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Keyview Pro [$ASQ13-History I Syllabus (06S).Doc] Course Title Credit MUHL M306 History of Western Art Music I 3 credits Spring I semester 2006 Instructor Dr. Alice V. Clark phone 865-3065 Communications/Music 202 e-mail [email protected] Office hours: MW 1:00, TR 1:30, or by appointment Classes MWF 10:30-11:20, CM 135 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 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 (and as time permits) 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 Bonds, Mark Evan. A History of Music in Western Culture . 2 nd ed. Upper Saddle River, NJ: Prentice Hall, 2006. A copy is also on reserve in the library at call number ML160.B75 2006. Bonds, Mark Evan, ed. Anthology of Scores to A History of Music in Western Culture . Vol. 1: Antiquity through the Baroque Era . 2 nd ed. Upper Saddle River, NJ: Prentice Hall, 2006. I have no real objections to your sharing the textbook, or even 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. Even though you should own your own copy, I have put one on reserve at the library, in case you need it for quick reference; its call number is MT91.B65 2006. Optional materials available for purchase Bonds, Mark Evan, ed. Recorded Anthology for A History of Music in Western Culture . Vol. 1. 2 nd ed. Upper Saddle River, NJ: Prentice Hall, 2006. These recordings cover most of the material in the anthology. You are not required to buy this, but it’s convenient, especially around test times, 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. A copy of this is also on reserve in the library, at call number CD MSCL 00106. I have also put the two copies of the first-edition recordings on reserve, at call number CD MSCL 00078; this edition does not have quite everything in the second edition, but it has enough to be helpful. Course requirements / Types of assignments Required work for this course will include reading (from the textbook and other sources), and listening and score study (mostly, but not entirely, from the required anthology). Students will also have to take exams, write a group of essays and a journal, and do other assignments, in and out of class, as well as participate in class discussion. This course has a Blackboard web page. Go to <blackboard.loyno.edu>, 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, 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. 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 hand in for a grade in this class, whether an exam, an essay, or a small assignment, 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 (to me 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. 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 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. One additional point of classroom conduct: 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. Evaluation Grades will be calculated as follows: quiz: monophonic traditions 10% exams 2-3: 30% (15% each) final exam: 15% writing assignments (total): 20% 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. Exams • Friday 27 January (quiz: monophonic traditions) • Monday 20 February (polyphony through the fifteenth century) • Monday 27 March (sixteenth and seventeenth century) • Final exam: Monday 24 April, 11:30-1:30. This exam will include music from the high baroque period and will also have a comprehensive component. Exams may include listening (known and possibly unknown) to identify and discuss, score identification, short-answer questions such as definitions, and an essay (which may be a take-home project). Essay topics will be distributed a few days before each exam; several topics may be given, but only one will appear on the test (my choice, not yours!), so you should be prepared to answer any of them. Exam dates are subject to change.
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