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Listening Labs
Discussion Questions
Your 1-Page Responses
The 8-Page Paper
Review Sheets
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MUSIC 325:
History of Western Music II
Instructor: Eric Hung
Writing
Tutor: Kate Wilkinson
COURSE
SYLLABUS
This syllabus is subject to change.
General Information
Course Schedule
Reserve List
Reader Contents
THE BASICS
Meeting Time/Place:
MWF 10:10am – 11:00am (SS 344) and
F 8:10am – 9:00am (FA 302)
Prerequisite: MUS 324
Credits: 3
Course Webpage:
http://eric.mandi-eric.com/sp2003/mus32501home.htm
INSTRUCTOR INFORMATION
Office Location: Music 209
Contact Information: eric.hung@mso.umt.edu,
406-243-6892
Office Hours: Mondays 2:10-3:30pm, Tuesdays 3:00-4:00pm, or by appointment
DESCRIPTION
This course is a survey of Western Music
from ca. 1800 to the present. We will:
1. explore the major musical styles in
Western music from ca. 1800 to the present;
2. examine ideas raised by and associated
with music from ca. 1800 to the present; and
3. work on critical reading and writing
skills.
COURSE WEBPAGE
The course 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 every Friday.
WORKLOAD
This is a three-credit course, so expect to spend about nine hours
each week on this course. Four of these hours will be spent in class.
The remaining five hours should be spent on the listening, reading and
writing assignments, and on reviewing for exams.
TEXTS
|
MWW
|
Piero
Weiss and Richard Taruskin, ed. The Development of Western
Music. New York: Schirmer Books,
1984.
|
Used in
MUS 324;
Bring to
all classes.
|
|
DWMA
|
K. Marie
Stolba, ed. The Development of Western Music: An Anthology,
3rd edition. Boston: McGraw-Hill, 1998.
|
Used in
MUS 324;
Bring
volume 2 to all classes.
|
|
READER
|
Music 325
Course Reader
|
Required
Purchase;
Bring to
all classes.
|
|
TOLSTOY |
Leo Tolstoy, Kreutzer Sonata and Other
Short Stories |
Required Purchase for all non-Vienna
students |
|
HANDOUT |
Readings in the public domain will be handed
out in class. |
|
|
RESERVE/
E-RESERVE
|
Listening
assignments and a few reading assignment are available on reserve and
e-reserve.
|
|
ASSIGNMENTS/GRADING
For Non-Vienna
Students:
|
Weekly 1-Page Responses
to Listening Labs (Due in class each Monday) |
20% |
|
Mid-Term Exam |
15% |
|
Final Exam |
15% |
|
8-Page Paper (2 Drafts) |
30% |
|
Class Participation |
20% |
For Vienna Students:
| Weekly 1-Page Responses to Listening Labs
(Due in class each Monday) |
10% |
| Mid-Term Exam |
15% |
| 8-Page Paper (2 Drafts) |
30% |
| Class Participation |
10% |
| Work Assigned in Vienna |
35% |
MID-TERM AND FINAL EXAMS
Both exams will be in two parts. The first part (worth 50% of the exam
grade) focuses on a “mystery” piece that I will hand out a week before the
exam. To ensure individual work, each student will get a different piece
(selected by picking a number out of a hat). During the week before the
exam, your job is to analyze your “mystery” work and to do whatever
research that you feel is necessary. In the exam, I will ask you to
discuss your “mystery” piece in as much detail as possible. You will be
allowed to use the score of your “mystery” piece and a page of notes
during the exam. Be sure to identify the excerpt and to discuss some
basic elements of the work (e.g., form, genre, style, the work’s place in
music history). You should also discuss the unique qualities of the work
in question (e.g., why it was written, unique compositional techniques,
the work’s symbolism) and any particularly interesting research on this
work. The goal of this part of the exam is to get you to use the
analytical, critical reading and research skills you worked on in MUS 324
and MUS 325 to teach yourself.
The second part of the exam (worth 50% of
the exam grade) contains three essay questions that are based on the
reading and listening assignments. You will be allowed to use a page of
notes during the exam. Your task is to answer each essay question as
fully and succinctly as possible. Spend approximately 15 minutes on each
essay question. The goal of this part of the exam is to ensure that you
have a good understanding of the reading and listening assignments. 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.
READING AND LISTENING
ASSIGNMENTS
All reading and listening assignments are to be completed before class
on the date listed in the syllabus.
WEEKLY 1-PAGE RESPONSES
In around 250 words, discuss two works
that struck you the most during each week’s listening labs. The goal of
this assignment is to get you to write about the experience of music.
These responses are due in class every Monday. I will post some of your
responses on the course webpage each week. I encourage you to read
your classmates’ responses so that you can see the different ways in which
we respond to music.
8-PAGE PAPER
This assignment can be completed during
the first half of the semester or the second half of the semester. All
Vienna students must complete this assignment in the first half of the
semester.
OPTION 1: Paper on the Love Scene of
Berlioz’s Roméo et Juliette
1st Draft Due: February 12
Final Draft Due: Personally arranged with
Writing Tutor
OPTION 2: Paper on Tolstoy’s “Kreutzer
Sonata” & the Power of Music
1st Draft Due: April 23
Final Draft Due: Personally arranged with
Writing Tutor
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.
Return to Top
COURSE
SCHEDULE
19th-Century Topic 1: Late Beethoven and its Legacy
19th-Century Topic 2: Literature and Music in the 19th Century
| Friday, January 31, 8:10am |
Listening Lab 1B (1793-1815) |
| Friday, January 31, 10:10am |
Lieder: Schubert, the Schumanns, Wolf
|
| Monday, February 3, 10:10am |
Quasi-Programmatic Music
| Hand In |
Response to Listening Lab 1 |
| Listen |
R. Schumann, Symphony No. 2 |
| Read |
READER: Anthony Newcomb, "Once More Between Absolute and Program
Music" |
|
| Wednesday, February 5, 10:10am |
Instrumental Settings of Literature
|
|
Friday,
February 7,
1:00-2:00pm
|
Note Special Time: Music Day
Listening Lab
2A (1815-1830)
|
19th-Century Topic 3: The Virtuoso, The Public Concert, and Listening
Habits
| Monday,
February 10, 10:10am |
Short Listening Lab; Italian Opera
|
| Wednesday, February 12, 10:10 |
Listening Lab 3A (1830-45)
| Due |
8-Page Paper Option 1 (First
Draft) |
|
| Friday,
February 14, 8:10am |
Listening Lab
3B (1830-45)
|
| Friday, February 14, 10:10am |
Paganini,
Liszt, and Chopin
| Listen |
Liszt, Dante Sonata |
| Read |
MWW 98: "Paganini,
the Spectacular Virtuoso"
MWW 99: "The
Virtuoso Conductor"
MWW 104:
"Liszt, the All-Conquering Pianist"
MWW 105: "From
the Writings of Liszt"
MWW 106:
"Glimpses of Chopin Composing, Playing the Piano"
|
|
| Monday, February 17 |
No Class: President's Day |
| Wednesday, February 19, 10:10am |
Short Listening
Lab 4A (1845-60) and German Music Criticism
| Hand In |
Response to Listening Lab 3 |
| Listen |
DWMA 154: R. Schumann,
Carnaval, Op. 9
|
| Read |
READER: Andrew Dell'Antonio, "Florestan
and Butt-head: A Glimpse into Postmodern Music Criticism"
MWW 103: "From the Writings of
Schumann"
|
|
19th-Century Topic 4: The Music of the Future: Wagner and
Brahms
19th-Century
Topic 5: Nationalism and Exoticism
|
Friday, February 28, 8:10am
|
Listening Lab 5B (1860-75)
|
|
Friday, February 28, 10:10am
|
The Reception of Verdi
|
|
Monday, March 3, 10:10am
|
Listening Lab 6A (1875-90)
| Hand In |
Response to Listening Lab 5 |
|
|
Wednesday, March 5, 10:10am
|
Nationalism and Exoticism I
|
|
Friday, March 7, 8:10am
|
Listening Lab 6B (1875-90)
|
|
Friday, March 7, 10:10am
|
Nationalism and Exoticism II
|
|
Monday, March 10, 10:10am
|
Listening Lab 7A (1890-1905)
| Hand In |
Response to Listening Lab 6 |
|
Hand Out
|
Mystery Pieces for Mid-Term
|
|
20th-Century
Topic 1: The Search for the New, 1890-1960
|
Wednesday, March 12, 10:10am
|
Debussy: The Future and the Past
| Listen |
Debussy, La mer |
|
Read
|
READER: Brian Hart, "The Symphony
in Debussy's World"
MWW 122: "Debussy and Musical
Impressionism"
|
|
|
Friday, March 14, 8:10am
|
Listening Lab 7B (1890-1905) and
Review
|
|
Friday, March 14, 10:10am
|
Schoenberg: The Future
and the Past
|
|
Monday, March 17, 10:10am
|
Listening Lab 8 (1905-1915) and
Review
| Hand In |
Response to Listening Lab 7 |
|
|
Wednesday, March 19, 10:10am
|
American Experimentalism: The Case
of Ives
| Listen |
Ives, Symphony No. 2 |
|
Read
|
READER: Kara Gardner, "Charles
Ives, Masculinity, and Reactionary Modernism"
MWW 124: "From the Writings of
Charles Ives"
|
|
|
Friday, March 21, 8:10am
|
MID-TERM (Mystery Piece Portion)
|
|
Friday, March 21, 10:10am
|
MID-TERM (Essay Portion)
|
March 24 - 28:
Spring Break
20th-Century
Topic 1: The Search for the New, 1890-1960 (Con'd)
|
Monday, March 31, 10:10am
|
Listening Lab 9A (1915-30)
|
|
Wednesday, April 2, 10:10am
|
Total Serialism and Indeterminacy
|
|
Friday,
April 4, 8:10am
|
Listening Lab 9B (1915-30)
|
|
Friday,
April 4, 10:10am
|
Free Jazz
|
20th-Century
Topic 2: Historicism and its Consequences
|
Monday, April 7, 10:10am
|
Listening Lab 10A (1930-45)
| Hand In |
Response to Listening Labs 8 and 9 |
|
|
Wednesday, April 9, 10:10am
|
Stravinsky and History
|
Listen
|
Stravinsky,
The Rite of Spring
|
|
Read
|
READER:
Richard Taruskin, "A Myth of the Twentieth Century: The
Rite of Spring, the Tradition of
the New, and 'the Music Itself'"
|
|
|
Friday,
April 11, 8:10am
|
Listening Lab 10B (1930-45)
|
|
Friday,
April 11, 10:10am
|
Museum Pieces
|
Read
|
READER: J.
Peter Burkholder, "Museum Pieces: The Historicist Mainstream in
Music of the Last Hundred Years"
|
|
|
Monday, April 14, 10:10am
|
Listening Lab Special Session:
"HIP Recordings"
| Hand In |
Response to Listening Lab 10 |
| Assign |
8-Page Paper Option 2
|
|
|
Wednesday, April 16, 10:10am
|
The Performance Practice Movement
|
Read
|
E-Reserve:
John Butt, "A Reactionary Wolf in Countercultural Sheep's
Clothing"
|
|
20th-Century
Topic 3: Politics and Music; Responsibility of the Artist
|
Friday,
April 18, 8:10am
|
Listening Lab 11A (1945-60)
|
|
Friday,
April 18, 10:10am
|
Music and Erotics
|
|
Monday, April 21, 10:10am
|
Listening Lab 11B (1945-60)
| Hand In |
Response to "HIP
Recordings" and Listening Lab 11A |
|
|
Wednesday, April 23, 10:10am
|
Music, Communism and the Cold War
|
|
Friday,
April 25, 8:10am
|
Listening Lab 12A (1960-75)
|
|
Friday,
April 25, 10:10am
|
The Responsibilities of the Artist
|
20th-Century
Topic 4: Music in the Age of Postmodernism
|
Monday, April 28, 10:10am
|
What is Postmodernism?
| Hand In |
Response to Listening
Labs 11B and 12A |
| Listen |
Berio, Sinfonia
(3rd Movt.) |
| Read |
READER: Robert Fink,
"Elvis Everywhere: Musicology and Popular Music Studies at the
Twilight of the Canon" |
| Hand Out |
Mystery Pieces for the Final |
|
|
Wednesday, April 30, 10:10am
|
Minimalism: Process, Pomo, Ecstasy
|
|
Friday,
May 2,
8:10am
|
Possible Conflict: Music Day
Listening Lab 12B (1960-75)
|
|
Friday,
May 2,
10:10am
|
Possible Conflict: Music Day
Listening Lab 13A (1975-90)
|
|
Monday,
May 5,
10:10am
|
Sampling and Cross-Cultural Musics
| Hand In |
Response to Listening Labs 12B
and 13A
|
| Listen |
Public Enemy, "Fight the Power"
Paul Simon, Selections from
Graceland
|
| Read |
E-Reserve: Chris Cutler, "Plunderphonics"
Optional (on e-reserve): Louise
Meintjes, "Paul Simon's Graceland,
South Africa, and the Mediation of Musical Meaning"
Optional (on e-reserve): Robert
Walser, "Rhythm, Rhyme, and Rhetoric in the Music of Public Enemy"
|
|
|
Wednesday,
May 7,
10:10am
|
Listening Lab 13B (1975-90)
|
|
Friday,
May 9,
8:10am
|
Listening Lab 14 (1990-2003)
|
|
Friday,
May 9, 10:10am
|
Looking at Ourselves and Review
| Read |
READER: Bruno Nettl,
"Heartland Excursions: Exercises in Musical Ethnography" |
|
Return
to Top
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.
|
(2)
Repertory:
|
Work
|
Score
|
Recording
|
|
Adams: Chairman Dances: Foxtrot for Orchestra |
M1048 A214c a |
TBA |
|
Babbitt: Three Pieces for Piano |
TBA |
TBA |
|
Beethoven:
Symphony No. 9
|
M1001 B415s 9e
|
HU 504
|
|
Bellini: Norma
("Casta diva") |
M1503 B444n b |
HU 513 |
|
Berio: Sinfonia (3rd Movt.) |
TBA |
TBA |
|
Berlioz:
Roméo et Juliette
|
M1500 B515r b
|
HU 513
|
|
Berlioz:
Symphonie Fantastique
|
M1001 B514s n
M1001 B514s d
|
HU 513
|
|
Borodin: Prince Igor ("Polovtsian Dances") |
TBA |
TBA |
|
Boulez: Pli selon pli ("Don") |
TBA |
TBA |
|
Brahms: Symphony
No. 1
|
M1001 B813s 1b
|
CD 2985
HU 513
|
|
Brahms: Symphony
No. 3
|
M1001 B813s 3b
M1001 B813s 3e
|
CD 2985
|
|
Cage: Williams Mix |
TBA |
TBA |
|
Coleman: "Lonely Woman" |
TBA |
TBA |
|
Coleman: Free Jazz |
TBA |
TBA |
|
Copland: Quartet for Piano and Strings (3rd Movt.) |
TBA |
TBA |
|
Debussy: La mer |
M1002 D289m d
M1002 D289m e
|
TBA |
|
Dvořák: Symphony
No. 9
|
TBA
|
TBA
|
|
Enimem: Selections from
The Marshall Mathers LP |
TBA |
TBA |
|
Gorecki: Symphony No. 3 (2nd Movt.) |
TBA |
TBA |
|
Gottschalk: Bamboula |
M22 G687w 1 |
TBA |
|
C. Ives: Symphony
No. 2
|
M1001 I95s 2s
|
TBA
|
|
Janáček: String
Quartet No. 1 "Kreutzer Sonata"
|
M452 J33q 1s
|
TBA
|
|
Liszt: Dante Sonata |
TBA |
TBA |
|
Public Enemy: "Fight the Power" |
TBA |
TBA |
|
Puccini: Madama Butterfly |
TBA |
TBA |
|
Reich: Come Out |
TBA |
TBA |
|
Rossini: Il Barbiere di Siviglia ("La calunnia
è un venticello) |
HU 503 |
HU 513 |
|
Schoenberg: Pierrot lunaire (#8 and #18) |
TBA |
TBA |
|
Schoenberg: String Quartet #4 (1st Movt.) |
TBA |
TBA |
|
Schubert: Erlkönig |
HU 503 |
HU 504 |
|
C. Schumann: Liebst du um Schönheit |
HU 503 |
HU 504 |
|
R. Schumann: Carnaval |
TBA |
TBA |
|
R. Schumann: Mondnacht |
HU 503 |
HU 504 |
|
R. Schumann: Symphony No. 2 |
M1001 S392s 2b |
HU 504 |
|
Shostakovich: Symphony No. 5 (Finale) |
TBA |
TBA |
|
Paul Simon: Selections from Graceland |
TBA |
TBA |
|
Stravinsky: The Rite of Spring |
TBA |
TBA |
|
Verdi: Rigoletto (#4 and #10) |
TBA |
TBA |
|
Wagner: Die Walküre (Excerpt from Act 1, Scene
3) |
TBA |
TBA |
|
Wagner: Tristan und Isolde (Prelude and
Tristan's Delirium) |
TBA |
TBA |
|
Wolf:
Anakreons Grab
|
HU 503
|
HU 504
|
Return to Top
READER CONTENTS
1.
Richard Taruskin, “Resisting the Ninth,” in Richard Taruskin,
Text and Act: Essays on Music and Performance.
Oxford: Oxford University Press, 1995, pp. 235-261.
2.
Anthony Newcomb, “Once More Between Absolute and Program Music:
Schumann’s Second Symphony,” 19th-Century Music
7/3 (April 1984), pp. 233-250.
3.
Andrew Dell’Antonio, “Florestan and Butt-head: A Glimpse into
Postmodern Music Criticism,” American Music
19/1 (Spring 1999), pp. 65-86.
4.
Susan McClary, “Narrative Agendas in "Absolute" Music: Identity and
Difference in Brahms's Third Symphony,” in Ruth A. Solie (ed.),
Musicology and Difference: Gender and Sexuality in Music Scholarship.
Berkeley: University of California Press, 1993, pp. 326-344.
5.
Elizabeth Hudson, "Gilda Seduced: A Tale untold,"
Cambridge
Opera Journal 4/3 (1992), pp. 229-251.
6.
Richard Taruskin, “Entoiling the Falconet,” in Richard Taruskin,
Defining Russia Musically: Historical and Hermeneutical Essays.
Princeton: Princeton University Press, 1997, pp. 152-185.
7.
Brian Hart, “The Symphony in Debussy’s World,” in Jane Fulcher
(ed.), Debussy and His World.
Princeton: Princeton University Press, 2001, pp. 181-201.
8.
Peter Burkholder, “Schoenberg the Reactionary,” in Walter Frisch
(ed.), Schoenberg and His World.
Princeton: Princeton University Press, 1999, pp. 162-191.
9.
Kara Gardner, “Charles Ives, Masculinity, and Reactionary
Modernism,” in Kara Gardner, “Living by the Ladies’ Smiles: The
Feminization of American Music and the Modernist Reaction.” Ph.D. diss.,
Stanford University, 1999, pp. 143-190.
10.
David Ake, “Regendering Jazz: Ornette Coleman and the New York
Scene in the Late 1950s,” in David Ake, Jazz Cultures.
Berkeley: University of California Press, pp. 62-82 (Footnotes: pp.
188-193).
11.
Richard Taruskin, “A Myth of the Twentieth Century: The Rite of
Spring, the Tradition of the New, and ‘the Music Itself’,” in Richard
Taruskin, Defining Russia Musically: Historical and Hermeneutical
Essays. Princeton: Princeton University
Press, 1997, pp. 360-388.
12.
Peter Burkholder, “Museum Pieces: The Historicist Mainstream in
Music of the Last Hundred Years,” Journal of Musicology
2/2 (Spring 1983), pp. 115-134.
13.
Jennifer DeLapp, “Of Polit |