MUSIC APPRECIATION

MUHL 1308-001

Dr. Eric Fried

Spring 2002

MUSIC APPRECIATION

MUHL 1308

DR. ERIC FRIED

TABLE OF CONTENTS

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

Required MaterialsObjectivesDaily Reading AssignmentsOutside ListeningCourse GradesExamsConcert Attendance--Extra CreditAttendance

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

I. Music of the Middle Ages, Renaissance, and Baroque, periods II. The Classical Period

III. The Romantic Period

III. The 20th Century and Popular Music Traditions

APPENDICES

Franz Schubert: Erlkönig.........................................................................................23

Puccini: Gianni Schicci; Synopsis.........................................................................31

Alban Berg: Wozzeck, Act III...................................................................................32

CONCERT ATTENDANCE REPORT.............................................................37

MUSIC APPRECIATION MUHL 1308Fall 2001

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

appointment

REQUIRED MATERIALS:

Text: Roger Kamien: Music, An Appreciation; Third Brief EditionAvailable in local bookstores

Syllabus: Must be purchased at The Copy Outlet (2402 Broadway at Ave. 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 Middle Ages, Renaissance, Baroque, Classical, Romantic and Twentieth Century periods, and to be able to identify each style period, and the time span of each.

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

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

REQUIREMENTS AND GRADING:

I. Assignments:

Reading Assignments: Daily reading assignments from the Kamien text as directed on the unit outlines.

Outside Listening: Possible re-listening of designated musical works as needed for definite recognition. The CDs for listening review are located in the School of Music Listening Library, room M250. *See helpful hints for listening review located at the end of these course policies.

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. Please plan to arrive at least five minutes early!

B. Concert attendance is 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 1308-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. Music of the Middle Ages, Renaissance, and Baroque Periods II. The Classical Period III. The Romantic Period IV. The Twentieth Century (including 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.

CAUTION!! MISSING ONE EXAM COULD LEAD TO FAILURE OF THE COURSE OR A POOR COURSE GRADE--DO NOT MISS ANY EXAMS!

Any student who, because of a disabling condition, may require some specialarrangements in order to meet course requirements should contact the instructor as soon as possible to make necessary accomodations. Students should present appropriate verification from Disabled Students Services, Dean of Students Office. No requirement exists that accomodations 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 Brief Set has 3 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. Ask for “Kamien--Brief Set” on reserve for Fried. **

If the notation “(Basic Set)” appears under the number on the syllabus, this tells you that this is to be found in the Basic Set of Eight Disks. Ask for “Kamien--Basic Set” on reserve for Fried. 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.

** You may find older or newer editions of the CDs in existence. If you are in possession of a a different edition, just look up the piece by the name of the composition or the composer, then find the corresponding track number.

MUSIC APPRECIATION MUHL 1308-001Dr. Eric Fried

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

The Middle Ages 450-1450Composers: Machaut (others mostly anonymous)

Reading: Text, pp. 62-75

Listening:(Found on Brief Set of Compact Disks unless specified)

CD 1-43 Gregorian Chant: Alleluia: Vidimus Stellum; circa 450-700Category: Gregorian ChantForm ABATexture: MonophonicFact: Music of the Roman Catholic Liturgy

D1-47 Guillaume Machaut, Notre Dame Mass: Agnus Dei, mid 14th c.,

Category: Mass, (14th c. Polyphony)Form ABATexture: PolyphonicFact: 1st polyphonic treatment of the Mass Ordinary

CD1-67 Troubadour Music: Estampie ; 13th c.(in Basic Set)Category: Medieval Secular Dance

Form: Estampie (4-7 sections each repeated--AA, BB, CC,DD, etc.

Texture: Monophonic with improvised drone accompaniment

Fact: One of the earliest surviving pieces of instrumental music

Video Music of the Middle Ages (20 minutes) AV/ML172/D57

Week 2

The Renaissance 1450-1600

Composers: Josquin Des Prez, Palestrina, Weelkes, Morley

Reading: pp. 92-142

Listening:

CD1-50 Josquin Deprez (Flemish), Ave Maria... Virgo Serena; 1502,

Category: Motet (4-voice) Form: Free imitation in large ABA

Texture: PolyphonicFact: Delicate and serene music/smooth flowing

CDI-76 Giovanni Palestrina: Pope Marcellus Mass: Kyrie ; (1562) (Basic Set)

Category: RenaissanceMassForm : ABATexture: 6 Voice PolyphonyFact: a cappella singing

CD1-79 Thomas Weelkes (English): As Vesta Was Descending ;1601

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

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

Category: Ballett aa, bb, “Fa la” refrainnot in text Form: Strophic

Texture: 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

The Baroque Period (1600-1750)

The Baroque Concerto Grosso; Vivaldi, J. S. BachThe Baroque SuiteThe Chorale and Church CantataThe Oratorio--Handel

Composers: Vivaldi, Bach, Handel

Reading: pp. 92-142

Listening:

CD1-54 J. S. Bach, Brandenburg Concerto No. 5 in D Major; 1721, 1st movement

Category: Concerto GrossoForm: RitornelloTexture: PolyphonicFact: Unique use of harpsichord

CD1-59 J. S. Bach: Organ Fugue in G minor (Little Fugue);1709

Category: FugueForm: 4-voice fugueTexture: PolyphonicFact: Subject, Countersubject, Episodes

Video Bach, Little Fugue performed by The Canadian Brass (Borge)

Week 3

CD1-63 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

CD2-33 J. S. Bach, Suite No. 3 in D Major; 1729-1731(Basic Set) No. 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 (Basic Set) 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

CD1-72 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

CD1-73 G. F. Handel: Hallelujah Chorus from The Messiah; 1741

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

Week 4

Review for Exam I over Music of the Middle Ages, Renaissance andBaroque Periods

Exam I

Week 5

The Classical Period 1750-1820

Composers: Haydn, Mozart, Beethoven

Reading: pp. 146-202

Listening:

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

CD2-1W. A. Mozart: Symphony No. 40 in G minor, K. 550 (1788), 1st movement; (See full score in syllabus)

Category: SymphonyForm: SonataTexture: Homophonic/PolyphonicFact: 3 note motive prevails

CD2-10 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”

CD2-16 W. A. Mozart: Eine Kleine Nachtmusik (A Little Night Music) ,K. 525, 3rd movement (minuet: allegretto)

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

CD2-27 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)

CD2-23 W. A. Mozart: Don Giovanni; Act I , Opening Scene 1787,

Category: OperaTexture: Mostly HomophonicFact: Don Giovanni attempts to rape Donna Anna

CD2-19 Ludwig van Beethoven: String Quartet in C minor, Op. 18, No. 4; 4th movement

Category: String QuartetForm: Sonata Rondo ABACABATexture: HomophonicFact: A lively gypsy dance

CD2-34 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. 5VCRTHOMEVISION

8339037

Week 6

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

Exam II over Unit II: Music of the Classical Period

Week 7

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. 206-279

Listening:

CD2-42 Franz Schubert: Erlkönig (The Erlking) ;1815See score in syllabus

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

CD2-48 Frédéric Chopin: Nocturne in E flat Major, Op. 9, No. 2; 1830

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

CD2-51 Frédéric Chopin: Etude in C minor Op. 10, No. 12 (Revolutionary Etude); 1831

Category: Piano MusicForm: Free

Texture: 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,(Basic Set) 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)

Week 8

Reading: pp. 240-252

Listening:

Romantic Symphonic Music

Program Music pp. 240-252

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 (Basic Set)CD2-52 (Brief Set)

CD5-34 5th movement, Dream of a Witches Sabbath (Basic Set)

Category: Program SymphonyForm: FreeTexture: Homophonic/PolyphonicFact: Ideé Fixe

CD5-44 Peter Ilich Tchaikovsky: Romeo and Juliet, Overture-Fantasy; (Basic Set) 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

CD2-56 Bedrich Smetana: The Moldau from Ma Vlast (My Country); 1874,

Category: Orchestral Program MusicForm: Tone Poem

Texture: 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 9

Romantic Symphonies--Brahms

Reading: pp. 256-262Listening:

CD3-1Johannes 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. 262-279

CD6-20 Giuseppe Verdi: Rigoletto, Act III, La donna è mobile (The Woman (Basic Set) is Fickle) and Quartet; 1851, p. 231

Category: OperaTexture: Homophonic (Melody usually in voice,

accompanied by the orchestraFact: Carefree and tuneful aria

CD3-7 Richard Wagner: Die Walküre, Act I (love scene, conclusion)

Category: Music DramaForm: OperaTexture: Homophonic/PolyphonicFact: From the “The Ring”

Video Giacomo Puccini: Gianni Schicchi (62 minutes)

Week 10

Review for Exam III on Music of the Romantic Period

Exam III over the Romantic Period

Week 11

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, Copland

Musical Styles since 1950

Reading: pp. 281-380

Introduction to the Twentieth Century

Impressionism pp. 297-303

Listening:

Video What is Impressionism? Leonard BernsteinML3928V7

CD3-15 Claude Debussy: The Afternoon of a Faun; 1894

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

creature

Neoclassicism pp. 304-312

CD2-21 Igor Stravinsky: Opening scene fromPetrushka; 1911, p. (not in EXTRA text)(Supp. toBasic Set) Category: Ballet

Fact: Main characters of ballet are three puppets who are brought to life

CD7-23 Igor Stravinsky: Sacrificial Dance fromThe Rite of Spring;(Basic Set) 1913

Category: BalletForm: Mostly FreeFact: Primitivism

Expressionism pp. 312-329

Atonality and the 12 tone system

CD3-30 Arnold Schoenberg: A Survivor from Warsaw, op. 46, (1947)*

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

* Translation of 2 German recitations:

“Attention! Stand still! how about it, or should I help you along with the butt of my rifle? Oh well, if you really want to have it.”

“Faster! Once more start from the beginning! In a minute I want to know how many I am going to send off to the gas chamber! Count off!”

Week 12

CD7-32 Alban Berg: Wozzeck, Act III; 1917(Basic Set)

(See libretto in back of syllabus)

Category: OperaForm: Theme and VariationFact: Atonal expressionistic music

VIDEO Berg: Wozzeck (Excerpt)

CD3-33 Béla Bartók: Concerto for Orchestra; Second Movement, 1943,

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

CD3-40 Aaron Copland: Simple Gifts from Appalachian Spring; 1943

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

Musical Styles Since 1950 pp. 343-358

CD8-29 Edgard Varèse: Poème Électronique (excerpt),1958(Basic Set)

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

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

(not in text) Crumb, pp. 351-352

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

CD3-48 Steve Reich: Sextet, third movement; 1985, (not in text)

Category: Minimalist styleTexture: Scored for 2 pianos, 2 vibraphones, crotales, 2

bass drumsFact: Use of “phasing”--several melodic patterns introduced

simultaneously gradually go “in and out of phase with each other.”

Week 13

Popular Music Traditions

Jazz Styles Ragtime

BluesNew Orleans StyleSwingBebopJazz Styles since 1950

The American Musical

Reading: pp. 358-380

Listening:

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

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

is syncopated

D8-46 Bessie Smith: Lost Your Head Blues; (1926)(Basic Set)

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) (Basic Set)

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

CD1-5Billy Strayhorn: Take the A Train; (1941)

Category: SwingForm: Introduction--three choruses of AABA--codaFact: Performed and made famous by Duke Ellington and

his “Famous Orchestra”

CD8-54 Charlie Parker: Bloomdido; (1950), (not in text) (Basic Set)

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

CD8-55 Miles Davis: Miles Runs the Voodoo Down , excerpt, (1969),(Basic Set)

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.

The American Musical

Reading: pp. 371-375

Listening:

CD3-58 Richard Rogers and Oscar Hammerstein: Title Song from Oklahoma!

CD8-57 Leonard Bernstein: Tonight Ensemble from West Side Story(Basic Set)

Rock Styles

Rock in American Society

Elvis PresleyThe Beatles

Reading: pp. 375-380

Listening: Examples of representative Rock Music TBA

Week 14

Review for Exam IV on Music of the Twentieth Century and Popular Music Traditions

Exam IV

Week 15 (Monday, April 29th 2002 is last day of classes)

Review for final comprehensive exam

Final Exam: Official time is Tuesday, May 7 2002 from 10:30 a.m. to 1:00 p.m.