MUSIC MICHALEMAS 2017

Course: MUS 101 Term: Michaelmas Credits: 1.5 Class Schedule: Monday/Wednesday 10:30am—12pm Instructor: E-mail: hhaffner@newcollegefranklin.org Phone: (615)-497-6573 Office hours: by appointment COURSE DESCRIPTION This course will explore the history, theory, and practice of Western art music, one of the great treasures of our civilization. Beginning with Biblical accounts and some of the philosophers of the ancient world, students will trace the development of music through early church worship and the high Middle Ages. Students will encounter some of the great works of the Western canon, as well as gain an understanding of how music is constructed. They will also put this knowledge into practice by singing and attending performances. REQUIRED TEXTS AND MATERIALS Basil Cole, Music And Morals. New York, Alba House. 1993. Adolphe Dannhauser, Solfege des Solfeges, Book 1. Trans. J.H. Cornell. New York, G. Schirmer. 1986. Paul Griffiths, A Concise History of Western Music. Cambridge, Cambridge University Press. 2009. Paul Westermeyer, Te Deum: The Church and Music. Minneapolis, Fortress Press. 1998. In addition to the books listed above, you will be required to purchase a year-long membership to the Naxos.com online catalogue. COURSE LEARNING OUTCOMES

*The Program Learning Outcomes and Institutional Objectives refer to items on the outline form of those documents. An outline is attached for reference. See Attachment 1

The student who completes this course will be able to: Program Learning Outcomes

Institutional Objectives

This Learning Outcome will be measured by:

1.   demonstrate basic knowledge of music history and theory

LA I.A LA I.B

IO I.B. IO 2.A

Class Discussions Listening Responses Quizzes Final Exam

2.   understand the influence of various trends in theology and philosophy on the music of the Medieval and Renaissance eras.

LA 2.B LA 3.A

IO 2.A IO 2.B

Quizzes Final Exam

3.   identify major works of the Medieval and Renaissance eras, as well as characteristics of these styles.

LA I.A LA I.B

IO I.B. IO 2.B

Listening Responses Quizzes Final Exam

4.   identify and sing musical intervals using solfege syllables

LA 2.A LA 3.C

IO I.A. IO 3.C

Final Exam

COURSE CONTENT 8/14—Introduction Julian Johnson, “Understanding Music” from Who Needs Classical Music? 8/16—Music in the Biblical Era Westermeyer, pp.9-56

Allegri, Miserere, Naxos # 8.553238, Track 12 8/21—Worship in the Early Church Westermeyer, pp.59-76

Ambrosian Chant excerpts, Naxos # 8.553502, Tracks 7-8, 16, 18 8/23—The Pagan Tradition: Plato, Aristotle, Confucius Cole, pp.15-45 8/28—Chant: the Mass Ordinary Griffiths, pp.8-17 Hildegard of Bingen, Kyrie, Naxos # 8.571092, Track 19 Anonymous, Gloria, Credo, Sanctus Naxos # 8.553502 Tracks 5, 11-12 8/30—The Early Church Fathers Westermeyer, pp. 77-89 Cole, pp.47-63 9/4—Chant: the Mass Proper Westermeyer, pp. 93-110 Anonymous, Introitus, Gradualia, Versus Alleluiatici, Offertoria, Communiones

Naxos # 8.550711, Tracks 1, 6, 10, 14, 21 Anonymous, Dies Irae, Naxos # 8553192Track 4 9/6—Introduction to Sight Singing 9/11—The Notre Dame School Westermeyer, pp. 111-120

Anonymous, Viderunt Omnes, Naxos # 8.557340, Track 2 Leonin, Viderunt Omnes, Naxos # 8.557340, Tracks 3-8

Perotin, Viderunt Omnes, Naxos # 8.557340, Tracks 23-28 9/13—Secular/Instrumental Music in the Middle Ages Griffiths, pp.22-31 Cantigas de Santa Maria excerpts, Naxos # 8.553133Tracks 4, 6, 10 Walther von der Vogelweide, Palastinalied, Naxos # 8.553442, Track 1 9/18—Machaut Griffiths, pp.32-41 Machaut, La Messe de Nostre DameNaxos # 8.553833 Tracks 1-6 9/20—Aquinas on Music Cole, pp.63-81 Machaut, Rose, liz, printemps, verdure Naxos # DIS-80135 Track 2 9/25—Contenance Angloise Griffiths, pp.44-56 Dunstable, Quam pulchra esNaxos # 8.557341Track 1

9/27—Contenace Angloise, cont. Anonymous, L’homme arme, Naxos # 8.553087, Track 1 Dufay, Missa L’homme arme, Naxos # 8.553087 Tracks 2-3, 5, 7-8 10/2—Exam Review 10/4—Exam Methods of Instruction 1.  Weekly listening to assigned pieces 2.  Weekly reading in required texts 3.  Lectures 4.  Socratic discussion 5.  Quizzes 6.  Solfege singing

7. Final Exam COURSE REQUIREMENTS Assignments Listening Responses Write a short essay analyzing the assigned pieces for the week, as well as their historical context. Due 8/16, 8/23, 8/30, 9/6, 9/13, 9/20, 9/27

Concert Attendance At least once during the term, students must attend a performance of art music in the community. Proof of attendance due 10/2 Grading: Course work will be evaluated in accord with the following criteria:

a) Listening Responses 25% b) Quizzes 25% c) Daily participation 15% d) Concert Attendance 10% e) Final Exam 25%

Mark Minimum Points

Direct Equivalent

Grade Points

A 94.00 95.00 4.00

A- 90.00 92.00 3.70

B+ 86.00 88.00 3.30

B 83.00 85.00 3.00

B- 80.00 82.00 2.70

C+ 76.00 78.00 2.30

C 73.00 75.00 2.00

C- 70.00 72.00 1.70

D+ 66.00 68.00 1.53

D 63.00 65.00 1.30

D- 60.00 62.00 1.00

F 0.00 0.00 0.00

Participation A student’s attentive presence and active participation is essential to success in the course. Participation will be graded in several ways:

1.   Attentive presence and posture during class 2.   Thoughtful contributions that demonstrate knowledge of the reading/listening assignment 3.   Respectful and meaningful engagement with the contributions of classmates 4.   Asking open questions that assist the class in discovery of truth

Presentation of Assignments All assignments are to be typed following the Chicago Manual of Style. A model paper is attached detailing the style and formatting requirements for short papers. All other assignments should follow the guidelines found in The Chicago Manual of Style. Kate L. Turabian’s A Manual for Writers of Research Papers, Theses, and Dissertations: Chicago Style for Students and Researchers, 8th Edition is an excellent handbook. Please staple pages together. DO NOT submit assignments in a notebook, binder, or report folder. It is recommended that you keep a copy of any assignment you submit. Late Work No late work is accepted. If a planned absence coincides with the due date of an assignment, you must make arrangements with your professor before the day the assignment is due regarding the submission of the assignment. If unforeseeable circumstances prevent you from submitting a completed assignment on time, you must notify your professor that you will not be present to submit the assignment. In such a case, you must notify your professor before the assignment is due using the means of communication specified in the syllabus. If you have access to a computer and internet, and the assignment is transferable electronically, you must submit the assignment electronically before the assignment is due in class. If the assignment is not transferable electronically, you must make arrangements with your professor to turn in the assignment as soon as possible. Assignments are due at the start time of the class period at which they are due. Assignments not submitted on time will receive a grade of “0.” Graded Work Graded material will be returned to you within two weeks of the assignment’s submission. A guide to proofreader’s marks and copyediting symbols is also attached. Your professors will use these when marking your papers. Attendance Students are expected to attend all classes or scheduled meetings as applicable to each course. Attendance is an academic issue that affects the work of the student. Furthermore, given the unique seminar pedagogy at New College Franklin, attendance affects the work of the class as a whole. Absenteeism is not to be taken lightly. Students are always expected to consult their tutors in case of an absence. However, if absences mount, the question arises as to whether the student is sufficiently present in that class. Mr. Haffner’s attendance policy for MUS 101: A student who is absent from class (for any reason other than illness or an emergency situation) will receive a zero for that day’s participation grade. A student who is late to class will be marked off for that day’s participation grade. Students who are absent 3 class periods will be withdrawn from the course.

FURTHER INFORMATION Listening Responses A large portion of your grade will be determined by your performance on listening responses. Every week you will listen to several different pieces of music (found on the Naxos website) at home, and write a short essay based on what you heard. You should listen to each piece multiple times throughout the week (5-7 times for shorter examples, 2-3 times for longer works) so you have a good grasp of the piece before starting to write about it. Information in your responses may include, but are not limited to:

•   Biographical/historical information on the composers (if available) and the circumstances of the composition of the works

•   Genre (ie: Gregorian Chant, Dance Suite, or Piano Sonata) •   Function (ie: “This piece would have been sung at the beginning of a mass”) •   Style (ie: Renaissance, Late Romantic, Minimalist) •   Basic Formal Design

Things NOT to include in your responses: •   Phrases such as “This piece makes me think of sunsets.” While this may be a true statement,

it tells me next to nothing about the actual piece of music you heard. Focus on the music in and of itself, and not your imaginative feelings about it.

•   Large block quotes. While these assignments will require a bit of research, I want the information in your own words. If you do want to include a short quotation, please give a citation.

Listening Responses should be uploaded to Populi by the beginning of class on the due date.

Concerts At least once during the term, you are required to attend a live performance of art music, and present either a program or ticket stub as proof of your attendance. There are many wonderful performing arts opportunities in the Middle Tennessee area, and many events are free or affordably priced for students. At the beginning of each term, I will post links to the concert schedules of several different performing arts organizations on Populi, and I will suggest events throughout the term. You must present your program or ticket stub by the last day of class for each term.

COURSE BIBLIOGRAPHY/FURTHER STUDY Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music, 7th ed. New York: W. W. Norton & Company. 2005. Confucius. The Analects. Translated by D.C. Lau. London: Penguin Books. 1979. Fuller, Sarah. The European Musical Heritage: 800-1750, Revised Edition. Boston: McGraw Hill. 2005. Godwin, Joscelyn. Harmonies of Heaven and Earth: Mysticism in Music from Antiquity to the Avant-Garde. Rochester, VT: Inner Traditions International. 1987. Heller–Roazen, Daniel. The Fifth Hammer: Pythagoras and the Disharmony of the World. New York: Zone Books. 2011. Johnson, Julian. Who Needs Classical Music?: Cultural Choice and Musical Value. Oxford: Oxford University Press. 2002. Kelly, Thomas Forrest. Capturing Music: the Story of Notation. New York: W. W. Norton & Company. 2015. Murray, Russell E., Susan Forscher Weiss, and Cynthia J. Cyrus. Music Education in the Middle Ages and the Renaissance. Bloomington, IN: Indiana University Press. 2010. Palisca, Claude, ed. The Norton Anthology of Western Music, 4th ed. New York: W. W. Norton & Company. 2001. Randel, Don Michael, ed. The Harvard Dictionary of Music. Cambridge, MA: Belknap Press of Harvard University Press. 1978. Scott, Cyril. Music and Its Secret Influence, 5th ed. Rochester, VT: Inner Traditions International. 2013. Taruskin, Richard and Piero Weiss. Music in the Western World: A History in Documents. Belmont, CA: Thomson Learning. 1984.

ATTACHMENT 1 Outline Form of Institutional Objectives for documentation purposes. Institutional Objectives (IO)

I.   Wisdom A.   Lordship of Christ: The fear of the Lord is the beginning of wisdom. To submit all of learning,

knowledge, institutional practice and identity to the Lordship of Jesus Christ and to model that to our students.

B.   Unity of Truth: Promote a vibrant, intellectual life that cherishes the liberal arts and which exhibits intellectual rigor and practical relevance.

C.   Faith and Practice: Honor God and our religious heritage by applying the subject of our teaching and integrating it into the lives of students.

II.   Discipleship A.   Lordship of Christ: To use the liberal arts as a means to recover the “discarded image” of past

eras in a manner that understands the connectedness of theology, learning, arts, and mission. B.   Unity of Truth: To disciple students in the academic process through means of discussion-based

learning, integration, and application that adapts to individual needs. C.   Faith and Practice: Mentor and walk with students to focus on their whole development—

educating the heart, soul, and mind, for the growing and maturing of their faith and understanding.

III.   Mission A.   Lordship of Christ: To respect, encourage, and draw out the specific and individual calling that

God has placed on each student’s life. B.   Unity of Truth: Recruit and retain diverse faculty, staff, and student body that reflect the diversity

of the Body of Christ while staying rooted to our Reformed tradition. C.   Faith and Practice: To develop within students and the collegiate community the desire to

missionally live out what they learn in the classroom in real-world application as fruitful members of a local Church.

Outline Form of Program Learning Outcomes for documentation purposes. Liberal Arts Program (LA)

I.   Wisdom A.   Lordship of Christ: Demonstrate knowledge of the decrees of God as executed in the work of

providence in the progression of ideas, literature, and works through major epochs and periods of history.

B.   Unity of Truth: Demonstrate knowledge of the decrees of God as executed in the works of creation as shown in the natural order expressed in the Quadrivium, art, music, and language.

C.   Faith and Practice: Articulate the complex relationship between faith, learning, and practice. II.   Discipleship

A.   Lordship of Christ: Demonstrate academic expertise and proficiency in the liberal arts and engage in the process of academic discovery for the glory of God.

B.   Unity of Truth: Recognize the connecting elements that unite all truth while respecting and exploring the diversity of application.

C.   Faith and Practice: Develop and enact a compelling personal and professional vision that creates an environment for growth in virtue.

III.   Mission A.   Lordship of Christ: Practically apply the Word of God to all areas of life and learning with

theological integrity by using Scripture as the ultimate authority in the education process. B.   Unity of Truth: Think critically and creatively, communicate clearly, and act with integrity. C.   Faith and Practice: Respond to the call to serve others. Demonstrate commitment to service and

civic engagement. (Loving God and loving your neighbor.)

Do not use a header on the first page.

Student name

Professor’s name

Course Title

September 26, 2014

Chicago Manual of Style: New College Franklin Short Assignment Format

New College Franklin students must follow Kate L. Turabian’s A Manual for Writers of

Research Papers, Theses, and Dissertations: Chicago Style for Students and Researchers, 8th Edition. This is a

required text and you should have your copy handy when writing papers. When any question of

research, citation, style, format, or submission arises, you should first consult this text. Turabian

notes that short assignments such as “class papers … have fewer elements,” which may be “set by

your instructor ….”1 This model sets those elements.

A short assignment is defined as fewer than five pages. The heading on the first page should

appear as above. The title and subtitle, if applicable, should appear centered and as above. Margins

should be one inch on all four sides. While Turabian says at least one inch,2 New College Franklin

students should use margins of exactly one inch. See the header on pages one and two of this

document for pagination instructions. Choose a single typeface for you paper. Turabian suggests

Times New Roman, Courier, or Helvetica.3 We encourage you to use Garamond, the official New

College Franklin font. Use a single typeface for the entirety of your paper.

1. Kate L. Turabian, A Manual for Writers of Research Papers, Theses, and Dissertations: Chicago

Style for Students and Researchers, 8th Edition, Revised by Wayne C. Booth, Gregory G. Colomb, Joseph M. Williams, and the University of Chicago Press Editorial Staff (Chicago: The University of Chicago Press, 2013), 372.

2. Ibid. 3. Ibid.

Include the page number in the top right corner on all pages after the first. 2

Double-space all text, with the following exceptions, which you should single-space: block

quotations, footnotes or endnotes, and bibliographies.4 While you should single-space each footnote

and endnote, insert a blank line between each note.5 You may begin each footnote with its reference

number in regular text or as a superscript.6 See the formatting below for the guidelines for each. In

section 25.2.2 regarding block quotations, Turabian says,

Present a prose quotation of five or more lines as a block quotation. Introduce the quotation in your own words in the text; see 7.5. If you introduce the quotation with a complete sentence, end the sentence with a colon. If you use only an attribution phrase such as notes, claims, argues, or according to along with the author’s name, end the phrase with a comma. … Single-space a block quotation, and leave a blank line before and after it. Do not add quotation marks at the beginning or end, but preserve any quotation marks in the original. Indent the entire quotation as far as you indent the first line of a paragraph.7

A sample bibliography is provided on the following page. For short papers at New College

Franklin, in addition to bibliographic footnotes, such as the ones provided in this model, you must

“list sources at the end of the paper in a bibliography. That list … includes every source you cited in a

note and sometimes others you consulted but did not cite. Each bibliography entry includes the

same information contained in a full note, but in a slightly different form ….”8 See the bibliography

on the next page for that form.

For all other elements of format and submission see Appendix: Paper Format and

Submission in Kate L. Turabian, A Manual for Writers of Research Papers, Theses, and Dissertations: Chicago

Style for Students and Researchers, 8th Edition.

4. Ibid., 373. 5. Ibid., 157. 6 Ibid., 156. 7 Ibid., 349. 8 Ibid., 145.

Include the page number in the top right corner on all pages after the first. 3

Bibliography

Kate L. Turabian, A Manual for Writers of Research Papers, Theses, and Dissertations: Chicago Style for Students and Researchers, 8th Edition. Revised by Wayne C. Booth, Gregory G. Colomb, Joseph M. Williams, and the University of Chicago Press Editorial Staff. Chicago, IL: The University of Chicago Press, 2013.

Include the page number in the top right corner on all pages after the first. 4