIRED 2. Burkholder, J Peter, and Claude Palisca. Norton Anthology of Western Music, Vol. 3: Twentieth Century. 8th ed. New York: W.W. Norton, 2019. ISBN 978-0-393-65643-5 REQUIRED One copy of each of the score anthologies listed above will be on physical reserve in the library as soon as they can be received from the publisher. However, you must own your own copies of the anthologies in order to take notes in them. Additional readings and/or scores may be distributed in class. You will be expected to keep them organized in a three-hole binder along with other materials not found in the Burkholder anthologies that may be distributed from time to time. Blackboard: In our Blackboard account you will find the syllabus for this course. I may post additional information or materials there as well. Evacuation: The evacuation statement of this course is posted in Part 2 of the syllabus on LORA. Further information about student responsibilities in emergencies is available on the Academic Affairs web site: http://academicaffairs.loyno.edu/students-emergency-responsibilities OAE: Information about services available from the Office for Accessible Education is included in the syllabus Part 2, posted for each course on LORA. The office is located on the second floor of Monroe Library. Students with last names starting with A-M should contact Samantha Pollard at 504-865-2070 or [email protected]; those with last names starting with N-Z should contact Dario Bayardo at 504-865-2018 or [email protected]. Course requirements: 1. Regular attendance and participation in class 2. Preparation of daily reading and listening assignments. It is important that you prepare for class so that you can participate in a meaningful way. You will be required to hand in daily writing assignments and/or take short (five-minute) quizzes in class on the material to be prepared for that class. Writing assignments will be assigned beforehand, but quizzes may be given in any class without prior notice and will normally be administered immediately after the roll is called. 3. You will have three fifty-minute exams during the semester covering readings, listening assignments, and class discussions. Exams may include an essay written outside of class. Your final exam will include a comprehensive component. 4. You will have two essays, three or four pages in length, on topics I will assign during the course. Evaluation: Three exams: 30% Final exam: 20% Two essays 20% Daily writing assts. and quizzes 30% Please note that music education students must earn a grade of C or higher in this course to receive credit towards their degree. (Cognate area classes with a grade of less than a C are not acceptable for teacher certification.) Music industry students also must earn a grade of C or above in all music coursework. Grading scale: A 93-100 C+ 77-79 A- 90-92 C 70-76 B+ 87-89 D+ 67-69 B 83-86 D 60-66 B- 80-82 F below 60 Attendance: You have three “free” absences during the semester. Any absences more than three will reduce your final average by 1 point per absence. Two tardies will count as one absence. I will take roll at the beginning of each class. You will be counted as tardy if you are not present to answer the roll when I call it. As a rule, I do not differentiate between excused and unexcused absences. There are, however, a few exceptions. You will not be “charged” for: an absence caused by a performance by a university ensemble that conflicts directly with the class; an absence incurred due to a required religious observance that conflicts directly with the class; an absence necessitated by bereavement. In order not to be charged with absences for these reasons, however, you must let me know beforehand in writing about the reason for the absence. Consideration: Please be considerate of your fellow students. If you are on your cell phone or checking something on your laptop during class, that is distracting to those around you. If you have a special need to take class notes on your laptop or record the class on your cell phone, please see me. I will ask you to sit in the front of the class so that I can see what you are doing. Any other cell phone, ear plug, or laptop use will cause you to be counted absent for the day. If you need to leave class for a moment, please do so quickly and quietly and return in the same manner. You do not have to ask my permission. Academic integrity: As a general rule, all work that you hand in for a grade must be your own. Studying together can be very helpful, but when you sit down to write an assignment for which you will receive a grade, you must do the work on your own and by yourself, without reading other students’ work or sharing your own. Receiving or giving help on such assignments, plagiarism on papers, and other violations of academic integrity will result in your receiving a zero on the assignment. I am required to report violations in writing to the Associate Dean of the College, who may, at her discretion, treat them more seriously. Plagiarism is explicitly or implicitly claiming as your own the words or ideas of other people. We live in a society that places a high value on intellectual property. Accordingly, plagiarism carries a grave stigma. If a journalist is found guilty of plagiarism, he or she is ordinarily fired. Politicians or other public figures who plagiarize the words of others are held up to public ridicule. You are committing plagiarism if you quote the words of another person without placing those words inside quotation marks and acknowledging the author of the words either in the text of your paper or in a footnote. You are also committing plagiarism if you advance an idea that you have read without acknowledging the original author of the idea by the same means described above. If you are uncertain how to use and cite the work of others within your own writing, consult reference works such as Kate L. Turabian, A Manual for Writers of Term Papers, Theses, and Dissertations, 7th ed. (Chicago and London: University of Chicago Press, 2007), or the Chicago Manual of Style, 16th ed. (Chicago: University of Chicago Press, 2010). You may also work with a tutor in the Writing Center, ask a reference librarian, or ask me. For a summary of the University’s Academic Honor Code, see http://2019bulletin.loyno.edu/academic-regulations/academic-honesty- and-plagiarism. Exams: Exams will include identification and other short-answer questions, objective questions (e.g., matching), and possibly also an essay; the essay may be assigned as a take-home question. On exams, you will have listening examples to identify and discuss, and sometimes also score identifications. On an exam, I do not provide a list of titles for you to choose from, nor do I allow a “cheat sheet.” For the listening and score IDs, be sure you can identify each example by composer, title, part or movement of the work, and the year of composition. For generic titles such as Brahms’s No. 4 in E Minor, Op. 98, it is enough to include “Brahms, Symphony,” and one of the following: the number 4,” the key, or the opus number. Also be ready to show that you understand the main points made about the example in class and in the readings. These points will vary but may include matters relating to form, harmonic structure or pitch structure, thematic relationships, text-music relationships, philosophical orientation, biographical context, or performance practice. How to do well on exams.: Purchase the score anthology, study it, and bring it to class every day. Keep up. Do the daily writing assignments on time. Come to class prepared, take notes, and review your notes afterwards as you prepare for the next class. Know the music we are studying. Listen often, at least sometimes following a score. Understand the main points made in the readings and in class about each piece. Review. Some students find it helpful to design a template of form to be filled in for each piece. Working with a partner or study group may also help. You must take exams with your own section. Any exceptions to this rule must be for a compelling reason and must be approved by me well in advance. If you must miss an exam for a legitimate reason, you must notify me in advance. Bear in mind that a make-up exam, at my discretion, may not be the same as the exam given to the rest of the class. It might, for example come in the form of an essay responding to a single question such as: “Tell me everything you know about music between 1820 and 1840. You have one hour.” Late work: Late work will be accepted with a penalty of 5 points for every day the assignment is late (not every class period late). I will not accept any work after I have handed an assignment back to the class. No work will be accepted after the final exam. Other matters: Part 2 of the syllabus posted for every class on LORA includes information on the University Counseling Center, sexual discrimination, harassment, or violence under the Federal law referred to as Title IX, the Information Technology Center, the Writing Center, and other topics.

Tentative Schedule of Topics and Major Assignments Please note: I reserve the right to change this schedule or its contents when I believe it is best to do so. Readings will be assigned as we go. Daily written assignments will be announced in class from day to day.

Date Topic and pieces to prepare for this day M Jan 6 Syllabus, introductions; Baroque and Classical styles J.S. Bach, Prelude in D Major from the WTC Book II, BWV 874 , Sonata in B-Flat Major, Hob. XVI:2 W Jan 8 The Enlightenment: Comic opera 109 Pergolesi, La Serva Padrona, excerpts a) Recitative: Ah, quanto mi sta male b) Aria: Son imbrogliato io 112 Gay, The Beggar’s Opera, excerpts a) My heart was so free b) Were I laid on Greenland’s coast F Jan 10 Early Classical instrumental music; the Mannheim court 115 Domenico Scarlatti, Sonata in D Major, K. 119 119 Johann Stamitz, Sinfonia a 8 in E-flat Major, I Writing about music assignment M Jan 13 The Classical string quartet 121 Joseph Haydn, String Quartet in E-flat Major, Op. 33, No. 2

W Jan 15 The Classical symphony 122 Joseph Haydn, Symphony No. 88 in G Major, Mvts. I-IV F Jan 17 The Classical 120 Johann Christian Bach, Concerto for Harpsichord or Piano and Strings in E-flat Major, Op. 7, No. 5, I 125 W. A. Mozart, Piano Concerto in A Major, K. 488, I M Jan 20 Martin Luther King holiday W Jan 22 Changing opera 113 C. W. Gluck, Orfeo ed Euridice, excerpt 127 W. A. Mozart, Don Giovanni, Scenes 1 and 2 F Jan 24 Vienna in the age of Metternich 129 , Sonata in C Minor, Op. 13, I 130 Ludwig van Beethoven, Symphony No. 3, Op. 55, I M Jan 27 Beethoven’s late period and legacy 131 Ludwig van Beethoven, String Quartet in A Minor, Op. 132, Mvts. III, IV, and V W Jan 29 First exam Begin work on your first essay: Discuss cyclic elements in the text and music of Beethoven’s An die ferne Geliebte, Op. 98.

F Jan 31 Romanticism; the Lied 132 Franz Schubert, Der Lindenbaum from Die Winterreise 133 Robert Schumann, Im wunderschönen Monat Mai (No. 1 from Dichterliebe); Aus meinen Tränen sprieꞵen (No. 2); Ich grolle nicht (No. 7) M Feb 3 Women and the Lied: Songs by Fanny Hensel and Clara Schumann W Feb 5 Making music speak: program music 146 Hector Berlioz, Symphonie fantastique, Mvt. 5: Witches’ Sabbath F Feb 7 The Romantic character piece 1 136 Robert Schumann, Carnaval: Eusebius, Florestan, Coquette 137 Fanny Hensel, Das Jahr, No. 12: December M Feb 10 The Romantic character piece 2 139 Frederic Chopin, Nocturne in D-flat Major, Op. 27, No. 2 140 Franz Liszt, Trios études de concert, No. 3: Un sospiro

W Feb 12 A New Orleans composer; Romantic choral music 141 Louis Moreau Gottschalk, Souvenir de Porto Rico, Op. 31 143 Felix Mendelssohn, St. Paul, Op. 36, Nos. 13-16: Und zog mit einer Schar; Und als er auf dem Wege war; Mache dich auf, werde Licht; Wachet auf, ruft uns die Stimme

F Feb 14 First essay is due. Be prepared to discuss your work in class. M Feb 17 The opera industry 149 Gioachino Rossini, Il barbiere di Siviglia, aria: Una voce poco fa 150 Vincenzo Bellini, Norma, from Act 1, Scene 4: Casta diva 152 Carl Maria von Weber, Der Freischütz, Wolf’s Glen Scene W Feb 19 Wagner and Wagnerism 153 Richard Wagner, Tristan und Isolde, Prelude and end of Act I F Feb 21 Second Exam Feb 24-28 Mardi Gras holiday M Mar 2 Verdi and beyond 154 Giuseppe Verdi, La Traviata, Act III, scene and duet W Mar 4 Post-romanticism I 155 Giacomo Puccini, Madama Butterfly, excerpt from Act I 156 Georges Bizet, Carmen, seguidilla and duet 158 Modest Mussorgsky, Boris Godunov, Coronation Scene

F Mar 6 Post-romanticism II: Brahms 161 , Piano Quintet, Op. 34, I 160 Johannes Brahms, Symphony No. 4 in E Minor, Op. 98, IV

M Mar 9 Post-romanticism III 162 Richard Strauss, Don Quixote, Op. 35, Theme and Vars. 1-2 165 Piotr Il’yich Tchaikovsky, Symphony No. 6, Op. 74, III

W Mar 11 The United States in the 19th century 168 John Philip Sousa, Stars and Stripes Forever Viktor Eugène Macarty, Two piano pieces

F Mar 13 The emergence of women composers Rebecca Clarke, Viola Sonata, Mvt. II 167 , Gaelic Symphony, Op. 32, Mvt. II

M Mar 16 Modernism 1 170 Gustav Mahler, Kindertotenlieder, No. 1 171 Richard Strauss, Salome, excerpt from Scene 4, conclusion 172 Claude Debussy, Nocturnes, No. 1, Nuages

W Mar 18 Modernism 2 174 Manuel de Falla, Homenaje 175 Gustav Holst, Suite No. 1 in E-flat for Military Band, Op. 28, No. 1

F Mar 20 Modernism 3 179 Erik Satie, Embryons desséchès, No. 3, de Podophythalma 177 Alexandr Scirabin, Vers la flame, Op. 72 Olivier Messaien, O sacrum convivium

M Mar 23 The Second Viennese School 180 Arnold Schoenberg, Pierrot Lunaire, Op 21, No. 8, Nacht 182 Alban Berg, Wozzeck, Act III, Scene 3

W Mar 25 The Second Viennese School and serialism 181 Arnold Schoenberg, Piano Suite, Op. 25, Prelude and Minuet 183 Anton von Webern, Symphony, Op. 21, I

F Mar 27 Stravinski 184 Igor Stravinsky, The Rite of Spring, excerpts Danse des adolescents and Danse sacrale

M March 30 Bela Bartók and Charles Ives 187 Bela Bartók, Music for Strings, Percussion and Celesta, III 188 Charles Ives, The Unanswered Question

W Apr 1 Blues, Jazz, and Musical Theater 169 Scott Joplin, Maple Leaf Rag 190 George Gershwin, I Got Rhythm from Girl Crazy 191 Besssie Smith, Back Water Blues 192 King Oliver, West End Blues, sheet music and transcription 193 Duke Ellington, Cotton Tail

F Apr 3 Third exam Begin work on your second essay: Discuss the Roma, and trace the influence of the “Hungarian Gypsy” style that is often associated with this ethnic group in the music of one prominent nineteenth-century composer.

M Apr 6 The Soviet Union 198 Dmitri Shostakovich, Symphony No. 5, Op. 47, II 197 Sergei Prokofiev, Alexander Nevsky, Op. 78, IV, Arise, Ye Russian People

W Apr 8 The American ultramoderns 201 Henry Cowell, The Banshee 202 Ruth Crawford Seeger, String Quartet 1931, IV 204 William Grant Still, Afro-American Symphony, I

F Apr 10-M Apr 13 Easter Holidays

W Apr 15 Postwar developments 205 Charlie Parker and Dizzy Gillespie, Anthropology 209 Benjamin Britten, Peter Grimes, excerpt: To Hell with All Your Mercy

F Apr 17 Chance and indeterminacy; electronic music 213 John Cage, Music of Changes, Book I 212 John Cage, Sonatas and Interludes for Prepared Piano: Sonata V 214 Edgard Varése, Poème elèctronique

M Apr 20 Second essay is due. Be prepared to discuss your work in class.

W Apr 22 New Sounds and Textures 220 György Ligeti, Étude No. 9, Vertige 216 Krzystof Penderecki, Threnody: To the Victims of Hiroshima

F Apr 24 Minimalism and other currents since the 1970s 219 John Adams, Short Ride in a Fast Machine 218 Steve Reich, Come Out

M Apr 27 The late twentieth century 221 Sofia Gubaidulina, Rejoice! Sonata for Violin and Piano, V. 223 Arvo Pärt, Seven Magnificat Antiphons: Excerpts: O Weisheit, O König aller Völker 229 Jennifer Higdon, blue cathedral, opening excerpt

W Apr 29 Last class; Finish up

Final exams: For section 001, which meets MFW at 9:30 am: Wednesday, May 6, 9:00 – 11:00 For section 002, which meets MWF at 11:30 am: Monday, May 4, 11:30 – 1:30