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Discussion Questions

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1. to meet with me at least five days before your assigned class to discuss your plans;
2. to post three or more discussion questions onto the course website at least two days before your assigned class;
3. to give a five-minute introduction to the listening and reading assignments at the end of class BEFORE your assigned class;
4. to lead the discussion of your assigned class; and
5. to write a summary of the class discussion and post it on the course website within a week of your assigned class.

1. Ruth Solie, ed.  Strunk’s Source Readings in Music History: The Nineteenth Century.  New York: Norton, 1998;
2. MUS 423 Course Reader.

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• Program symphonies
• The use of late Romantic symphonies in films, cartoons and commercials
• The business of the late nineteenth-century symphony
• Nationalism
• Performance practice
• Symphonies and politics
• The “death” of the symphony
• Use of solo instruments in symphonies
• Music criticism in the late 19^th century
• German/Austrian composers: Brahms, Bruckner, Mahler, R. Strauss. Schmidt, Zemlinsky
• French composers: Franck, Saint-Saëns, Dukas, Ropartz, Lalo, Debussy, Roussel, Magnard
• Eastern European composers: Dvořák, Suk, Szymanowski
• Russian composers: Borodin, Chaikovsky, Rimsky-Korsakov, Glazunov, Rakhmaninov, Skryabin, Glière
• Scandinavian composers: Sibelius, Nielsen
• English composers: Elgar

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(2) Repertory:

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READER CONTENTS

1. Mark Evan Bonds, “The Voice of Tradition and the Voice from Within: The Crisis of the Symphony after Beethoven,” in Mark Evan Bonds, After Beethoven: Imperatives of Originality in the Symphony.  Cambridge, MA: Harvard University Press, 1996, pp. 9-27.

2. Sanna Pederson, “On the Task of the Music Historian: The Myth of the Symphony after Beethoven,” repercussions 2/2 (Fall 1993), pp. 5-30.

3. Andrew dell’Antonio, “Florestan and Butt-head: A Glimpse into Postmodern Music Criticism,” American Music 17/1 (Spring 1999), pp. 65-86.

4. Anthony Newcomb, “Once More Between Absolute and Program Music: Schumann’s Second Symphony,” 19^th-century Music 7/3 (April 1984), pp. 233-250.

5. Ian Kemp, “Romeo and Juliet and Romeo et Juliette,” in Peter Bloom (ed.), Berlioz Studies.  Cambridge: Cambridge University Press, 1992, pp. 37-79.

6. Thomas S. Grey, “Tableaux vivants: Landscape, History Painting, and the Visual Imagination in Mendelssohn’s Orchestral Music,” 19^th-century Music 21/1 (Summer 1997), pp. 38-76.

7. Scott Burnham, “A.B. Marx and the Gendering of Sonata Form,” in Ian Bent (ed.), Music Theory in the Age of Romanticism.  Cambridge: Cambridge University Press, 1996, pp. 163-186.

8. Susan McClary, “Sexual Politics in Classical Music,” in Susan McClary, Feminine Endings: Music, Gender, and Sexuality.  Minneapolis: University of Minnesota Press, 1991, pp. 53-79.

9. Robert Fink, “Desire, Repression & Brahms’s First Symphony,” repercussions 2/1 (Spring 1993), pp. 75-103.

10. Michael Beckerman, “The New World Largo and The Song of Hiawatha,” 19^th-century Music 16/1 (Summer 1992), pp. 35-48.

11. Kara Gardner, “Amy Beach, the Exceptional and Acceptable Woman Composer of Symphonies,” in Kara Gardner, “Living by the Ladies’ Smiles: The Feminization of American Music and the Modernist Reaction.”  Ph.D. diss., Stanford University, 1999, pp. 40-77.

12. Peter Burkholder, “’Quotation’ and Paraphrase in Ives’s Second Symphony,” 19^th-century Music 11/1 (Summer 1987), pp. 3-25.

13. Charles Brotman, “The Winner Loses: Ernest Bloch and His America,” American Music 16/4 (Winter 1998), pp. 417-447.

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Last updated: January 26, 2003