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MUSIC 324: History of Western Music I
Fall 2003
Instructor: Eric Hung
Professional Assistant: Dr. Dan Comstock
Teaching Assistant: Eric Alman
 
COURSE SYLLABUS
 
RECENT UPDATES: Unit Three Review Sheet
QUICK LINK: e-reserve.
 
This syllabus is subject to change.
 
General Information
Course Outline
Reserve List
Reader Contents
 
 
 
THE BASICS
Meeting Time/Place:
Tuesdays and Thursdays, 11:10am - 12:30pm (FA 302)
Wednesdays, 10:10am - 11:00am (MUS 218)
Credits: 3
  
INSTRUCTOR INFORMATION
Course E-mail: mus324@mandi-eric.com
Eric Hung's Office Phone: 406-243-6892
Eric Hung's Office Hours: Mondays 1:00-2:00pm, Wednesdays 1:30-3:00pm, or by appointment (MUS 209)
Eric Alman's Office Hours: Fridays 10:10-11:00am (MUS 205)
 
DESCRIPTION
This course is a survey of Western Music from Ancient Greece to ca. 1750.  We will:
1. explore the major musical styles in Western music from this period;
2. examine ideas raised by and associated with music from this period; and
3. work on critical reading and writing skills.
 
COURSE WEBPAGE (http://eric.mandi-eric.com/fa2003/mus32401home.htm)
The course webpage is an important component of this course.  I will post detailed schedules, 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 every Friday.

 WORKLOAD
The national standard for academic university courses is this:  to earn an average grade (C), the average student needs to spend three hours each week for each hour of credit.  Since this is a three-credit course, the average student would need to spend nine hours a week (four in class and five outside class) on this course to earn a C.  If you are an average student and want to earn an A or B, you might very well need to work more than nine hours a week.  If you are spending nine or more hours a week on this course, but are not earning appropriate grades, please talk to the instructor or the teaching assistant.  We can devise study techniques that might help you achieve better results.

 REQUIRED TEXTS
SRMH
Leo Treitler, Source Readings in Music History (Revised Edition)
Bring to all classes.
READER
Music 324 Course Reader
Required Purchase;
Bring to all classes.
HANDOUT Readings in the public domain will be handed out in class. Bring to appropriate classes.
RESERVE/
E-RESERVE
Listening assignments and a few reading assignment are available on reserve and e-reserve.
 

ASSIGNMENTS/GRADING
You can earn a maximum of 500 points on this course. 
Letter Equivalents:
A = 451-500 points
B = 401-450 points
C = 351-400 points
D = 301-350 points
F = 0-300 points
3 Discussion Papers (600-800 words each; 60 points each) 180 points
4 Unit Tests (40 points each) 160 points
Singing 40 points
Class Participation 40 points
Final Exam 80 points
 
READING AND LISTENING ASSIGNMENTS
All reading and listening assignments are to be completed before class on the date listed in the syllabus.

PAPER, TEST AND EXAM INFORMATION
You have to write one discussion paper during each of the first three units.  At the beginning of each of these units, I will circulate a sheet with possible paper topics and their respective due dates.  Sign up for one topic for each unit.  After you sign up, you are not allowed to change topics unless there is a medical or family emergency.  Since discussion papers are designed to stimulate class discussion, no late papers will be accepted. 
Unit tests contain four sections:  listening identification, short-answer questions, quote analysis, and short essay.  They should take no more than 40 minutes to complete.  Unit tests are closed-book.
The final exam contains six questions, of which you must answer five.  All the questions involve analyses of "unknown" examples of Western art music from the medieval to the classical periods.  The final is open-book.
 
SINGING IN THE COURSE
Active participation is an extremely important component of the study of music.  Since most of you have little experience with early music, there will be at least ten singing sessions during the semester.  Your singing grade will be based on your attendance and your level of participation in these sessions, and on two "singing presentations."  Details of the latter are forthcoming.

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.

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COURSE OUTLINE
Unit 1: Music in Ancient Greece and Medieval Europe (Sept. 2 - 30)
Unit 2: Music in Renaissance / Early Modern Europe (Sept. 30 - Oct. 28)
Unit 3: Music in 17th- and Early-18th-century Europe (Oct. 28 - Dec. 11)
Final as scheduled by the Registrar.
Detailed Schedules will be available soon.
 
 
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RESERVE LIST
(1) General Reference:
Stolba
K. Marie Stolba, The Development of Western Music, 3rd edition.  Boston: McGraw-Hill, 1998.
Grout
Donald Jay Grout and Claude V. Palisca, A History of Western Music, 6th edition.  New York: W.W. Norton, 2001.
Poultney
David Poultney, Studying Music History: Learning, Reasoning, and Writing About Music History and Literature, 2nd edition.  Upper Saddle River, NJ: Prentice-Hall, 1995.
Wingall
Richard Wingell, Writing About Music: An Introductory Guide, 3rd Edition.  Upper Saddle River, NJ: Prentice-Hall, 2001.
 
Additional Items TBA

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READER CONTENTS
Medieval
  1. Sherman, Bernard D.  “A Different Sense of Time: Marcel Pérès on Plainchant” and “Postscript: Medieval Music, Plainchant, and ‘Otherness,’” in Inside Early Music: Conversations with Performers by Bernard D. Sherman.  Oxford: Oxford University Press, 1997, pp. 25-42, 88-95.
  2. Gaunt, Simon.  “Poetry of Exclusion: A Feminist Reading of Some Troubadour Lyrics,” Modern Language Review 85 (1990), pp. 310-329.
  3. Page, Christopher.  “The Masters of Organum: The Study and Performance of Parisian Polyphony During the Early Thirteenth Century,” in The Owl and the Nightingale: Musical Life and Ideas in France 1100-1300 by Christopher Page.  Berkeley: University of California Press, 1989, pp. 134-154, 237-243.
  4. Fast, Susan.  “God, Desire and Musical Narrative in the Isorhythmic Motet,” Canadian University Music Review 18 (1998), pp. 19-37.
Renaissance
  1. Kirkman, Andrew.  “The Invention of the Cyclic Mass,” Journal of the American Musicological Society 54 (Spring 2001), pp. 1-47.
  2. Wegman, Rob C.  “’Musical Understanding’ in the 15th Century,” Early Music 30 (February 2002), pp. 46-66.
  3. Wegman, Rob C.  “Who was Josquin?” in The Josquin Companion, edited by Richard Sherr.  Oxford: Oxford University Press, 2001, pp. 21-50.
  4. Laura Macy, "Speaking of Sex: Metaphor and Performance in the Italian Madrigal," The Journal of Musicology, 14 (1996): 1-34.
Baroque
  1. Lindenberger, Herbert.  “Monteverdi, Caravaggio, Donne: Modernity and Early Baroque,” in Opera in History: From Monteverdi to Cage by Herbert Lindenberger.  Stanford: Stanford University Press, 1998, pp. 11-50.
  2. Manze, Andrew.  “Forging Links with the Past,” Liner Notes in Corelli: Violin Sonatas, Op. 5.  Harmonia Mundi USA HMU 907298.99, 2003, pp. 5-11. 
  3. Harris, Ellen T.  “Twentieth-Century Farinelli,” Musical Quarterly 81 (1997), pp. 180-189.
  4. Marissen, Michael.  “Lutheranism, Anti-Judaism, and Bach’s St. John Passion,” in Luthernaism, Anti-Judaism, and Bach’s St. John Passion by Michael Marissen.  Oxford: Oxford University Press, 1998, pp. 3-36.
 

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Last updated: December 6, 2003