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MUHL 3302

History of Music since 1750

Spring 2016 T, R 9:40–11:05, rm 113

Janet K. Page, instructor

Office: rm 299Office hours: T 1:00pm–3:00pm; R 11:20am–12:30pm; other times by chance or appointment

e-mail jpage2@memphis.edu

Texts:

Mark Evan Bonds, A History of Music in Western Culture, 4th ed. Upper Saddle River, NJ: Prentice Hall, 2013.

Mark Evan Bonds, Anthology of Scores to A History of Music in Western Culture, 4th ed., vol. 2. Upper Saddle

River, NJ: Prentice Hall, 2013.

Kate L. Turabian, et al., A Manual for Writers of Research Papers, Theses, and Dissertations. 8th ed. Chicago:

University of Chicago Press, 2013.

Naxos database, Playlists for Bonds, A History of Music in Western Culture, and supplements.

Week  Topic  Reading  Listening  Assign-

ment 

19 Jan The

Enlighten-ment & the

Classical

style

Part 4,

Prelude &Chpt 11

Monn, Symphony in B flat; Stamitz,

Symphony in D; J. C. Bach, Sonata in D;C. P. E. Bach, Fantasia in C minor

26 Jan Instrumentalmusic in thelate 18th

century

Chpt 12 J. Haydn, String Quartet in C; W. A. Mozart,Piano Concerto in D min, K. 466; Haydn,Symphony No. 103

2 Feb Vocal music

in the late18th century

Chpt 13 Pergolesi, La serva padrona, excerpts; Gluck,

 Alceste, excerpts; Mozart, Don Giovanni,excerpts

9 Feb The 19th

century

Part 5,

Prelude &

Chpt 14

Salon/

Parlor

concert

16 Feb Orchestral

music in the19th century

Chpt 15 Beethoven, Symphony no. 3; Berlioz,

Symphonie fantastique, Mendelssohn,Overture to a Midsummer Night’s Dream 

23 Feb Pianomusic,

chamber

music, song

Chpt 16 Beethoven, Piano Sonata in C, op. 53(Waldstein); Schubert, Erlkönig, Prometheus,

Wanderers Nachtlied ; Settings of Goethe’s

Kennst du das Land ; Foster, Beautiful

 Dreamer; Chopin, Mazurka in A min, op. 17,

Paper 1due 2/23

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no. 4; R. Schumann, Carnaval 

1 Mar Dramatic

music,choral

music

Chpt 17 Rossini, Il barbiere di Siviglia, excerpts;

Verdi, Rigoletto, excerpts; Wagner, Tristanund Isolde, excerpts 

Midterm

exam: 3Mar

5–8Mar

SpringBreak

10 Mar Orchestral

music,

1850–1900

Chpt 18 J. Strauss, An der Schönen blauen donau;

Sousa, Washington Post ; Tchaikovsky, Swan

 Lake, excerpts; Brahms, Symphony no. 1, 4thmvmt;

Mahler Symphony no. 1, 3rd mvmt; Debussy,

Prélude à l’aprés-midi d’un faune

22 Mar The 20th

Century

Part 6,

Prelude &Chpt 19

29 Mar New Sounds Chpt 20 Debussy, Prélude à l’après-midi d’un faune;

Ives, The Cage, The Things Our Fathers

 Loved ; Stravinsky, Le sacre du printemps; Bartók, Diminished Fifth; Six Dances in

 Bulgarian Rhythm; Villa-Lobos, Bachianas

 Brasilieras no. 4; Cowell, The Banshee 

Paper 2

due 3/31

5 Apr BeyondTonality

Chpt 21 Schoenberg, Pierrot lunaire, excerpts, PianoSuite, op. 25; Berg, Wozzeck , excerpts;

Webern, Five Pieces for String Quartet , op. 5,

no. 412 Apr The Tonal

TraditionChpt 22 Tailleferre, Concerto for Harp and Orchestra;

Bartók, Music for Strings, Percussion, and

Celesta; Film Music; Copland, Rodeo,

excerpts; Messiaen, Quartet for the End of

Time; Shostakovich, String Quartet no. 8;Bernstein, West Side Story, excerpt

19 Apr Current

after 1945

Chpt 23 Penderecki, Threnody; Messiaen, Mode de

valeurs et d’intensités; Cage, 4’33’’; Le Caine,

 Dripsody; Reich, Nagoya Marimbas; Pärt, OWeisheit  

26 Apr What’snew?

Paper 3due 4/26

Final exam: Tuesday May 3, 10:30–12:30, room 113

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Papers

(50% of your grade: each paper is worth 1/6 of your grade)

Each of the three papers will be 5–8 pages in length (double-spaced, 12-point type, 1-inch

margins, Times New Roman or Arial font), and each will focus on a single piece of music, which

you may choose with the following stipulations:

Paper 1 (due February 23) must be on a piece written between 1750 and 1800, paper 2 (due

March 31) on a piece from the 19th century, and paper 3 (due April 26) on a piece written after

1900.

The pieces must not be from the Anthology, from class, or from your theory class.

At least one must involve a full orchestra, and one must be for five performers or fewer.

For pieces of more than one movement, you should write a bit about the composition as a whole,

but focus on one movement or scene for your analysis.

Each paper should represent your own effort to come to terms with the piece of music. You

shouldn’t depend too much on scholarly literature, but whatever outside sources you use, you

must cite properly in footnotes, using Turabian style. You’ll find help in Kreitner’s Guide, on the

School of Music website (Current Students! Style Guides).

In general there should be a page or so on the composer and where the piece fits into his or her

life’s work. But most of your text should be on the piece itself: what makes it distinctive, whatmakes it hang together as a work of art, what is typical or atypical of its genre and time, etc.

You may use Grove Music Online (Oxford Music Online), JSTOR and IIMP databases ofarticles, and e-books, as well as (of course) books and journals in the library. If you think ofusing any internet source besides those listed above, you must also submit an evaluation of

the source, explaining why it is reliable, suitable, and better than anything else. If you fail to

do this, your paper will not be graded. Your evaluation should be a paragraph or so in length, and

it too will be graded.

Work from reliable scholarly editions—the composer’s most up-to-date collected works, if

possible. Include the music you discuss with your paper. A photocopy is probably easiest, but

if it’s a smallish book (say a miniature score) you can clip your paper to it, or hand in the wholething in a big envelope.

Extensions and late papers: No individual extensions will be granted without a written medical

excuse or other really good reason. Papers turned in after the due date will lose one letter grade.

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Exams

(25% of your grade)

The midterm exam will cover material studied up to that time. The final exam will cover

material studied since the mid-term. The exams will be mostly objective, and each will include alistening section; each will also include at least one problem-solving exercise, the identification

of an unknown piece.

Other work

(25% of your grade)

In-class and short take-home writing assignments and quizzes will be given throughout the

semester.

Incompletes: No incompletes will be given except in the case of serious illness.

The University’s policy on plagiarism and other forms of academic misconduct—which are, of

course, not permitted—may be found at

http://www.memphis.edu/studentconduct/misconduct.htm. If you are in doubt about anything,

please consult Dr. Page.