HERITAGE OF MUSIC

MUHL 2309 -002

Dr. Eric Fried

Spring 2003

HERITAGE OF MUSIC

MUHL 2309

DR. ERIC FRIED

TABLE OF CONTENTS

OBJECTIVES AND REQUIREMENTS...........................................3

Required MaterialsObjectivesDaily Reading AssignmentsOutside ListeningCourse GradesExamsConcert Attendance--Extra CreditAttendance

UNIT OUTLINES..........................................................................6

I. Bird’s eye view of Music of the Middle Ages, Renaissance, Baroque,and Classical periods

II. The Romantic Period

III. The 20th Century

IV. Popular Music Traditions

APPENDICES

Franz Schubert: Erlkönig........................................................................................22

Puccini: Gianni Schicci; Synopsis.....................................................................….30

Alban Berg: Wozzeck, Act III.................................................................................31

CONCERT ATTENDANCE REPORT..........................................…………….36

HERITAGE OF MUSIC MUHL 2309Spring 2003

Professor: Dr. Eric FriedOffice: M239 Phone: 742-2270, ext. 258Office Hours: T-TH 9:30-10:50 a.m., MWF 10:00-10:45 a.m.

Other times by appointment

REQUIRED MATERIALS:

Text: Roger Kamien: Music, An Appreciation; 7th edition

Syllabus: Must be purchased at Copy Outlet, 2402 Broadway at Avenue X

OBJECTIVES:

1. To gain the knowledge required to understand and more fully appreciate great works of music. To learn ways in which to listen intelligently to music through identification of instrumental timbres, textures, and forms

2. To associate sociological aspects of each historical period. 3. To recognize general characteristics of works from the Romantic period through the Twentieth Century (1820-present) and to be able to identify each style period, and the time span of each. [This course will also include an overview of music of the Middle Ages, Renaissance Baroque, and Classical periods (450-1820).]

4. To gain knowledge of musical terms presented in each unit.

5. To gain knowledge of representative composers of each style period studied and important works of each.

REQUIREMENTS:

I. Outside Listening: Possible re-listening of designated musical works as needed for definite recognition. Review CDs are in the School of Music Listening Library, room M250.

II. Course Grades:

A. It is expected that each class member have the maturity and responsibility to be present for each class. Class attendance is required in order to receive information on exam dates and material, most of which can only be obtained through lecture notes and classroom listening. In addition, the exams will reflect knowledge obtained from the recordings and videos presented in class. Experience has proven that missing even one class almost always results in lower exam and course grades.

Diligent attendance is expected in order to learn the material and earn a respectable grade

in the course. Your education is a huge investment ($$$)--make the most of it by having perfect attendance!

Promptness to each class is expected in order to maintain courtesy and fairness to all students. Because of the floor plan of the classroom, latecomers are extremely disruptive to the class. The classroom door will be locked at the beginning of each class. Please plan to arrive at least five minutes early!

B. Concert attendance in encouraged, though not required. The following incentive program is made available to encourage concert attendance: Every two concerts attended will raise the final grade average by one percentage point (1/2 point for each concert) for a maximum of 10 points.

1. A concert attendance report sheet (attached) and an attendance slip (identify with MUHL 2308-FRIED) at the entrance door to Hemmle Recital Hall (you must arrive no later than 10 minutes after the beginning of the program). Return the attendance slip to the door monitor at the end of the recital.

The concert attendance report sheet must be submitted to the professor by the next class day after the concert attended.

2. Performances requiring an admission fee with count as 2 attendances each.

C. Course grade will be computed in this manner:

Average of Exam Grades + Extra Credit

D. Exams: Four (unit) exams will be administered over the following units:

I. Overview of Music before the Romantic Period (Middle Ages, Renaissance, Baroque, and Classical Periods)

II. The Romantic Period III. The Twentieth Century IV. Popular Music Traditions V. Final exam (required)

EXAM POLICIES

1. No “make-up” exams will be given (for any reason). Each missed exam will result in a grade of “0.”

2. The top three unit exam grades and the required final exam grade (the final exam counting equally) will be averaged to form the course grade.

3. EXAM DATES WILL BE ANNOUNCED IN CLASS.

Any student who, because of a disabling condition, may require some special arrangements in order to meet course requirements, should contact the instructor as soon as possible to make necessary accommodations. Students should present appropriate verification from Disabled Student Services, Dean of Students Office. No requirement exists that accommodations be made prior to completion of this approved University process.

* Helpful hints for listening review:

Read the numbers on the left margin of your syllabus to identify the piece(s) you wish to review.

There are two sets of compact disks for listening that accompany this course. The Basic Set has six CDs that will be labeled in the syllabus like this: CD1-5--- “CD1” tells you that this is disk number one. “-5” tells you that this is band five on the disk. If the notation “(Supp.)” appears under the number on the syllabus, this tells you that this is to be found in the Supplementary Set of two disks. Ask the librarian to check out the set you wish to use.

For the listening section of each exam, I will always play the beginning of each assigned piece. While it would be ideal to listen to all of each piece during your review, I realize that your time is limited. Therefore, you may wish to limit your listening to approximately the first 30 seconds of each excerpt. This should help you to recognize the music when it appears on the exam.

Heritage of MusicMUHL 2309

Text: Music, An Appreciation, 7th edition by Roger Kamien(Available in local bookstores)

Syllabus (This is a tentative outline of materials to be covered. Course content and dates may change as the course progresses)

Unit IWeek 1

Video TBA

Overview of the Middle Ages, Renaissance, Baroque, and Classical Periods of Music

The Middle Ages 450-1450

Reading: Text, pp. 89-108

Listening:

CD 1-63 1. Gregorian Chant: Alleluia: Vidimus Stellum; circa 450-700 Category: Gregorian ChantForm ABATexture: MonophonicFact: Music of the Roman Catholic Liturgy

CD1-67 2. Troubadour Music: Estampie ; 13th c.Category: Medieval Secular DanceForm: Estampie (4-7 sections each repeated--AA, BB, CC,

DD, etc.Texture: Monophonic with improvised drone

accompanimentFact: One of the earliest surviving pieces of instrumental

music

AV/ML Video--Music of the Middle Ages (20 minutes) 172/D571980

The Renaissance 1450-1600

Reading: pp. 109-132

Listening:

CDI-76 Giovanni Palestrina: Pope Marcellus Mass: Kyrie ; (1562) Category: RenaissanceMassForm : ABATexture: 6 Voice PolyphonyFact: a cappella singing

CD1-79 Thomas Weelkes (English): As VestaWas Descending ;1601 p. 121

Category: MadrigalForm: FreeTexture: Homophonic and Polyphonic (six voices)Fact: Word Painting

Week 2

CD1-80 Thomas Morley (English): Now is the Month of Maying, 1595,

Category: Ballett aa, bb, “Fa la” refrainForm: StrophicTexture: Mostly homophonic (5 voices) Fact: a clear beat and swing of an English folk dance

AV/ML Video The Music of Thomas Morley410/M818 Now is the Month of MayingM8 1987

CD1-81 Pierre Francisque Caroubel, Passamezzo and Galliard from Terpsichore, 1612

Category: Renaissance Instrumental DancesForm: Passamezzo, ABC, each section repeating ; Galliard,

ABC, each section repeatingTexture: HomophonicFact: Both Dances have the same melody but with

rhythm different rhythms and tempi

The Baroque Period (1600-1750)

Reading: pp. 133-212

Listening:

CD2-1 J. S. Bach: Brandenburg Concerto No. 5 in D Major; 1721First movementCategory: Concerto GrossoForm: RitornelloTexture: PolyphonicFact: Unique use of harpsichord

CD1-83 J. S. Bach: Organ Fugue in G minor (Little Fugue); 1709Category: FugueForm: 4-voice fugueTexture: PolyphonicFact: Subject, Countersubject, Episodes

Week 3

CD2-17 Antonio Vivaldi, La primavera (Spring) from The Four Seasons;1725, (1st movement); Terraced dynamics/

bird sounds, a storm

Category: ConcertoForm: RitornelloTexture: PolyphonicFact: Baroque Program Music

CD1-8 J. S. Bach, Mass in B minor: Crucifixus and Et Resurrexit; (Supp.) 1733

Category: MassForm: FreeTexture: Homophonic/PolyphonicFact: Specific orchestral accompaniment, Crucifixus-

descending Ground Bass; Et Resurrexit-text painting

CD2-33 J. S. Bach, Suite No. 3 in D Major; 1729-1731No. 2, Air

Category: Instrumental SuiteForm: AABBTexture: HomophonicFact: Set of dance inspired movements

CD2-39 J. S. Bach, Wachet Auf, Ruft Uns Die Stimme; (Awake, A Voice is Calling Us) from Cantata No.140 ; 1731

Category: CantataForm: Chorale: AAB; 1st Movement, Ritornello Form

Texture: PolyphonicFact: Music is based on chorale tune: Wachet Auf

CD2-50 G. F. Handel, Ev’ry valley Shall Be Exalted from The Messiah,

Category: Aria (from oratorio)Form: Da capoTexture: HomophonicFact: Vivid Text Painting, virtuosic singing

CD2-54 G. F. Handel: Hallelujah Chorus from The Messiah; 1741

Category: Chorus (from Oratorio)Form: RitornelloTexture: Light PolyphonicFact: Audibly joyful music

The Classical Period 1750-1820

Reading: pp. 213-298

Listening:

VIDEO Story of the Symphony: (excerpt) “Mozart”

CD3-1 W. A. Mozart: Symphony No. 40 in G minor, K. 550 (1788), 1st Video V. 1movement (See full score in syllabus)

Category: SymphonyForm: SonataTexture: Homophonic/Polyphonic

Fact: 3 note motive prevails

Week 4

CD3-31 Franz Josef Haydn: Symphony No. 94 in G Major (Surprise);1791, 2nd movement;

Category: SymphonyForm: Theme and VariationTexture: Homophonic/PolyphonicFact: One theme is repeated in varied manners; Surprise!

Video: The Story of the Symphony: (excerpt) “Haydn”

CD3-37 W. A. Mozart: Eine Kleine Nachtmusik (A Little Night Music),K. 525, 3rd movement (minuet: allegretto)

Category: Minuet and TrioForm: Ternary (ABA)Texture: HomophonicFact: A serenade

CD4-1 W. A. Mozart: Piano Concerto No. 23 in A Major, K. 488,1st movement; 1786

Category: Concerto Form: SonataTexture: HomophonicFact: Contains 2 expositions, 1st for orchestra, 2nd for

soloist (piano)

CD 3-55 W. A. Mozart: Don Giovanni; Leporello’s Catalogue Aria; 1787

Category: OperaForm: Da Capo Aria (ABA)Texture: HomophonicFact: Seduction Techniques used by Don Givovanni

CD 3-40 Ludwig van Beethoven: String Quartet in C minor, Op. 18, No. 4; 4th movement

Category: String QuartetForm: Sonata Rondo ABACABATexture: Homophonic

Fact: A lively gypsy dance

CD4-23 Ludwig van Beethoven: Symphony No. 5 in C minor, 1st movement; 1808,

Category: Symphony Form: SonataTexture: Homophonic/PolyphonicFact: 3-note motive used throughout (Fate motive)

Video Beethoven: Symphony No. 5VCRTHOMEVISION8339037

Week 5

Review for Exam I including abbreviated replay of music for listening section of the exam

Exam I over Unit I: An Overview of Music Before the Romantic Period

Unit II The Romantic Period 1820-1900Romanticism in Music

Composers: Schubert, Schumann, Mendelssohn, Chopin, Berlioz, Liszt, Mussorgsky, Dvorak, Smetana, Verdi, Puccini,

Wagner, Brahms, Tchaikovsky

Reading: pp. 299-436

Listening:

CD4-48 Franz Schubert: Erlkönig (The Erlking); 1815See score in syllabus

Category: Art SongForm: Through composedTexture: HomophonicFact: Example of early Romanticism

CD4-56 Franz Schubert: Piano Quintet in A Major, “The Trout,”4th movement; 1819

Category: Chamber MusicForm: Them and VariationTexture: Homophonic/PolyphonicFact: Theme taken from song “Die Forelle” (“The Trout”)

Listening Outline

Theme: StringsVariation I: Piano entersVariation II: Viola, Violin countermelodyVariation III: Piano rapid countermelodyVariation IV: Theme in minor keyVariation V: ‘Cello, transformed theme to lyric melodyVariation: VI: Dialogue of ‘cello and violin with melodic

“Trout” figure

Week 6

CD4-63 Frédéric Chopin: Nocturne in E flat Major, Op. 9, No. 2; 1830

Category: Piano MusicForm: FreeTexture: HomophonicFact: Unique pedal technique

CD5-17 Frédéric Chopin: Etude in C minor Op. 10, No. 12 (Revolutionary Etude); 1831

Category: Piano MusicForm: FreeTexture: HomophonicFact: “Revolutionary” subtitle and stormy character

CD5-18 Franz Lizst: Transcendental Etude No. 10 in F minor; 1850

Category: Piano MusicForm: ABA'--coda, but sounds freeTexture: Homophonic (but sometimes hard to hear)Fact: extremely passionate and virtuoso style

CD5-24 Felix Mendelssohn: Concerto for Violin and Orchestra in E minor,op. 64, 1st movement; 1844

Category: ConcertoForm: SonataTexture: HomophonicFact: Single Exposition; written out cadenza at the end of

development section

Listening Outline

Violin Exposition (breaks tradition by omitting orchestralexposition)

1st Theme 2nd Theme (clarinet)DevelopmentCadenza (unaccompanied solo violin section written out by

composer--breaks tradition by: 1. Placing the cadenza after the development instead of

after therecapitulation; 2. Writing the cadenza himself (thecadenza was usually composed by the performer)

Recapitulation1st Theme2nd Theme (woodwinds)Coda (faster tempo)

Romantic Symphonic Music

Program Music

Reading: pp. 353-366

Listening:

VIDEO Introduction to Symphonie Fantastique (33:00) Andre Previn,London Philharmonic, “The Story of the Symphony”

Hector Berlioz: Symphonie Fantastique, movements 4 and 5;1830

CD5-30 4th movement, March to the Scaffold

CD5-34 5th movement, Dream of a Witches Sabbath

Category: Program SymphonyForm: Free

Texture: Homophonic/PolyphonicFact: Ideé Fixe

CD5-44 Peter Ilich Tchaikovsky: Romeo and Juliet, Overture-Fantasy; 1869

Category: Orchestral Program music (based on Shakespeare’s drama)

Form: Slow introduction followed by fast section in sonata formTexture: HomophonicFact: Different musical themes represent characters in the story

CD6-1 Bedrich Smetana: The Moldau from Ma Vlast (My Country); 1874,

Category: Orchestral Program MusicForm: Tone PoemTexture: Mostly Homophonic/sometimes PolyphonicFact: The Moldau is one movement from a cycle of six tone

poems entitled Ma Vlast

Listening Outline

Objects or events depicted by the music

1. Two streams2. The River (The two streams come together to form the river)3. The Forest Hunt (fanfares and hunting calls from French horns

and trumpets4. Peasant wedding (polka music)5. Moonlight dance of the water nymphs 6. The River7. The Rapids (dramatic music with brass and percussion)8. The River at its widest point (river theme with full orchestra,

major key, faster tempo9. Vysehrad, the ancient castle

Week 7 Romantic Symphonies

Reading: pp. 383-397

Listening:

CD6-8 Antonin Dvorák: Symphony No. 9 in E minor (From the New World) 1st movement; 1893

Category: SymphonyForm: SonataTexture: HomophonicFact: Nationalistic music, glorifying the Czech and

American folk spirit

CD6-15 Johannes Brahms: Symphony No. 4 in E minor, 4th movement; 1885

Category: SymphonyForm: Passacaglia (a type of theme and variations related

to the baroque ground bass form)Texture: Mostly homophonicFact: Brahms’ use of old forms within his Romantic style

reflects his attachment to the past

Romantic Opera

Reading: pp. 401-430

CD6-20 Giuseppe Verdi: Rigoletto, Act III, La donna è mobile (The Woman is Fickle) and Quartet; 1851

Category: OperaForm: Texture: Homophonic (Melody usually in voice,

accompanied by the orchestraFact: Carefree and tuneful aria

CD6-27 Richard Wagner: Die Walküre, Act I (love scene, conclusion)

Video Giacomo Puccini: Gianni Schicchi (62 minutes)

Week 8

Review for Exam II on Music of the Romantic Period

Exam II over the Romantic Period

Unit III The Twentieth Century 1900-

Musical Styles: 1900-1950Music and Musicians in SocietyImpressionism and Symbolism

Debussy and RavelNeoclassicism

Stravinsky Expressionism

Schoenberg, Berg, WebernOther Important composers of the 20th Century

Bartok, Ives, Gershwin, CoplandMusical Styles since 1950

Reading: pp. 437-564

Introduction to the Twentieth Century

Week 9

Impressionism

Listening:

Video What is Impressionism? Leonard BernsteinML3928V7

CD7-1 Claude Debussy: The Afternoon of a Faun; 1894

Category: Impressionistic Symphonic PoemForm: ABA’Fact: Dreams and Fantasies of a mythological forest

creature

Neoclassicism

CD2-21 Igor Stravinsky: Opening scene from Petrushka; 1911(Supp.)

Category: BalletFact: Main characters of ballet are three puppets who are

brought to life

CD7-23 Igor Stravinsky: Sacrificial Dance fromThe Rite of Spring; 1913

Category: BalletForm: Mostly FreeFact: Primitivism

Expressionism

Atonality and the 12 tone system

CD7-28 Arnold Schoenberg: A Survivor from Warsaw, op. 46, (1947)

Category: Expressionistic MusicForm: 12-tone techniqueFact: Dramatic, gripping protest music

Week 10

Berg Alban Berg: Wozzeck, Act III; 1917Video (See syllabus, p. 31 for libretto)M1500B4W6 Category: Opera1987 Form: Theme and Variation

Fact: Atonal expressionistic music

CD7-46 Béla Bartók: Concerto for Orchestra; Second Movement, 1943

Category: Symphonic Music (Orchestral Concerto)Form ABA’Fact: “Games of Pairs”

CD8-17 Aaron Copland: Simple Gifts from Appalachian Spring; 1943

Category: Ballet Suite for OrchestraForm: Theme and VariationsFact: Shaker melody

CD8-29 Edgard Varèse: Poème Électronique; 1958

Category: Electronic MusicForm: FreeFact: Composed for the Brussels World Fair, 1958

CD8-33 George Crumb: Ancient Voices of Children, Movement 3,From Where Do You Come, My Love, My Child?, 1970,

Category: “Humanized” electronic musicForm: FreeFact: Singing, shouting, whispers, laughing

CD8-34 Phillip Glass: Knee Play 1 from Einstein on the Beach, 1976

Category: Minimalist Opera Fact: Constantly repeated rhythms and text Fact: Entire opera lasts almost five hours with no

intermission

Week 11

Review for Exam III on Music of the Twentieth Century

Exam III

Week 12

Unit IV Popular Music Traditions

Jazz Styles Ragtime

BluesNew Orleans StyleSwingBebopJazz Styles since 1950

The American Musical

Reading: pp. 565-598

Listening:

CD8-42 Scott Joplin: Maple Leaf Rag: (1899)

Category: RagtimeForm: AABBACCDDFact: Left hand uses steady rhythms, while right hand

is syncopated

CD8-46 Bessie Smith: Lost Your Head Blues; (1926)

Category: 1920s Blues Form: 12-bar blues a a’ bFact: Scale tones 3, 5, and 7 are flatted

CD8-48 Louis Armstrong: Hotter Than That; (1927)

Category: New Orleans Style Jazz (Dixieland)Form: 12-bar bluesFact: Scat Singing

CD1-10 Duke Ellington: C Jam Blues (1942)

Category: SwingForm: Solos performed by numerous instrumentsFact: Blues played in a Swing Style

CD8-54 Charlie Parker: Bloomdido; (1950)

Category: BebopForm: Introduction--melody--eleven choruses of 12-bar

pattern--melodyFact: Performed by jazz greats Charlie Parker, saxophone,

Dizzy Gillespie, trumpet, Thelonious Monk, piano, Curly Russell, bass, and Buddy Rich, percussion.

“High-spirited melody” based on harmonic structure of 12-bar blues

D8-55 Miles Davis: Miles Runs the Voodoo Down , excerpt, (1969),

Category: Jazz Rock (Fusion)Form: FreeFact: Opens softly with drums and electric bass, other

instruments gradually join in, including an extended trumpet solo which has a blues feel.

Week 13

The American Musical

Reading: pp. 599-610

Listening:

Alan Jay Lerner and Frederick Lowe: The Rain in Spain from My Fair Lady

Leonard Bernstein: Tonight Ensemble from West Side Story

Other excerpts from American Musicals TBA

Rock Styles Rock in American SocietyThe Beatles

Reading: pp. 613-630

Listening: examples of representative Rock Music TBA

Week 14

Review for Exam IV on Popular Music Traditions

Exam IV on Popular Music Traditions

Week 15 (Wednesday, December 5 is last day of classes)

Review for final comprehensive exam

Final Exam: Official time is Friday, December 7 from 7:30 to 10:00 a.m., but we will delay the starting time to 8:30 a.m.