Overview of Undergraduate Curriculum Development s3

Undergraduate University Curriculum Committee Course Proposal Form for Courses Numbered 0001 – 4999 (Faculty Senate Resolution #8-16, March 2008)Guidelines for submission may be accessed via the web at: www.ecu.edu/cs-acad/fsonline/cu/curriculum.cfm.Note: Before completing this form, please carefully read the accompanying instructions. MUSC4416 1. Course Prefix and Number: 2. Date: 04/08/20103. Requested Action (check only one box): X New Course Revision of Active Course Unbanking of a Banked Course Renumbering of Existing Course from: # to #4. Method(s) of delivery (check all boxes that apply for both current/proposed and expected future delivery methods within the next three years):Current or Expected Proposed Delivery Future DeliveryMethod(s): Method(s):X On-campus (face to face) XDistance Course (face to face off campus)Online (delivery of 50% or more of the instruction is offered online)5. Justification for new course, revision, unbanking, or renumbering: On the basis of ongoing curriculum reevaluations prompted by our review of expected learning outcomes proposed by SACS and NASM, the TCM Department feels it is appropriate to raise the subject hours in the current MUSC 5406 from 2 to 3. This change is mandated by the nature of the subject matter and format, entailing student presentations and class discussion, which cannot adequately be completed in the time currently allotted. Because of current university policies regarding 5000-level courses, these changes will necessitate creation of parallel 4000- and 6000-level versions of the same course, for undergraduates and graduate students, respectively. It should be emphasized, however, that these are “new” courses only in a technical sense. 1 6. Course description exactly as it should appear in the next catalog: MUSC 4416. Music of the Classic Era and Enlightenment (3) P: MUSC 1406, 2406, 2416. Detailed consideration of analytical and historiographical issues in a variety of representative musical genres from 1720 to 1820, including both precursors and proponents of Classic style (Haydn, Mozart, Beethoven), and also exploring the relationship of this art music to Enlightenment figures such as Rousseau and Goethe.7. If this is a course revision, briefly describe the requested change:8. Page number from current PDF undergraduate catalog: 4619. If writing intensive (WI) credit is requested, the Writing Across the Curriculum Committee must approve WI credit prior to consideration by the UCC. Has this course been approved for WI credit (yes/no)? N/AIf Yes, will all sections be WI (yes/no)?10. If service-learning (SL) credit is requested, the Service-Learning Advisory Committee must approve SL credit prior to consideration by the UCC. Has this course been approved for SL credit (yes/no)? N/AIf Yes, will all sections be SL (yes/no)?11. If foundations curriculum (FC) credit is requested, the Academic Standards Committee (ASC) must approve FC credit prior to consideration by the UCC. If FC credit has been approved by the ASC, then check the appropriate box (check at most one):English (EN) Science (SC)Humanities (HU) Social Science (SO)Fine Arts (FA) Mathematics (MA) Health (HL) Exercise (EX) 12. Course Credit: 3 = 3 Lecture Hours Weekly or Per Term Credit Hours s.h.Lab Weekly or Per Term = Credit Hours s.h.Studio Weekly or Per Term = Credit Hours s.h. Practicum Weekly or Per Term = Credit Hours s.h. 2 Internship Weekly or Per Term = Credit Hours s.h. s.h. Other (e.g., independent study): Total Credit Hours 3 s.h. 13. Anticipated yearly student enrollment: 15 (typically on alternating years) 14. Affected Degrees or Academic Programs:Degree(s)/Course(s) PDF Catalog Page Change in Degree Hours N/A15. Overlapping or Duplication with Affected Units or Programs: X Not ApplicableApplicable (Notification and/or Response from Units Attached)16. Approval by the Council for Teacher Education (required for courses affecting teacher education programs): X Not Applicable Applicable (CTE has given their approval)17. Instructional Format: please identify the appropriate instructional format(s): Lecture Technology-mediated Lab X Seminar Studio Clinical Practicum Colloquium Internship Other (describe below): Student Teaching18. Statements of Support: (Please attach a memorandum, signed by the unit administrator, which addresses the budgetary and staff impact of this proposal.) X Current staff is adequate Additional staff is needed (describe needs below):3 X Current facilities are adequate Additional facilities are needed (describe needs below):X Initial library resources are adequate Initial resources are needed (give a brief explanation and estimate for cost of acquisition of required resources below):X Unit computer resources are adequate Additional unit computer resources are needed (give a brief explanation and an estimate for the cost of acquisition below):X ITCS Resources are not needed Following ITCS resources are needed (put a check beside each need): Mainframe computer system Statistical services Network connections Computer lab for studentsDescribe any computer or networking requirements of this program that are not currently fully supported for existing programs (Includes use of classroom, laboratory, or other facilities that are not currently used in the capacity being requested).Approval from the Director of ITCS attached 19. Syllabus – please insert course syllabus below. Do not submit course syllabus as a separate file. You must include (a) the name of the textbook chosen for the course, (b) the course objectives, (c) the course content outline, and (d) the course assignments and grading plan. Do not include instructor- or semester-specific information in the syllabus. MUSIC OF THE CLASSIC ERA AND ENLIGHTENMENT COURSE SYLLABUSCOURSE DESCRIPTION: MUSC 4416. Music of the Classic Era and Enlightenment (3) P: MUSC 1406, 2406, 2416. Detailed consideration of analytical and historiographical issues in a variety of representative musical genres from 1720 to 1820, including both precursors and proponents of Classic style (Haydn, Mozart, Beethoven), and also exploring the relationship of this art music to Enlightenment figures such as Rousseau and Goethe. OBJECTIVES: This course is designed to explore a selection of significant works produced by major composers of the Classic era and their immediate forebears. Upon completion of the class students will be able to:  Analyze how these works relate to the broader issues of the intellectual movement known as the Enlightenment.  Describe specific compositions, emphasizing questions of genre, form, and compositional style  Utilize the musicological literature to explore a variety of broader historical and cultural issues. TEXTS and MATERIALS REQUIRED 1) Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. Expanded ed. New York: W.W. Norton, 1997. 4 2) Pestelli, Giorgio. The Age of Mozart and Beethoven. 1979. Trans. Eric Cross. Cambridge: Cambridge UP, 1984. 3) See list of REQUIRED scores, recordings, and readings on ELECTRONIC RESERVE through the course management system, or on reserve at ECU music library. Supplementary RECOMMENDED reference works are provided on a separate handout. COURSE REQUIREMENTS: Due to the seminar format of this course, regular attendance and participation is. Formal requirements include examinations, class presentations, and written assignments. Two Examinations (30% of final grade) These examinations will consist of listening ID, essay questions, and short-answer identifications. 15% Take-Home MID-TERM Exam see schedule below (p. 2) for due date 15% In-Class END-TERM Exam see schedule below (p. 2) for date and time Class Presentations and Preparedness (40% of final grade) Each student will prepare and deliver two class presentations during the semester: one ANALYTICAL and one HISTORIOGRAPHICAL. The ANALYTICAL presentation should be conceived as a systematic account of a particular piece, accounting for its historical context, its musical components, form, and structure. The HISTORIOGRAPHICAL presentation should introduce notable issues that have been discussed in the mainstream musicological literature, including the textbooks. Delivery of both types of presentation should be NO LESS than 20 minutes, and NO MORE than 30 minutes, in duration. Note that each class period will entail both types of presentation, and students are expected to work as teams. Each individual presentation requires a HANDOUT of NO MORE than 2 pages, illustrating major points. Note that ALL students must compile, print up, and submit a list of relevant QUESTIONS or ISSUES FOR EACH CLASS (10 are required). N.B.: Students are REQUIRED to meet with the instructor, having prepared a BIBLIOGRAPHY of at least SIX items, no less than TEN DAYS before each presentation. It is the STUDENT’S RESPONSIBILITY to arrange a 15-minute APPOINTMENT. 25% Class Presentations dates to be arranged includes evaluation on presentations AND handouts 15% Questions/Issues collected each class each student is responsible for submitting 10 sets of questions 3 Written Assignments (30% of final grade) Paper A will comprise a formalized essay on the topic of the student’s FIRST PRESENTATION, including documentation and a works-cited list. Paper B will be a similarly conceived essay on the topic of the student’s SECOND PRESENTATION. 10% 1) 6-8 page Paper A (on student’s 1st presentation) see schedule below (p. 2) for due date 10% 2) 6-8 page Paper B (on student’s 2nd presentation) see schedule below (p. 2) for due date 10% 3) 8-10 page Revision (+ Expansion) of Paper A or Paper B) see schedule below (p. 2) for due date Evaluation: The percentage each requirement contributes to the final grade is shown above. Each written assignment will be graded on the basis of four criteria (total of 100 pts): 1) Content 40 pts 3) Documentation 15 pts + Documentary Format 05 pts 2) Organization 20 pts 4) Writing Style 15 pts + Overall Format 05 ptsGRADING SCALE: A => 90 points, B 80-89 points, C 70-79 points, D 65-69 points, F < 65 pointsCLASS TOPICS AND ASSIGNMENTS01 - The Operatic Heritage of the Baroque A Scarlatti,, “Mi rivedi o selva ombrosa” (#37) from Griselda (1721) (NAWM4th/1 #66) J.A. Hasse, “Digli ch’io son fedele” from Cleofide (1731) (NAWM4th/2 #86) Reading: Till, Nicholas. “The Meaning of Classicism.” Mozart and the Enlightenment. pp. 172-86.02 - The Querelle des Bouffons (1752) J.P. Rameau: Hippolyte et Aricie, Act IV (1733) (excerpt NAWM4th/1 #78) G.B. Pergolesi: La Serva Padrone, Act I (1733) (NAWM4th/2 #85) J.J. Rousseau: Le Devin du Village, Act I (1752) (NAWM3rd/2 #89) Rosen, Charles. “Tonality,” and “Origins of the Style.” The Classical Style (textbook), pp. 423-24 and 43-53 Verba, Cynthia. “Rameau and Rousseau Launch the Debate,” and “Appendix to Chapter 2.” MFE, 8-30 + 114-24.5 03 - “Topic” in 18th-Century Music / Galant Instrumental Music J.C. Bach: Keyboard Sonata, Opus 5, No. 5, in E Major (c. 1765) Radice, Mark. “The Nature of the Style Galant: Evidence from the Repertoire.” MQ 83 (1999): 607-47. Ratner, Leonard, “Ideas of Expression” and “Topics,” in Classic Music, pp. 5-30. Martin, Robert L, “Musical ‘Topics’ and Expression in Music,” JAAC 53 (1995): 417-24. 04 - The Second Wave of Operatic Reform C.W. Gluck: Alceste (Paris, 1769) Hastings, Margaret. “Gluck’s ‘Alceste.’” Music & Letters 36 (1955): 41-54. Brown, Bruce Allan. “Intro: The Context of a Reform.” Gluck and French Theatre in Vienna (1991), pp. 1-23.05 - The Empfindsamer Stil Bach, C.P.E.: Harpsichord Concerto in D minor, Wq 23 (1748) Davis, Shelley G. “C.P.E. Bach and the … Recapitulatory Tutti…” C.P.E. Bach Studies, pp. 65-82. Cowart, Georgia J. “Sense and Sensibility in 18th-Century Musical Thought.” ActM 56 (1984): 251-66.06 - Sturm und Drang F.J. Haydn: Symphony No. 44 in E Minor (1771) Grim, William E. Haydn’s Sturm und Drang Symphonies, pp. 1-35. Hill, David. “Introduction.” Literature of the Sturm & Drang , pp. 1-44.07 - The Mature Classic Era 1: Chamber Music W1/Paper A (1st Presentation) DuE F.J. Haydn: String Quartert Op. 33, No. 5 in G Major (1781) Sisman, Elaine. “Small and Expanded Forms: Koch’s Model and Haydn’s Music.” MQ 68 (1982): 444-75. Hickman, Roger. “The Nascent Viennese String Quartet.” MQ 67 (1981): 193-212.08 - The Mature Classic Era 2: Concerto T-Home M-T Exam Distributed W.A. Mozart: Piano Concerto in G Major, K. 453 (17__) H: Irving, John. “Heinrich Koch and the Classical Concerto.” Mozart’s Piano Concertos (2003): pp. 1-16; 213-5 Keefe, Simon P. “Heinrich Koch’s Commentary on the … Concerto.” MPC: DDAE (2001): 1-23.6  Kerman, Joseph. “Mozart’s Piano Concertos and their Audience.” On Mozart, Ed. J.M. Morris (1994): 151-68.09 - The Mature Classic Era 4: Divertimento E1/T-Home M-T Exam Due W.A. Mozart: Wind Serenade in B-flat Major, K. 361 (c. 1781) Mitchell, Donald. “The Serenades for Wind Band.” The Mozart Companion (Schirmer, 1990), pp. 66-89. Webster, James. “Towards a History of Viennese Chamber Music… ” JAMS 27 (1974): 212-4710 - The Mature Classic Era 3: Early Classic Symphony K. Ditters von Dittersdorf: Symphony in F Major, “Die Rettung der Andromeda durch Perseus” (c. 1785) Rice, John A. “New Light on Dittersdorf’s Ovid Symphonies.” Studi Musicali 29/2 (2000): 453-98. Kirby, F.E. “Expression in Dittersdorf's Program Symphonies….” Revista de Musicologia 6 (1993): 3408-3411 - The Mature Classic Era 5: Dramatic Music W2/Paper B (2nd Presentation) Due W.A. Mozart: Don Giovanni (K. 527) (1787) Zeiss, Laurel E. “Permeable Boundaries…” Cambridge Opera Journal 13 (2001): 115-39. Noske, F.R. “Don Giovanni: Musical Affinities and Dramatic Structure,” SMASH 12-1/4 (1970): 167-203.12 - The Mature Classic Era 6: Late Classic Symphony F.J. Haydn: Symphony No. 92 in G Major (“Oxford”) (1788) Schroeder, David P. “Symphonic Intelligibility and Sonata Form.” Haydn and the Enlightenment, pp. 125-42. Bonds, Mark E. “The Symphony as Pindaric Ode.” Haydn and his World, ed. E. Sisman (1997), pp. 131-53.13 - Transitions and New Stylistic Challenges L. van Beethoven: Symphony No. 3 in E-flat Major, Op. 55 (Eroica) (1803) Sipe, Thomas. “Interpretation” and “Compositional Genesis” … Eroica Symphony. (1998), pp. 94-116 / 11-29. Lockwood, . “The Compositional Genesis of the Eroica Finale.” BCP, ed. William Kinderman (1991), pp. 82-101.14 - Precedents for Romanticism L. van Beethoven: Violin Concerto in D Major, Op. 61 (1807) Jander, Owen. “Romantic Form and Content in … Beethoven’s Violin Concerto.” MQ 69 (1983): 159-797 15 –  W3/Paper C Due = Revision and Expansion of Paper A or Paper B E2/End-Term Exam M US I CO L O G I CAL AND H I S T O RI O G RAPH I CA L M E T H O DO L OG I E S (not mutually exclusive) 1) Institutional / Biographical / Archival Studies 7) Performance-Practice Studies 2) Music-Analytical Studies 8) Hermeneutics / Reception History 3) Music-Theoretical Studies (including Semiotics, etc.) 9) Literary-Source Studies (Poetic/Libretto/Program) 4) Musical Genre/Repertoire Studies 10) Critical Theory (Deconstructionism, Gender Studies, etc.) 5) Paleography (Notation/Transcription, Codicology) 11) Musical-Cultural Studies 6) Compositional Process / Sketch Studies 12) Musical Aesthetics8

Overview of Undergraduate Curriculum Development s3

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