MUS 324 Syllabus

Music 324: History of Western Music I
Fall 2002
Instructor: Eric Hung

Syllabus

This syllabus is subject to change.

GENERAL INFORMATION
Class Meetings: MWF 10:10am-11:00am (SS 344)
Prerequisite: MUS 135
Credits: 3
Web CT: No Longer Available as of January 2003

INSTRUCTOR'S INFORMATION
Contact Information: ehung@selway.umt.edu, 406-243-6892
Office Hours: Mondays 9-10am, Wednesdays 2:10-4pm and by appointment

COURSE BASICS
This course is a survey of Western Music from antiquity to ca. 1800. During this semester, we will:
(1) explore the major musical styles in Western music from antiquity to ca. 1800;
(2) examine ideas raised by and associated with music from antiquity to ca. 1800; and
(3) work on critical reading and writing skills

REQUIRED TEXTS (Available at UM Bookstore)

MWW	Piero Weiss and Richard Taruskin, ed. The Development of Western Music. New York: Schirmer Books, 1984.	Bring to all classes.
DWMA	K. Marie Stolba, ed. The Development of Western Music: An Anthology, 3rd edition. Boston: McGraw-Hill, 1998. [Two Volumes]	Bring the appropriate volume to each class.
READER	Music 324 Course Reader	Bring to class whenever there is assigned reading from it.
DWMA-CD	K. Marie Stolba, ed. Compact Discs to Accompany The Development of Western Music: An Anthology. Boston: McGraw-Hill, 1998. [Two Volumes, 12 CDs Total]	This is an expensive item. If you can afford this item, please purchase it. Otherwise, there are three sets on reserve in the library.
RESERVE	A few listening assignments are only available on reserve.

REFERENCE TEXTS

Stolba	K. Marie Stolba, The Development of Western Music, 3rd edition. Boston: McGraw-Hill, 1998.	Available at UM Bookstore
Grout	Donald Jay Grout and Claude V. Palisca, A History of Western Music, 6th edition. New York: W.W. Norton, 2001.	Available on Reserve
Poultney	David Poultney, Studying Music History: Learning, Reasoning, and Writing About Music History and Literature, 2nd edition. Upper Saddle River, NJ: Prentice-Hall, 1995.	Available on Reserve
Wingall	Richard Wingell, Writing About Music: An Introductory Guide, 3rd Edition. Upper Saddle River, NJ: Prentice-Hall, 2001.	Available on Reserve

WEB CT

The class webpage is an important component of this course. I will post discussion questions and review sheets there. I will also use it to clarify assignments and to respond to your questions. Use it as often as you wish, but you are responsible for checking this webpage at the beginning of each week.

WORKLOAD
This is a three-credit course, so expect to spend about nine hours each week on this course. Three of these hours will be spent in class. The remaining six hours should be spent on the listening, reading and writing assignments, and on reviewing for exams.

GRADING

Two 4-page Papers	40%
Mid-Term Exam	20%
Final Exam	20%
Unannounced Listening Tests	10%
Class Participation	10%

MID-TERM AND FINAL EXAMS
Both exams will include three listening examples and three essay questions. For each listening example, your task is to identify the excerpt and to provide some context for the work. You should write about the unique qualities of the work in question (e.g., why it was written, unique compositional techniques, the work’s symbolism) and the work’s place in music history (e.g., how the work is representative of the period in which it was written, how the work is representative of a particular genre or school). For each essay question, your task is to answer the question as fully and succinctly as possible. Spend approximately 15 minutes on each listening example and each essay question. We will discuss the expectations for test answers further in the class sessions before the mid-term.
If you need to reschedule an exam because of a religious holiday or official school event (e.g., orchestra tour), you must make your request at least two weeks before the scheduled exam.
If you would like to reschedule an exam for personal reasons (e.g., you’re diving in the Olympics), you must talk to me at least two weeks before the scheduled exam. I reserve the right to refuse requests made on the basis of personal reasons.
If you miss an exam because of serious illness or severe family emergency, you may request a makeup exam only if you can document your illness or emergency. I reserve the right to refuse requests for makeup exams.

UNANNOUNCED LISTENING TESTS
To ensure that you do not fall behind in your listening assignments, I will give unannounced listening tests five or six times during the semester. For each test, I will play three excerpts. For each excerpt, I will ask you to identify the composer, the title, and/or the genre. I will give a practice listening test at the beginning of the third week of the semester. Makeup listening tests will only be given if you can document that your absence is “legal” (e.g., documented illness, religious holiday, death in the family).

READING AND LISTENING ASSIGNMENTS
All reading and listening assignments are to be completed before class on the date listed in the syllabus.

LATE PAPERS
If you hand in your paper late but before I return your classmates’ papers, you will lose a full letter grade. If you hand in your paper after I return your classmates’ papers, your maximum grade will be 50%.

DISABILITY
If you need accommodations because of a disability, please talk to me and the Disability Services for Students (DSS) Office as soon as possible. I need at least one week’s notice for test accommodations.

ACADEMIC HONESTY
All students in this class must abide by the University’s “Academic Conduct” code. This code is available at http://www.umt.edu/studentaffairs/sccAcademicConduct.htm. Failure to abide by this code will result in severe penalties.

INCOMPLETES
Incompletes will be granted only in extreme situations, such as serious illness and severe family emergency.

CLASS SCHEDULE

Date	Topic	Important	DWMA	MWW	Reader
4-Sep	Introduction; Music of Antiquity		1-3
6-Sep	Discussion: Music and Ethos			1-5	1
9-Sep	The Early Christian Era; Ecclesiastical Chant		4-5	6-11
11-Sep	The Roman Liturgy, The Effect of Notation		6-10	12-14
13-Sep	No Class: School of Fine Arts Retreat		11-15	16
16-Sep	Early Polyphony; Ars Antiqua	Yom Kippur	18-19, 21-22, 24-25	17
18-Sep	Medieval Songs		26, 35-38	15
20-Sep	Discussion: Troubadours and trouvères		27-28, 30, 32-34		2
23-Sep	Ars Nova	Assign: Machaut Paper	39-40, 42	18, 20
25-Sep	Discussion: Performing Machaut's Mass	Extra listening assignment on reserve	41		3
27-Sep	Late Medieval Music in Italy and England	Extra listening assignment on reserve	44-46, 48	19
30-Sep	Dunstable, Du Fay, and the Burgundian Composers	Due: 1st Draft of Machaut Paper	49, 51, 53-54	21
2-Oct	Discussion: Du Fay's Nuper rosarum flores		52	22	4
4-Oct	Ockeghem, Obrecht and Josquin	Return: 1st Draft of Machaut Paper	55, 57-58	26
7-Oct	Josquin, Contemporaries and the Next Generation	Extra listening assignment on reserve	59, 61-62	23, 30-31	(5)
9-Oct	16th-century Italian Songs	Due: Final Draft of Machaut Paper	63-65, 67	24-25, 38-39
11-Oct	Discussion: Sex in the Italian Madrigal	Listening assignment on reserve		32, 40	7
14-Oct	French, English and Spanish Songs	Columbus Day Observed	68, 70-73, 75
16-Oct	Reformation and Counterreformation I	Extra listening assignment on reserve	74a, 74b, 76	27-29
18-Oct	Reformation and Counterreformation II		77-80	33-37
21-Oct	Renaissance Instrumental Music I		82-83, 85-86	35, 41-42
23-Oct	Renaissance Instrumental Music II		81, 87-89
25-Oct	Review
28-Oct	Discussion: Palestrina and the Marketplace				6
30-Oct	MID-TERM EXAM (Listening Portion)
1-Nov	MID-TERM EXAM (Essay Questions Portion)
4-Nov	The Second Practice and the Beginnings of Opera	Assign: Poppea Paper	90-93	43-47
6-Nov	The Spread of Opera		94-96	48, 54
8-Nov	Discussion: The Morality of L'incoronazione di Poppea	Listening assignment on reserve			8
13-Nov	17th-century Vocal Music	Due: 1st Draft of Poppea Paper	97-99	49-52
15-Nov	17th-century Keyboard Music		100, 103, 104b, 106b, 107a, 107c	53, 55, 58, 66
18-Nov	French Lute and Viol Music, Ensemble Music by Corelli and Vivaldi	Extra listening assignment on reserve	108-110	56-57, 60, 65
20-Nov	Opera Seria ,Rameau's Operas and Theory	Return: 1st Draft of Poppea Paper	112-113, 118	59, 61-63, 68	(9)
22-Nov	Bach's Vocal Music, Handel's Oratorios	Extra listening assignment on reserve	114-115	69-72
25-Nov	Discussion: Bach's 6^th Bradenburg Concerto	Extra listening assignment on reserve	111, 116-117		10
2-Dec	Comic Operas and Operatic Reform	Due: Final Draft of Poppea Paper	124-125, 128-129	73-74, 78-79, 82
4-Dec	The Development of Sonata Forms		120, 122, 126, 130	64, 67, 75, 76
6-Dec	Discussion: C.P.E. Bach	Extra listening assignment on reserve	121	77, 84	11
9-Dec	Towards the Free Market: Haydn and Mozart		131, 134	80-81, 83, 85-88
11-Dec	Discussion: The Mozart-Da Ponte Operas	Extra listening assignment on reserve	132, 133	90	12
13-Dec	Discussion: Beethoven Hero		142	92	13

16-Dec	FINAL EXAM (8am-10am)

Course Reader Contents:

Edward A. Lippman, “The Sources and Development of the Ethical View of Music in Ancient Greece ,” The Musical Quarterly 49/2 (April 1963), pp. 188-209.

Christopher Page, “Listening to the trouvẻres,” Early Music 25/4 (Nov. 1997), pp. 638-659.

Andrew Parrott, “Performing Machaut’s Mass on Record,” Early Music 5/4 (Oct. 1977), pp. 492-495.

Craig Wright, “Dufay’s Nuper rosarum flores, King Solomon’s Temple, and the Veneration of the Virgin,” Journal of the American Musicological Society 47/3 (Fall 1994), pp. 395-441.

Lora Matthews and Paul Merkley, “Iudochus de Picardia and Jossequin Lebloitte dit Desprez: The Names of the Singer(s),” Journal of Musicology 16/2 (Spring 1998), pp. 200-226.

Noel O’Regan, “Palestrina, a Musician and Composer in the Market-place,” Early Music 22/4, pp. 551-572.