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21M.011 Syllabus Fall 2013 page 20MIT 21M.011: INTRODUCTION TO WESTERN MUSIC (Fall 2013)A HASS-D and CI-H Subject LecturesW 3:30-5:00 16-160Martin Marks, Course Coordinator (10-268; mmmarks@mit.edu)Recitations(01) MF 1-2, 4-156Teresa Neff (10-266; tneff@mit.edu)(02) TR 1-2, 4-156Martin Marks(03) TR 2-3, 4-152Teresa Neff

Writing AdvisorElizabeth Fox (12-116; emfox@mit.edu)

GENERAL INFORMATION

21M.011 is a historical survey of classical music in the Western world, from the Middle Ages to the present. The class is open to any student who has an interest in this material, whether or not you can read music or have studied it in some form already. Because it is a music subject, many will suppose it to be easy and entertaining. It can be very entertaining, yes, but it is also designed to be challenging. We emphasize the development of listening skills which enhance the enjoyment of musica non-verbal yet highly expressive art. We also ask you to consider music from multiple perspectives, involving cultural history, literature, and the other arts. There is a new set of assigned pieces to be mastered for nearly every class. While some of these will open easily, others will require repeated listening in order to get them in your ear. They often bring together unfamiliar texts, instruments, and forms, and it takes time to accustom yourself to the distinctive sonorities of each historical periods musical styles.We believe that you will benefit from this class for the rest of your life. The time you spend pursuing the music in this class will will indeed open your ears and imaginations; and it is hoped that you will be emotionally and intellectually stimulated, broadened, and, in the best sense of the word, educated as well as entertained.

Enrollment. Because 21M.011 is a CI-H subject, there is a cap of 18 students per recitation. Since the class is officially also a HASS-D subject, an admission lottery was run over the summer. All students admitted via the summer lottery are guaranteed a slot in the class, provided that they attend a recitation starting in the first week. If you have a legitimate reason for missing the first or second recitation meeting, be sure to notify the instructor ahead of time. Students may change their pre-assigned recitations, but they should inform the original instructor at once, so that an accurate count and class list can be quickly established. As long as there are open slots in the recitations, instructors will accept additional students who wish to join the class; but because we move quickly through the material, after September 18 we will not admit additional students.

ASSIGNMENTS. The focus of the class is on the weekly listening and reading assignments that are given in this syllabus. Attendance at all lectures and recitation meetings is required.The lectures will place the assigned music in historical context and introduce analytic concepts concerning each periods musical forms and styles. Frequently in lecture there will be live performances, as well as presentations that go beyond the core curriculum. In recitations there will be regular discussion of the assignments, oral presentations about pre-assigned topics, and supplemental materials and exercises designed by each instructor.

TEXT: Kristine Forney and Joseph Machlis. The Enjoyment of Music, Eleventh Edition (hardbound). New York: W. W. Norton, 2011Used and new copies of the book are at the MIT Coop. A simple way of summing up the reading for the course is that the student will be asked to read the entire text over the term, but not all material will be examined to the same extent. The material you need to focus on will be evident throughout the syllabus below, and through what is emphasized in the lectures, recitations, tests, and writing assignments. For maximum benefit, bring your copy of the book to every recitation meeting!Note: You may bring laptops to class; however, please limit use of these devices to activities directly relevant to this class (primarily taking notes, if you work that way). Please note that when music is being played in lecture or recitation, you should not use that time to surf the web, open or reply to email, or even take copious notes. That time is just for listening (and thinking)!

LISTENING ASSIGNMENTS: When you acquire your copy of the text, be sure you also obtain the accompanying set of eight compact discs. The discs contain good recordings of over 90 pieces of Western music, which constitutes almost all of the required listening for the term. But do note that there will be some additional music played and discussed in the lectures and recitations, and some of this material may be required for identification on tests, or included in essay assignments. In all such cases the additional materials will be posted on the classs Stellar site, and also made available in our wonderful Lewis Music Library (Building 14E).

TESTSTwo listening quizzes will be given at the start of recitations: the first on Monday & Tuesday, September 30 & October 1 (5% of your final grade), the second on Monday & Tuesday November 4 & 5 (10%). These will cover the assignments for weeks I-IV and V-IX respectively. Questions will feature excerpts from the assigned listening which you will be asked to identify and describe in concise ways. There will also be short questions about contextual material (e.g., definitions of terms, explanation of musical forms, etc.). The quizzes will ensure that you are doing the assignments properly and will help you develop your listening skills. A final exam will be given during Finals Week Dec 16-20, mainly covering the lectures and assignments for weeks X-XIV, but also with a few questions reviewing the entire semesters work. A guide sheet will be distributed late in the semester. (25% of the final grade)

WRITING ASSIGNMENTS: Three analytic essays, the second of which must be revised, and three shorter write-ups (= reflections) on concerts. Essay 1 (1250-1500 words) is due Monday September 23: it will concern assigned examples of music from the Medieval, Renaissance, and early Baroque periods. (10%)Essay 2 (1250-1500 words) is due Tuesday October 22: it will concern assigned examples of 18thcentury music, in late Baroque and Classical styles. (10%)A revised and expanded version of Essay 2 is due by Monday November 18; it will incorporate discussion of an assigned example of 19th-century music. (10%)The completed folder of three concert write-ups (each one to run 500-600 words) is due by Wednesday November 29. (10%)Essay 3 (1250-1500 words) is due Friday December 6: It will concern assigned examples of twentieth-century music. (10%)See below, pp. 15-19, for further details on the writing assignments.

Successful writing in this course will largely depend on the organization of each essay, the strength of the reasoning, and the mastery of stylistic fundamentals (spelling, punctuation, grammar, and syntax). The Writing Adviser for 21M.011 is Elizabeth Fox (12-116; emfox@mit.edu). She will be available throughout the term to help with all the essays.

Plagiarism in the writing of any paper is a serious academic (and moral) offense. Plagiarism includes any unacknowledged use of outside sources, whether published or not, whether by scholars, bloggers, or fellow students. In our climate of facile electronic exchange and Internet copying, the temptation to use other peoples written work without proper citation is great. But the student should be aware that plagiarism in this or any course will likely lead to a failing grade in the class, and carries the risk of expulsion from the Institute.

Discussions in recitations are a significant part of the Communications-Intensive (CI) component of this class. From time to time students will be asked to give brief extemporaneous presentations on topics from the reading, listening, and lectures. Students will also be asked to lead discussions or make presentations about pre-assigned topics in a more formal manner, mainly during the second half of the semester. In some cases we will make it possible for you to work in teams.

Grading. Your recitation instructor is your grader. The following percentages are followed, with some discretionary leeway for students on border lines, especially those who show improvement during the semester: Quiz 1 = 5%; Quiz 2 = 10%; Final = 25%; Essays 1-3 and revised Essay 2 = 10% each; Combined Concert Write-ups = 10%; Contributions to discussion and Oral Presentations = 10%.

CLASS MATERIALS ON LINE and ON RESERVE

The class has a Stellar site. Access will be limited to students who are actually enrolled because of copyright restrictions. The site contains the syllabus, assignment sheets, announcements, some additional recordings (both audio and video), and links to web sites, as needed for papers, etc.

The Lewis Music Library (14E-109): for recordings and books uploaded to the classs Stellar site, there are backup copies available in the library. Some materials will circulate; others will be put on reserve. A Course Reserves Notebook at the front desk has a printed copy of the syllabus with a list of shelf numbers for reserve items. The shelf number for our main text The Enjoyment of Music is MT90 M23 2011. The CDs are shelved under MT6 M134 E5 2011 [CD 1-4, 5-8, & booklet].

Note: Any MIT student can check out non-reserve CDs and DVDs from the Library for up to a week at a time, and there are many online databases of listening and viewing materials. Visit the Music Library on the web or in person! Its a great place to work, to relax, and to explore all types of musicand the staff loves to help!

Overview of the Schedule of Wednesday Lectures, Writing Assignments and Tests

ISep 4Introduction: The Elements, Materials, and Range of Western MusicIISep 11 Sacred and Secular Traditions in the Middle Ages and the RenaissanceIIISep 18Baroque Music in the 17th Century: CONTRAST and DRAMA!Essay 1 due Monday September 23rd by 5 pm (hard copy)IVSep 25Bach and Handel: Late Baroque Vocal MusicQuiz I: first half of recitation on Monday and Tuesday, Sep 30-Oct 1VOct 2Handel, Bach, and Others: Late Baroque Instrumental MusicVIOct 9Haydn and Mozart: Classical Instrumental GenresVIIOct 16Mozart, Haydn, and BEETHOVEN: Five Monumental LandmarksEssay 2 due Tuesday October 22nd by 5 pm (hard copy)VIIIOct 23Romantic Songs and Piano Miniatures, ca. 1815-1850IXOct 30Program Music, Absolute Music, and Nationalism, ca. 1830-1890Quiz II: entire recitation on Monday and Tuesday, November 4-5XNov 6Romantic Opera, Choral Music, and Ballet, ca. 1850-1890XINov 13Post-Romantic and Modernist Innovators, ca. 1890-1914Revised Essay 2 due by Monday November 18XIINov 20 Modernist Music in Europe between Two World Wars Completed Folder of Concert Write-ups due by Wednesday November 27(Nov 27No Lecture: Have a Happy Thanksgiving!)XIIIDec 4American Modernism to 1945in Concert Halls and BeyondEssay 3 due Friday December 6 XIVDec 11From the Post-WWII Vanguard to the New MillenniumOld Currents, New Currents, and Cross Currents Final Exam during Finals Week (date to be announced early in the semester)

SCHEDULE of WEEKLY LECTURES,with READING and LISTENING ASSIGNMENTS

Note. For each weeks assignment the pages to read from the Forney and Machlis text (F&M) are given at the head of the assignment. The lecture date marks the beginning of the week during which we will focus on the assignment. It is helpful if you make a start on assignments reading and listening a day or two before the Wednesday lecture, and complete it before the following weeks assignment. As we go through the semester, your instructors will tell you what to focus on for each upcoming recitation. Each assigned musical piece is identified with several kinds of information. First comes the full name of the composer and his or her dates (as best known). Below the composer is given the precise Title of the piece, with a brief summary of the genre, as well as some indications of the performing forces and often the musical form, All of this information is contained in our text, but it is useful to have it lined up week by week in this way, so that you can gauge the range of each assignment.Underneath each assigned piece you will see listed the page where you can find its listening guide in F&M, and the location of the music on the set of CDs. For example, LG 86 / CD1 8-10 means that a listening guide for that piece is on page 86, and the recording is on compact disc number 1, tracks 8-10.

I. Sep 4Introduction: The Elements, Materials, and Range of Western MusicRead [and/or skim] F&M Part I, Materials of Music, pp. 1-75

NOTE: Unlike the rest of the book, Part I is structured as a series of short chapters about all the technical elements of musicthat is, about music as sound, not musical notation. (That is covered in Appendix I at the back of the book.) Even those of you who are highly experienced in listening to music will find this unit too dense to take in all at onceand in any case, it is not essential to understand all the material right away. For example, there is no need to begin by learning about every kind of instrument in an orchestral ensemble (as explained on pages 45-67), because we do not take up orchestral music until many weeks down the road. But mastering basic musical vocabulary is an essential task for getting the most out of this class. So do look over the whole unit to see what is there that you can refer back to later as needed, and then read the following chapters more carefully.2: Melody: Musical Line (12-16)3: Rhythm and Meter: Musical Time (17-20)5: Musical Texture (32-35)6: Musical Form (36-40)7: Musical Expression (41-44)Assigned ListeningBenjamin Britten (1912-1976)The Young Persons Guide to the Orchestra: Variations and Fugue on a Theme of Purcell (1946)LG 66 / CD1, tr1-7

As you can see, only one piece (which lasts about fifteen minutes) is assigned for this unit. Since it is designed as a guide to orchestral instruments, it is, as noted above, out of phase with the historical survey upon which we are about to embark. Nevertheless, it is such a fine and fun piece in its own right, that we do ask you to listen to it now. It raises important questions about the relative roles of melody, rhythm, texture, and timbre, and it provides a clear example of how Western composers constantly find new ways of treating basic principles of musical form. We will come back to the piece later in the term, and it will probably become more meaningful to you at that time.

II. Sep 11 Sacred and Secular Traditions in the Middle Ages and the RenaissanceRead, as a lead-in, F&M, pp. 70-75 (the last chapter of Unit I, Style and Function of Music in Society); then 76-119 (Part II, Medieval and Renaissance Music)

Assigned Listening, Part One: Six short pieces spanning the 10th to 14th centuries1. Anonymous (10th-c.) Kyrie: Mass Ordinary Chant (monophonic)LG 86 / CD1 8-102. Hildegard of Bingen (1098-1179)Alleluia, O virga mediatrix: Mass Proper Chant (monophonic)LG 88, CD1 11-133. Anonymous composer from the Notre Dame School (early 13th c.)Gaude Maria virgo: Organum for 3 voices LG 90 / CD1 14-15

4. Raimbaut de Vaqueiras (late 12th c.)Kalenda maya: Estampie (Monophonic Troubadour dance song)LG 94 / CD1 16-20

5. Anonymous English composer (c. 1250)Sumer is icumen in: English (and Latin) Round (in the style of a Medieval Motet) for up to 6 voice partsLG 97 / CD1 21-23

6. Guillaume de Machaut (1300-1377)Puis quen oubli: Polyphonic Chanson for 3 voices, in Rondeau formLG 99, CD1 24-28

Assigned Listening, Part Two: Six pieces spanning the 15th and 16th centuries7. Guillaume Dufay (c. 1400-1474)Lhomme arm MassKyrie: Movement one of Dufays Mass, for four-part choir, using the Lhomme arm tune as a cantus firmusLG 105 / CD 1 29 (For the original tune) and 30-32 (for Dufays Kyrie) 8. Josquin Desprez (c. 1450-1521)Ave Maria virgo serena: Latin Motet for four-part choirLG 107 / CD1 33-399. Giovanni Palestrina (c. 1525-1594)Pope Marcellus MassGloria: Movement two of Palestrinas Mass, for sixpart choir, with no pre-existing music as a basisLG 109 / CD1 40-4110. Josquin DesprezMille regretz: French Chanson, for four voice parts LG 113 / CD1 42-43

11. Jacques Arcadelt (1507-1568) Il bianco e dolce cigno: Italian Madrigal, for four voice partsLG 115 / CD1 44-4512. John Farmer (1570-1603)Fair Phyllis: English Madrigal, for four voice parts LG 117 / CD1 46-47

III. Sep 18Baroque Music in the 17th Century: CONTRAST and DRAMA!Read, as a lead-in, F&M, pp. 118-124 ( the last part of Ch. 15, on Instrumental Dance Music, etc.); then 128-145 (Prelude 3, The Baroque Spirit, and Ch. 16, on Baroque opera)

Assigned Listening, Part One: Late Renaissance Instrumental Music1. Tielman Susato (c. 1510-1570)Three Dances: A medley of Rondes (Round dances)LG 120 / CD1 48-51

2. Giovanni Gabrieli (c. 1557-1612)Canzona septimi toni: Instrumental music for two four-part choirsLG 122 / CD1 52-55

Assigned Listening, Part Two: 17th-Century Dramatic Vocal Music3. Claudio Monteverdi (1567-1643)The Coronation of PoppeaAct III, Scene 7: Italian Opera scene with various types of music, culminating in the Duet Pur ti miro, over a ground bassLG 138 / CD1 56-604. Henry Purcell (1659-1695)Dido and AeneasAct III, excerpts: English Opera with various types of music, culminating in the Aria When I am laid in earth (Didos Lament), over a ground bassLG 142 / CD1 61-66

5. Barbara Strozzi (1619-1677)Amor dormiglione: Italian Da Capo AriaLG 145 / CD1 67-69

IV. Sep 25Bach and Handel: Late Baroque Vocal MusicRead F&M, pp. 146-161 (Chapter 17, The Baroque Cantata and Oratorio)

1. Johann Sebastian Bach (1685-1750), Cantata No. 140, Wachet auf: Church Cantata, for soloists, chorus, and Baroque orchestral ensembleExcerpts: Movements 1-4 & 7LG 152 / CD2 1-16

2. George Frideric Handel (1685-1759)Messiah: Oratorio, for soloists, chorus, and Baroque orchestral ensembleExcerpts: Nos. 1, 14-18, & 44LG 158 / CD2 17-28

V. Oct 2Handel, Bach, and Others: Late Baroque Instrumental MusicRead F&M, pp. 162-185 (Chapters 18, 19, and most of 20)

1. G. F. HandelWater Music: Suite in D majorMovements 1 and 2: Allegro and Alla HornpipeLG 166 / CD2 29-34

2. Jean-Joseph Mouret (1682-1738)Rondeau: Opening movement, in D Major, from the [First] Suite de symphonies LG 169 / CD2 35-37

3. Antonio Vivaldi (1678-1741)Spring [La primavera] from The Four Seasons [Le quattro stagioni]: Concerto for solo violin, Op. 8, No. 1, in E Major, in three movementsLG 172 / CD2 38-45

4. J. S. BachBrandenburg Concerto No. 2, in F MajorMovement 1 (Allegro): Example of the Bach style of a concerto grosso movement in ritornello formLG 176 / CD2 46-505. Arcangelo Corelli (1653-1713)Trio Sonata in D major, Op. 3, No. 2Movements 3 (Adagio) and 4 (Allegro)LG 179 / CD2 51-53

6. Domenico Scarlatti (1685-1757)Sonata in C major (The Hunt)a one-movement keyboard (harpsichord) sonataLG 182 CD2 54-55

7. Bach Contrapunctus I: the opening piece in Bachs encyclopedic final collection, The Art of the Fugue LG 186 / CD2 56-59

VI. Oct 9Haydn and Mozart: Classical Instrumental GenresReview F&M 25-30, on keys, and 36-40, on musical forms.Read F&M 192-220 & 228-243 (Prelude 4, Chs. 21, 22, first half of 23, 24, & first half of 25)

1. Joseph Haydn (1732-1809)String Quartet Op. 76, No. 3 (Emperor)Mvt. 2, theme and variations LG 208 / CD2 60-64

2. HaydnSymphony No. 100, in G MajorMvt. 2, in ternary (A B A) formLG 219 / CD3 26-30

3. Wolfgang Amadeus Mozart (1756-1791)Piano Sonata in A major (K. 331)Mvt. 3, in rondo formLG 238 / CD4 25-31

4. MozartEine Kleine Nachtmusik (K. 525): Serenade for strings4 movements, various formsLG 211 / CD3 1-20

5. MozartSymphony No. 40, in G minor (K. 550)Mvt. 1, in sonata-allegro formLG 217 / CD3 21-25

6. Mozart Piano Concerto [No. 17] in G major, K. 4533 movements, various formsLG 211 / CD4 1-24

7. HaydnTrumpet Concerto in E-flat majorMvt. 3, in sonata-rondo formLG 235 / CD3 56-61

VII. Oct 16Mozart, Haydn, and BEETHOVEN: Five Monumental LandmarksGo back and read F&M pp. 185-188; then 244-258 (Ch. 26, Classical Choral Music and Opera), and 220-227 & 240-243 (sections of Chs. 24 & 25 on Beethoven)

1. MozartDon Giovanni: Opera buffa (with Opera seria portions)Act 1, Scene 2, which contains arias for two characters, Donna Elvira and LeporelloLG 254 CD4 57-64

2. MozartRequiem: Musical setting of the Mass for the Dead (unfinished)Dies Irae, which contains both choral sections and solos LG 246 CD 4 46-53

3. HaydnThe Creation: OratorioThe closing portion of Part I (Nos. 12-14), which has both secco and accompanied recitative and ends with a grand chorusLG 249 / CD4 54-56

4. Ludwig van Beethoven (1770-1827)Symphony No. 5 in C minor, Op. 67Four movements, various formsLG 222 / CD3 31-55

5. BeethovenPiano Sonata in C-sharp Minor, Op. 27, No. 2 (Moonlight)Three movements, various formsLG 241 / CD 4 32-45

VIII. Oct 23 Romantic Songs and Piano Miniatures, ca. 1815-1850Read F&M 258-260 (From Classicism to Romanticism); 264-299 (Prelude 5, The Spirit of Romanticism) and Chapters 27-29, on songs, piano music, and music in 19th-century America

1. Franz Schubert (1797-1828)Erlknig (The Erl-King): Lied for solo voice and pianoLG 275 / CD5 1-8

2. Robert Schumann (1810-1856)Im wunderschnen Monat Mai (In the Lovely Month of May): Lied No. 1, from the song cycle Dichterliebe (Poets Love)LG 278 / CD5 9-10

3. Frdric Chopin (1810-1849)Mazurka in B-flat minor, Op. 24, No. 4, for pianoLG 283 / CD5 11-16

4. Franz Liszt (1811-1886) La campenella (The Little Bell): tude No. 3, from Transcendental Etudes after PaganiniLG 288 / CD5 17-26

5. Fanny Mendelssohn [Hensel] (1805-1847)September: At the River: Character piece for piano, No. 9 from a programmatic cycle of 12, Das Jahr (The Year)LG 291 / CD5 27-31

6. Stephen Foster (1826-1864)Jeanie with the Light Brown Hair: Ballad for voices and pianoLG 295 / CD5 32-33

7. Louis Moreau Gottschalk (1829-1869)The Banjo (Le banjo: Fantasie grotesque): Fantasy for pianoLG 298 / CD5 34-40

IX. Oct 30 Program Music, Absolute Music, and Nationalism, ca. 1830-1890Review F&M 49-67, on musical instruments and ensemblesRead F&M 300-333 (Chs. 30-31)

1. Hector Berlioz (1803-1869)Symphonie fantastique: Program SymphonyMvts. 4 (March to the Scaffold) and 5 (Dream of a Witches Sabbath)LG 304 / CD5 41-53

2. Bedrich Smetana (1824-1884), The Moldau: Symphonic Poem, from the cycle M vlast (My country)LG 310 / CD5 54-61

3. Edvard Grieg (1843-1907)Peer Gynt, Suite No. 1, Op. 46: Incidental music to the play by Henrik IbsenMvts. 1 (Morning Mood) and 4 (In the Hall of the Mountain King)LG 313 / CD5 62-67

4. Clara Schumann (1819-1896) Piano Trio in G minorMvt. 3: Andante ( song without words) in G MajorLG 319 / CD5 68-71

5. Felix Mendelssohn (1809-1847) Violin Concerto in E minorMvt. 1, in a free version of sonata-allegro form LG 323 / CD5 72-80

6. Johannes Brahms (1833-1897) Symphony No. 3 in F major Mvt. 3, in C minor and A-B-A formLG 329 / CD6 1-37. Antonin Dvorak (1841-1904)Symphony No. 9 in E minor (From the New World)Mvt. 1, beginning with a slow introduction, followed by a full movement in sonata-allegro form LG 331 / CD6 4-12

X. Nov 6Romantic Opera, Choral Music, and Ballet, ca. 1850-1890Read F&M 335-367 (Ch. 32 and first part of Ch. 33)

1. Giuseppe Verdi (1813-1901)Rigoletto: Italian Tragic OperaExcerpt from the beginning of Act III, featuring the Dukes aria (canzone), La donna mobile, and a quartet LG 329 / CD6 13-18

2. Wagner (1813-1883)Die Walkre: German Mythic Opera (Music Drama), the second in Wagners cycle of 4 operas, The Ring of the NibelungThe opening and closing music of Act III, containing The Ride of the Valkyries and the Magic Fire music LG 347 / CD6 19-29

3. Georges Bizet (1837-1875)Carmen: French Naturalistic OperaAct I, scenes 4 and 5, containing music for chorus, followed by Carmens aria (Habanera)LG 354 / CD6 30-36

4. VerdiRequiem Mass for orchestra, chorus and several soloistsexcerpt from the last movement, Libera me, featuring overwhelming choral music plus a soprano soloistLG 360 / CD 6 37-39

5. Peter Ilyich Tchaikovsky (1840-1893)The Nutcracker Ballet Suite, Op. 71aThree short and very popular Characteristic Dances: March, Dance of the Sugar Plum Fairy, and Russian Dance: TrepakLG 366 CD 6 40-48

XI. Nov 13Post-Romantic and Modernist Innovators, ca. 1890-1914Read F&M 368-378 & 382-416 Conclusion of Ch. 33, Prelude 6, Chs. 34-35, & first part of 36)

1. Giacomo Puccini (1858-1924)Madama Butterfly: Italian OperaAria from Act II, Un bel dLG 370 / CD6 49-50

2. Claude Debussy (1862-1918)Prlude Lapres-midi dun Faune (Prelude to The Afternoon of a Faun): Symphonic poemLG 292 / CD6 55-59

3. Maurice Ravel (1875-1937)Don Quixote to Dulcinea: French song cycle for baritone voice and orchestraNos. 1, Chanson Romanesque (Romanesque Song) and 3, Chanson boire (Drinking Song)LG 396 / CD7 1-6

4. Igor Stravinsky (1882-1971)Le sacre du printemps / The Rite of Spring: Ballet and subsequently a concert work for large orchestraexcerpt from Part I, from the end of the Introduction (final 30 seconds only), through Dance of the Adolescents and Game of AbductionLG 410 / CD7 7-13

5. Gustav Mahler (1860-1911)Das Lied von der Erde (The Song of the Earth): Song Cycle for two soloists and large orchestraMvt. 3, Von der Jugend (Of Youth)LG 376 / CD6 51-546. Arnold Schoenberg (1874-1951)Pierrot Lunaire: Song Cycle for soprano and chamber ensembleSongs No. 18, Der Mondfleck (The Moonfleck) and 21, O alter Duft (O Ancient Scent)LG 415 / CD7 14-17

XII. Nov 20Modernist Music in Europe between Two World WarsRead F&M 417-439 (Chs. 36, conclusion, & 37)

1. Alban Berg (1885-1935)Wozzeck: atonal German OperaAct III, from Scene 4 to the endLG 419 / CD7 18-21

2. Anton Webern (1883-1945)Symphony, Op. 21: serial music for chamber orchestraMvt. 2, theme and variations form LG 424 / CD7 22-24

3. Bla Bartk (1881-1945)Concerto for OrchestraMvt. 4, Interupted Intermezzo, in rondo-like formLG 431 / CD7 25-31

4. Sergei Prokofiev (1891-1953)Lieutenant Kij Suite: orchestral music extracted from a film scoreMvt. 4, TroikaLG 435 / CD7 32-365. Carl Orff (1895-1962)Carmina Burana: secular cantata for chorus, soloists and large orchestraOpening chorus, O FortunaLG 438 / CD7 37-40

XIII. Dec 4American Modernism to 1945in Concert Halls and BeyondRead F&M 440-501 & 513-519 (Chs. 38-41 & first part of 43)

1. Charles Ives (1874-1954) Country Band March LG 444 / CD7 41-47

2. Ruth Crawford (Seeger) (1901-1953)Piano Prelude No. 6LG 447/ CD7 48-50

3. William Grant Still (1895-1978)Suite for Violin and PianoMvt. 3LG 451 / CD7 51-544. Aaron Copland (1900-1990)Appalachian Spring: Ballet suite for orchestraSections 1 (Prelude) and 7 (Theme and Variations on Simple Gifts)LG 454 / CD7 55-625. Silvestre Revueltas (1899-1940)Homage to Frederico Garcia Lorca: Suite for chamber orchestraMvt. 3, Son (Mexican dance), in rondo formLG 460 / CD7 63-68

6. Scott Joplin (1868-1917)Maple Leaf Rag: Piano sheet music (1899) that launched the ragtime crazeLG 476 / CD7 74-78

7. Billie Holiday (1915-1959)Billies Blues: Recording of 12-bar blues by Holiday and a six-man jazz band (1936)LG 480 / CD7 79-85

8. Billy Strayhorn (1915-1967) and Duke Ellington (1899-1974)Take the A Train: Big band jazz recording by the Duke Ellington Orchestra, based on a 32-bar pop song form (1941) LG 483 / CD7 86-90

9. Dizzie Gillespie (1917-1993) and Charlie Parker (1920-1955)A Night in Tunisia: Bebop/Latin Jazz recording by the Charlie Parker Septet, based on a 32-bar pop song form (1946)

10. George Gershwin (1898-1937)Summertime: Aria from the American [folk] opera Porgy and BessLG 494 / CD7 97-98XIV. Dec 11 From the Post-WWII Vanguard to the New Millennium Old Currents, New Currents, and Cross CurrentsRead F&M 495-401 (end of Ch. 41); Skim 502-526 (Chs. 42-43)Read 530-595 (Part 8: World War Two and Beyond)

Three More Leaders of American Music outside the Concert Hall 1. Leonard Bernstein (19181990)West Side Story: Broadway MusicalTwo excerpts from Act I, in different styles: The Dance at the Gym (Mambo) and the Tonight Quintet (operatic ensemble) LG 497 / CD8 1-9

2. John Williams (1932-), and Herb Spencer (orchestrator)Raider of the Lost Ark: Film scoreRaiders March, in A-B-A formLG 510 / CD8 10-17

3. Bob Dylan (1941-)Mr. Tambourine Man: Art-song (ballad) in folk styleLG 518 / CD8 18-23

Eleven Composers of International Stature in the World of Classical Music TodayNote: The following are listed in abbreviated form.

1. Olivier Messiaen (1908-1992), Quartet for the End of TimeII. Vocalise ; LG 538

2. Pierre Boulez (1925-), Notations IV, for orchestra; LG 542

3. George Crumb (1929-), Caballito Negro, song for sop & chamber ens; LG 544

4. John Cage (1912-1992), Sonata V for Prepared Piano; LG 549

5. Gyrgy Ligeti (1923-2006), Disorder: Piano Etude, Book I, No. I; LG 556 8-38

6. Bright Sheng (1955-), China Dreams: Symphonic SuitePrelude; LG 561

7. Tod Machover (1953-), Hyperstring Trilogy: Begin Again Again : Chamber music (?) for solo cello and computer (excerpts); LG 573

8. Jennifer Higdon (1962-), blue cathedral: Orchestral tone poem (excerpt); LG 578

9. John Corigliano (1938-), Mr. Tambourine Man: Song cyclePrelude; LG 581

10. Arvo Prt (1935-), Cantate Domino canticum novum: Psalm Motet for chorus & organ; LG 586 11. John Adams (1947-), Doctor Atomic: American Opera (two excerpts); LG 591

Concerts: Reflective Write-ups

21M011 requires that you attend three concerts during the term. Space them out, ideally with two or more weeks between each concert. The concerts should reflect varieties of music which are part of this curriculum. Rock and pop music, as well as world music, musicals, and films, are outside the purview of the class. At least two concerts should be by professional performers. (We will give you advance notice of concerts we recommend.) You must write up each concert separately, and hand the write-up in no later than one week after the date of the concert.The write=ups should be short500-600 words eachand can be quite personal (unlike the essays, in which formal writing is expected). The first person can be used to express your impressions, and you need not try to be too analytical. But be observant. At the start, concisely state the obvious: who performed, what was performed, where, when, in what kind of environment, to what audience. Summarize the overall organization of the program. Beyond that, your personal impressionslouder than you like, exciting, emotional, dance-like, way too long, incomprehensible, delightful, culturally specific, excessively formal, etc.are important to writing a successful concert report. (It is to be a personal write-up, not a review such as a music critic would attempt to write.If you have encountered music of the same type in our class before going to the concert, we will prize any attempts you make to compare the music of the concert to what we have studied. For example, if you go to the BSO and they play Beethovens 5th Symphony, was the performance like the one on our CDs? Were you surprised by any elements of the performance because the music didn't sound the way you expected? Or, for another example: If they play a different Beethoven symphony (one you do not know), did it meet your expectations according to the model of the Fifth? Or was it surprisingly different? Similar sorts of questions could be applied to other genres or composers studied in the class.If you happen to attend more than three concerts, and wish to make one of the write-ups a comparison of two that you attended in a short space of time, you are welcome to do so. But this is only optional, not a requirement.NOTE: Concert reports are to be kept and submitted in a folder with pockets. Be sure to include the paraphernalia of the concert: your ticket stub and the program. Write your name on the program, inside or outside. Keep all the concerts together in the folder (re-handed in each time), so the instructor can see the variety of concerts you attended. Your instructor will remind you of these points.

Formal Writing

Formal writing is assumes you do not know the reader: in your mind, he or she is not a fellow student, your teacher, or your friend or relative. She or he is an idealized reader, eager for imaginative, colorful, and clear writing. It can show personality, but be careful not to bury your analyses in flowery prose. Use of the first person should be limited, contractions are to be avoided (i.e., use have not instead of havent), and numerals less than 100 are spelled out (sixty-six instead of 66). Above all, logical organization of your argument is no less important than a clear expository style. Please be sure to look over your essays in printed out copies before you hand them in, and proofread carefully. If you read them aloud, you will be more likely to catch mistakes or inconsistencies you didnt know were there.We hope you will try to avoid pretentious language, jargon, clichs. Hear are a few nearrandom examples. (1) Beware impressive-sounding but inflated verbs such as utilize and showcase. (Almost always, the verb use is a better choice for the former; in precise prose, showcase was and still is a noun not a verb.) (2) When are adverbs (like) really really really a good idea? Personally I believe that adverbs are actually better avoided. As the previous sentences suggest, adverbs might sound effective or come in handy as place markers when talking to someone, but they often add no vital meaning and can deaden your prose.

Essay #1: Concerning Form and Style in Early Music

Use the following two passages from our text as points of departure.(1) Music of all cultures mirrors life in its basic structural elements of repetition and contrastthe familiar and the new. Repetition fixes the material in our minds and satisfies our need for the familiar, while contrast stimulates our interest and feeds our desire for change. (Forney & Machlis, The Enjoyment of Music, p. 36)(2) The distinctive features of any artwork make up its style. A musical style is created through individual treatment of the elements (melody, rhythm, harmony, texture, form, dynamics, tempo). (F & M, bullet point on p. 70)

With these statements as a backdrop, or thesis-generator, explore and compare three or four of the following pieces, from the assignments for weeks II and III. Be sure to pick at least one piece from each of these three groups.

Group 1: Medieval MusicAnonymous, Kyrie Chant (10th-century)Raimbaut de Vacqueiras, Kalenda maya (late 12th century)Anonymous, Sumer is icumen in (ca. 1250)

Group 2: Renaissance MusicDufay [or Du Fay], Lhomme arm Mass: Kyrie Movement (1460s)Josquin, Ave Maria (1480s?)Palestrina, Pope Marcellus Mass: Gloria Movement (published 1567)

Group 3: Baroque MusicStrozzi, Amor dormiglione (published 1651)Purcell, When I am laid in earth (Didos Lament, from Dido and Aeneas, 1689)

How do the pieces you have chosen either resemble one another or differ, in terms of some fundamental elements of form and style? When you listen to each piece individually, which stylistic elements and formal principles seem most important for shaping ones comprehension and response? Is it possible to connect or appreciate these pieces equally in terms of listening value, despite their remoteness from the present and their temporal distance from one another? Why or why not?The essay should run from 1250 to 1500 words. Hand in a hard copy to your recitation instructor by 5 pm on Monday, September 23.

Essays #2 and 3 The second and third essays will ask you to compare pieces from the eighteenth-, nineteenth- and twentieth-century repertoires. You will receive separate instructions describing the particular requirements for each assignment, including the revision of essay 2.

The Writing CenterThe Writing and Communication Center (12-132) offers you free professional advice from published writers about oral presentations and about all types of academic, creative, and professional writing. To schedule an appointment, go to http://web.mit.edu/writing and click on the yellow sunburst. If you cannot find an open appointment slot, do not despair. There are always cancellations on the day of the appointment (sometimes as many as fifteen cancellations in one day). Click on the Wait List (the blue strip that says, Is the time that you want already reserved?). Whenever a cancellation occurs on that day, you will be automatically notified by email. Because several people might receive that same message, go online ASAP to schedule that open spot; 96% of clients who want an appointment end up with one if they use the Wait List. If you cannot find an appointment, you try dropping in or try the Online Tutor at http://web.mit.edu/writing/Center/onlinetutor.html . The Centers hours are Monday-Thursday, 9:00 a.m.-9:00 p.m.; Friday 9:00 a.m.-6:00 p.m.; and Sundays, 5:00-9:00 p.m.

Ima MusicloverMIT 21M011 Essay 1September 4, 2013 [or, 4 September 2013]

Formatting Your Papers

1) Note the position and format of the name-class assignment-date block in the upper right-hand corner. It is right-justified, single-spaced, and in 12-point type.

2) Note the 14-pt. size, bold typeface, centered, for an appropriate title. This is in a sans-serif type face called Helvetica, which is suitable for titles but not for text.

3) Text should be set in a serif type face such as this one (Baskerville), Times, or Bookman, etc. Do not use justified margins on both sides. Simply justify the left margin. The text should be in twelve-point type with double spacing between lines. The text should be in twelve-point type with double spacing between lines. The text should be in twelve-point in twelve-point type with double spacing between lines. All work and no play makes Jack a dull boy.

4) A paper of six or fewer pages needs no extra title page or added blank pages. Staple pages together in the upper left corner.

5) Be sure to put a header or footer in smaller size that has your last name and the page number on all pages after the first. It should be positioned either in the upper right hand corner or centered at the bottom. This is a necessary requirement for all written work.

6) Quotation marks come after commas and periods: i.e., music, or music? Please learn the use of the em-dash on your computerthat is, avoid using a hyphen or two hyphens in place of an em-dash. There are no spaces before or after an em-dash.

7) When using quotations or citations the following formats should be used (note the placement of the punctuation):

Haydns Symphony No. 100, the Military, was first presented in 1794 during his second London visit (F&M 218). or, The Military Symphony was presented in London in 1794 (F&M 218). or, According to Forney and Machlis, in 1794 Haydn presented his Symphony No. 100 in London (218).

Then, having used these citations in the text, include the book (or other reference materials) in a bibliographical citation in the following format at the end of your essay:

Kristine Forney and Joseph Machlis. The Enjoyment of Music. Eleventh edition. New York: Norton, 2011.

The formatting above is a standard one for end bibliographies. Footnotes usually have a different style, but you shouldnt be using them for the papers you write for 21M011. The papers are too short to warrant them.

8) If you happen to quote a source from the Internet, use the title of the entry and include the authors name (often at the very end). You must both cite the authors name and address of the Internet source. Sources in which no controlling author is named may not be used.

Michael Norriah. Beethoven, under Biographies of classical composers. http://www.cl.cam.ac.uk/users/mn200/music/composers.html9) Use italics for all non-generic titles of pieces. Ave Maria, a motet by Josquin Desprez (1480s?)Bartks Concerto for OrchestraMozarts Piano Concerto No. 17 in G Major, Movement 1Beethovens Symphony no. 3 in E-flat major (Eroica)Mozarts opera buffa, Cosi fan TutteErlknig by Franz Schubert, is a masterful song, written when he was 17! It is based on the poem Der Erlknig, a ballad by Goethe published many years earlier.

10) Use italics for all foreign words or phrases:She sang alleluia out of tune, over and over again, ad nauseam. In the correction of your paper, an underlined word with a T means use a thesaurus, or simply that the word seems ill-chosen for your intended meaning; S means spacing; Sp means spelling; P means punctuation; LC means lower case; UC means upper case (capital letters); and means that a new paragraph should begin at that point.