<p> Course Proposal: MUSC 289</p><p>Course Proposal</p><p>The Sounds of War and Revolution, 1750-1850</p><p>MUSC 289</p><p> as part of the Cluster </p><p>“War, Revolution and Culture – Transatlantic Perspectives, 1750–1850” proposed by </p><p>Dr. Annegret Fauser Department of Music Professor of Music Hill Hall, CB #3320 UNC Chapel Hill, NC 27599-3320</p><p>Tel.: 962-1039 Email: [email protected]</p><p>Perspectives</p><p>VP, NA</p><p>Course Syllabus</p><p>Scope of Course</p><p>Music has played a significant role in wars and revolutions throughout Western history. Songs and marches rallied and mobilized soldiers and revolutionaries; music formed part of state ceremonies, victory celebrations and funerals; musical works provided an important language to communicate revolutionary ideals even in politically oppressive environments; and musical works served to commemorate and reflect upon war and revolution, whether in battle symphonies, opera, or songs. In this course, we explore music’s various roles in these historical and political circumstances. We will address theories about music’s physical and emotional impact, study the self-conscious use of music by governments, military and revolutionaries to further their course, and we will examine music as a cultural product that reflects ideas about war and revolution within various cultural contexts. The subject matter of this course addresses both music and culture from experiential, visual, aural, and performative perspectives, and therefore demands a combination of textual, aural, and visual resources. To this end, the multimedia access provided by cutting-edge information technology, specifically web access to sound </p><p>1 Course Proposal: MUSC 289 recordings, visual images, and performance practices are an essential part of the students’ learning. To foster active learning, the course also relies on guided discussion in the course assessment.</p><p>Learning Outcomes</p><p>Students enrolled in this course will</p><p> encounter a rich body of music from a variety of written and oral Western traditions;  explore a broad spectrum of musical and cultural practices in the late eighteenth and first half of the nineteenth centuries;  engage critically with music from that period, relating sonic artifacts to the history and politics of war and revolution in both North American and European contexts;  learn to apply global, historical and local perspectives to understanding sound in cultural studies and specifically musical cultures;  become aware of issues of nationalism, gender, race, and violence in both the creation and the reception of music;  relate musical production and consumption to specific political and social contexts in Europe and North America;  comprehend historical distance by confronting the difference in contemporary sonic experience (film music, etc) with musical practice in the late eighteenth and early nineteenth centuries;  learn discussion skills through discussion-centered projects;  develop research, writing and presentation skills through graded assignments.</p><p>Course Requirements</p><p> Listening Quizzes for each of the two units of study: students will identify and contextualize musical pieces heard from recordings (each weighted as 15% of final grade)  Group Presentation on American or French Revolutions (combined with Writing Project 1): students will be assigned to small groups that will prepare a guided class discussion of key topics in Unit A. Each student will write up individually a four-page essay (weighted as 20% of final grade)  Group Presentation on the Nineteenth-Century (combined with Writing Project 2): students will be assigned to small groups that will prepare a guided class discussion of key topics in Unit B. Each student will write up individually a six- page essay. This project will combine prose and multimedia presentation of findings (weighted as 30% of final grade)  Final Exam: students will write short responses to questions about the fundamental issues, methodologies, and discourses addressed in the class. (weighted as 20% of final grade)</p><p>2 Course Proposal: MUSC 289</p><p>Schedule</p><p>Week #1: Introduction  Recent sonic representations of war and revolution in film as reflections of contemporary views on war and music Examples: o Use of Samuel Barber’s Adagio for Strings in Platoon (1986) o Opening credits for Saving Private Ryan (1998)  Introduction to music’s diverse roles in war and revolutions (songs, marches, ceremonial music, representative cultural artifact)</p><p>A. Revolutionary Music in Eighteenth-Century America and France</p><p>Week #2: Musical Practice in Colonial America  Native American Music  African Music in Early America  Colonial Song, Dance, and Music-Making </p><p>Week #3: The Emerging of National Identity through Music: The Yankee Doodle  The song and its history  The use during the American Revolution  Reception and shifts of meaning after the Civil War </p><p>Week #4: Music During the Revolutionary Wars  Military music  Hymns and instrumental music  The music of William Billings</p><p>Week #5: Musical Practice in Aristocratic France  Opera, Concert, Court and City  Mozart: Le nozze di Figaro</p><p>Week #6: Revolutionary Song and Marches  Revolutionary hymns and their uses (including Ça ira; Le Chant du départ)  La Marseillaise and its mythologies</p><p>Week #7: State Ceremonies  Civic Ceremonies on the Champs de Mars  The Bard of the Revolution: François-Joseph Gossec</p><p>Week #8: Opera as National Institution  Grand Opera during the Terror  Comic Opera as “popular” entertainment</p><p>3 Course Proposal: MUSC 289</p><p>Week #9: Educating Musicians for the New French Republic  The founding of the National Conservatoire of Music and Dance (1795)  The use of music as a means of education (the sung constitutions of Year VIII)</p><p>B. War and Revolution in Early Nineteenth-Century Music</p><p>Week #10: Musical Responses to the French Revolution and the Napoleonic Wars  Carl Ditters von Dittersdorf: La Prise de la Bastille (1791?)  Ludwig van Beethoven: The Eroica Symphony (1803) and Wellingtons Sieg, oder the Schlacht bei Vittoria (1813)  Carl Maria von Weber: Kampf und Sieg (1815)</p><p>Week #11: Music of Restoration and Biedermeier  The gendered sphere of the piano and parlor song  Opera as national image  Male choirs and student clubs</p><p>Week #12: The Bourgeois Revolutions of 1830 and its consequences  Auber’s operas (La Muette de Portici and Gustave III)  Musical Romanticism as Revolution  Hector Berlioz: Grande Symphonie funèbre et triomphale</p><p>Week #13: National Uprising: Poland and Hungary  Chopin, the Polish expatriate in Paris: Polonaises, Etudes and Ballads  Franz Liszt, the Austrian execution of the Hungarian rebels, and Funérailles</p><p>Week #14: Composers as Political Activists  Giuseppe Verdi, Italian nationalism, and the uses of opera  Richard Wagner, the German revolutionary</p><p>Week #15: Sonic Representations of the French and American Revolutions in the Twentieth Century  In art music: Francis Poulenc, Le Dialogue des Carmélites (1957)  In film: music in the Scarlet Pimpernel (1934), Jefferson in Paris (1995); John Williams’ score for The Patriot (2000); Sofia Coppola’s Marie Antoinette (2006)</p><p>4 Course Proposal: MUSC 289</p><p>Course Text</p><p>This course will have a website as “text.” The website (integrated with the cluster website) will contain primary sources, images, and music for the course. Because of copy-right issues, it will be password protected. For a sample of this kind of web-“text,” see my website for MUSC/WMST 188 (campus-access only):</p><p>“Introduction to Women and Music” (2005) http://www.unc.edu/music/courses/music48 Username: music48 Password: singer</p><p>Reading Assignments, Class Preparation, and Bibliography</p><p>1. Students are expected to listen to one or two selected works before class. These works are offered on the website “text” (see above). 2. Depending on the length of the music extract, there may be no additional preparatory reading (see Week #12, T). Otherwise, preparatory reading for class consists of short primary documents or articles. All of these texts will be provided in the on-line text (see above). 3. For students who wish to prepare for a class more thoroughly, I am indicating supplemental background reading. This is optional. 4. A broader bibliography (see below) is made available on reserve at the Music Library for the preparation of students’ group presentations and written assignments. Students will be guided as to which parts of the bibliography they should consult for each project.</p><p>Typical Reading and Listening Assignments</p><p>N.B.: I cannot offer specific readings for each class of the syllabus because I do not know whether the course will be on a TR or a MWF schedule. Assuming a TR schedule, I have devised the following sample for student class preparation, based on Week #12:</p><p>Week #12: The Bourgeois Revolutions of 1830 and its consequences</p><p>T Auber’s operas ( La Muette de Portici and Gustave III )</p><p>Required Preparation: Listen to La Muette de Portici, Act 3, II (“The market-place of Naples”) and read libretto (provided on-line in both Fre nch and English translation). [music and libretto will be on-line on the course website; CD call number CD-274]</p><p>Supplemental Background Reading: Sarah Hibberd. “La muette and her Context.” In The Cambridge Companion to Grand Opera. Edited by David Charlton, 149-67. Cambridge: Cambridge University Press, 2003</p><p>5 Course Proposal: MUSC 289</p><p>R Musical Romanticism as Revolution: Hector Berlioz: Grande Symphonie funèbre et triomphale</p><p>Required Preparation: 1. Listen to the first movement, Marche funèbre, of the Grande Symphonie funèbre et triomphale [music will be on-line on the course website; CD call number CD-10,579]</p><p>2. Read 4-page extract from Hector Berlioz’s Memoirs (reproduced on webpage) on the creation and performance of the Grande Symphonie funèbre et triomphale [text extract will be on-line on the course website]</p><p>Supplemental Background Reading: Ralph P. Locke. “Paris: Center of Intellectual Ferment.” In The Early Romantic Era Between Revolutions: 1789 and 1848. Edited by Alexander Ringer, 32-83. Englewood Cliffs, N.J.: Prentice Hall, 1991.</p><p>Selected Bibliography on Reserve at the Music Library</p><p>1. Books and Scores:</p><p>Berlioz, Hector: The Memoirs of Hector Berlioz, edited and translated by David Cairns (New York: Alfred A. Knopf, 2002) Call number (Music Library): ML410 .B5 .A3 2002</p><p>Boyd, Malcolm, ed., Music and the French Revolution (Cambridge, New York: Cambridge University Press, 1992). Call number (Music Library): ML270.3 .M88 1992</p><p>Burke, Richard N., “The Marche funèbre from Beethoven to Mahler”, Ph.D. dissertation, City University of New York, 1991 Call Number (Music Library): ML240 .B87 1991a</p><p>Camus, Raoul F., Military Music of the American Revolution (Chapel Hill: University of North Carolina Press, 1976) Call number (Davis Library): ML1311.C35 </p><p>Carter, Tim, W.A.Mozar:, “Le nozze di Figaro,” Cambridge Opera Handbooks (Cambridge: Cambridge University Press, 1987) Call number (Music Library): ML410.M9 C33 1987</p><p>Crawford, Richard, A History of to America’s Musical Life (New York and London: W.W.Norton, 2001) Call number (Music Library): ML200.C69 2001</p><p>6 Course Proposal: MUSC 289</p><p>Crawford, Richard, An Introduction to America’s Music (New York and London: W.W.Norton, 2001) Call number (Music Library): ML200.C72 2001</p><p>Crawford, Richard, and David P. McKay, William Billings of Boston: Eighteenth- Century Composer (Princeton, N.J.: Princeton University Press, 1975) Call number (Music Library): ML410.B588 M3</p><p>Dahlhaus, Carl, Nineteenth-Century Music, translated by J. Bradford Robinson (Berkeley: University of California Press, 1989) Call number (Music Library): ML196. D2513 1989</p><p>Davis, Ronald L., A History of Music in American Life, vol. 1: The Formative Years, 1620–1865 (Malabar, Fl.: Robert Krieger, 1982) Call number (Music Library): ML200.D3 v.1</p><p>Eberwein, Robert, ed., The War Film (New Brunswick, N.J.: Rutgers University Press, 2005) Call number (Davis Library): PN1995.9.W3 W36 2005</p><p>Finson, Jon W., The Voices That Are Gone: Themes in Nineteenth-Century American Popular Song (Oxford and New York: Oxford University Press, 1994) Call Number (Music Library): ML3477 .F55 1994</p><p>Gossett, Philip, “Becoming a Citizen: The Chorus in ‘Risorgimento’ Opera,” Cambridge Opera Journal 2 (1990).</p><p>Hamm, Charles, Music in the New World (New York: Norton, 1983) Call Number (Music Library): ML200 .H17 1983</p><p>Howard, John Tasker, The Music of George Washington’s Time (Washington, D.C., United States George Washington Bicentennial Commission, [1931]) Call Number (Music Library): Folio 780.973 .U58m </p><p>Hunt, Lynn, Politics, Culture, and Class in the French Revolution (Berkeley, Los Angeles: University of California Press, repr. 2004) Call number (Davis Library): DC158.8 .H86 2004</p><p>Jellinek, George, History through the Opera Glass (White Plains, N.Y.: Pro/Am Music Resources; London: Kahn & Averill, 1994) Call number (Music Library): ML2100.J45 1994</p><p>Johnson, James H., Listening in Paris: A Cultural History (Berkeley, Los Angeles & London: University of California Press, 1995). Call number (Music Library): ML270.8.P2 J6 1995</p><p>7 Course Proposal: MUSC 289</p><p>Keller, Kate van Winkle, ed., Songs from the American Revolution (Sandy Hook, Conn.: Hendrickson, 1992) Call number (Music Library): M1631 .S65 1992</p><p>Marrocco, W. Thomas, Music in America: an Anthology from the Landing of the Pilgrims to the Close of the Civil War (New York: W.W. Norton, 1964) Call number (Music Library): M2.M267M9</p><p>McNeil, Keith and Rusty, Colonial & Revolution Songbook: With Historical Commentary (Riverside, Calif.: WEM Records, 1996). Call number (Music Library): M1629 .C72 1996</p><p>Mongrédien, Jean, French Music from the Enlightenment to Romanticism: 1789-1830, translated by Sylvain Frémaux (Portland, Or. : Amadeus Press, 1996). Call number (Music Library): ML270.4 .M6513 1996</p><p>Parker, Roger, Arpa d'or dei fatidici vati: The Verdian Patriotic Chorus in the 1840s (Parma: Istituto nazionale di studi verdiani, 1997) Call number (Music Library): ML410.V4 P154 1997</p><p>Parker, Roger, Leonora's Last Act: Essays in Verdian Discourse (Princeton, N.J.: Princeton University Press, 1997) Call number (Music Library): ML410.V4 P155 1997</p><p>Parker, Roger, The Oxford Illustrated History of Opera, ed. by Roger Parker (Oxford, New York: Oxford University Press, 1994) Call number (Music Library): ML1700 .O92 1996</p><p>Ringer, Alexander, ed., Music and Society: The Early Romantic Era Between Revolutions, 1789 and 1848 (Englewood Cliffs, N.J.: Prentice Hall, 1991) Call number (Music Library): ML196 .E2 1991</p><p>Schulin, Karin, Musikalische Schlachtengemälde in der Zeit von 1756 bis 1815, Eichstätter Abhandlungen zur Musikwissenschaft, 3 (Tutzing: Schneider, 1986). [Please buy]</p><p>Silverman, Jerry, ed., Songs and Stories from the American Revolution (Brookfield, Conn.: Millbrook Press, 1994) Call number (Music Library): M1992 .S7 1994</p><p>Silverman, Kenneth, A Cultural History of the American Revolution: Painting, Music, Literature and the Theatre in the Colonies and the United States from the Treaty of Paris to the inauguration of George Washington, 1763-1789 (New York: T.Y. Crowell, 1976) Call number (Davis Library): NX503.5 .S54 1976</p><p>8 Course Proposal: MUSC 289</p><p>2. Recordings:</p><p>America’s Music. CD-Set Accompanying the book by Richard Crawford (see above) Call number (Music Library): ML200.C72 2001</p><p>Auber, Daniel François Esprit, Gustave III, ou Le bal masqué (Arion, 1993) Call number (Music Library): CD-2451</p><p>Auber, Daniel François Esprit, La muette de Portici (EMI France, 1987) Call number (Music Library): CD-274</p><p>Beethoven, Ludwig van: Symphonies nos. 3, 5 & 7 (New York, NY : Decca Music Group, 2001) Call number (Music Library): CD-9867</p><p>Beethoven, Ludwig van: Orchesterwerke (contains Wellingtons Sieg) (Hamburg: Deutsche Grammophon, 1997) Call number (Music Library): CD-11,767 v.3</p><p>Berlioz, Hector: Symphonie funèbre et triomphale (London: Decca, 2001) Call number (Music Library): CD-10,579</p><p>Bicentenaire: Musique de la 1ère Région Militaire (Châlo-St. Mars: Corélia, 1989) (personal collection)</p><p>La Carmagnole villageoise (Centre de Création Radiophonique ; Adda Distribution) (personal collection)</p><p>Les Chants de Marianne (France: Cybelia, 1988) Call number (Music Library): CD-368</p><p>Chopin, Frédéric, Ballades, Polonaises and Mazurkas (England: Virgin Classics, 2003) Call number (Music Library): CD-12,162</p><p>Echos de l’épopée impériale: Choix de musiques civiles et militaires du Consulat, du premier et du Second Empires (SOCA Disc) (personal collection)</p><p>Gossec, François-Joseph, Grande Messe des morts (Naxos, 2001) Call number (Music Library): CD-10,192</p><p>Gossec, François-Joseph, Symphonies (London: ASV, 2001) Call number (Music Library): CD-11,854 v.1 and 2</p><p>Les Italiens à Paris (contains extracts from Salieri’s Tarare) Call number (Music Library): CD-1056</p><p>9 Course Proposal: MUSC 289</p><p>Liszt, Franz: Funérailles, performed by Jorge Bolet (New York: RCA Red Seal, 2001) Call number (Music Library): CD-10,245</p><p>Music of the American Revolution: the Birth of Liberty (New York: New World Records, 1996) Call number (Music Library): CD-6607</p><p>Les 19 Grands Hymnes révolutionnaires (Paris: Erato Disques, 1990) (personal collection)</p><p>La Prise de la Bastille: Music from the French Revolution (Königshof: Capriccio, 1989) (personal collection)</p><p>Révolution française (EMI France, 1988) (personal collection)</p><p>La Révolution française: chants et chansons des rues et des salons (Disques Adès, 1989) (personal collection) Wagner, Richard, Rienzi, der letzte der Tribunen Please buy recording</p><p>Weber, Carl Maria von, Kampf und Sieg. Cantata Please buy recording</p><p>3. Videos and DVDs:</p><p>Jefferson in Paris (1995), directed by Merchant Ivory (Touchstone Home Video ; Burbank, Calif. : Buena Vista Home Video (distributor), 1995) Call number (Media Resources Center Videocassette 65-V5057</p><p>The Life of Verdi, directed by Renato Castellani (West Long Branch, NJ : Kultur, 1983) Call number (Music Library): VC-175</p><p>Marie Antoinette (2006), directed by Sofia Coppola [please buy]</p><p>Mozart, Wolfgang Amadeus, Le nozze di Figaro. Production directed by Jean-Pierre Ponnelle (Hamburg: Deutsche Grammophon, 1988) Call number (Music Library): VD-32</p><p>The Patriot (2000), directed by Roland Emmerich (Culver City, Calif.: Columbia TriStar Home Video, 2000) Call number (Media Resources Center Videocassette): 65-V7880</p><p>Platoon (1986), directed by Oliver Stone (New York: HBO Video, 1988)</p><p>10 Course Proposal: MUSC 289</p><p>Call number (Media Resources Center Videocassette): 65-V1649</p><p>Poulenc, Francis, Le Dialogue des Carmélites 1. Australian Opera Production (New York: Sony Video LP, 1985) Call number (Music Library): VC-103</p><p>2. German Opera of the Rhine (Düsseldorf) Production (Munich: Arthaus Musik, 1999) Call number (Music Library): DVD-27</p><p>Salieri, Antonio, Tarare (ARTHAUS 100 557) Call number (Music Library): [currently being processed]</p><p>Saving Private Ryan (1998), directed by Steven Spielberg (Universal City, CA : Dreamworks, 1999) Call number (Media Resources Center Videocassette): 65-V7281</p><p>The Scarlet Pimpernel (1934), directed by Harold Young (Los Angeles: Media Home Entertainment, 1978) Call number (Media Resources Center Videocassette): 65-V97</p><p>Verdi, Giuseppe, Nabucco (Chatsworth, Calif.: Image Entertainment, 1999) Call number (Music Library): DVD-47</p><p>Wagner, Richard, Der Ring des Nibelungen, directed by Patrice Chéreau (Bayreuth 1976) Call number (Music Library): DVD-111, v.1-4</p><p>11</p>