Music 104: Introduction to Musical Studies

Music 104
Introduction to Musical Studies
Fall 2008

Course Outcomes:

This course is designed for entering music majors and addresses concepts and skills appropriate to the academic study of music at the university level. Students can expect a survey of both western and non-western musical styles, a major research project using both library and internet resources, and exercises in focused listening. This course substitutes (for music majors and minors) for University 101: General Education Colloquium, required of all freshmen and transfer students with fewer than 45 credits.

Goals: After taking Music 104, students should be able to:

1) as literate musicians,

a) correctly use the terms of standard musical syntax, including concepts of form, meter, rhythmic and tonal structures.

b) aurally identify structural concepts of common-practice Western art music. These include sonata form, variation form, rondo form and suites, as well as the shorter units of motive, phrase and period.

c) describe specific musical forms, timbres and textures of the non-Western music examples presented in the text.

d) identify the general characteristics of Western art music viewed historically, using examples from works of the Medieval, Renaissance, Baroque, Classical, Romantic and Modern style periods.

2) as literate scholars, effectively discuss in writing the variety of aesthetic experience available from music and other artistic endeavors. The required prose reviews of recitals and concerts should assist in developing a rich descriptive language for musical events.

3) as researchers, explore techniques of research specific to topics in music, using the resources available through the CWU library. This development of information literacy involves discerning the nature of information needed, finding ways to access and evaluate sources, and understanding the many economic and legal issues associated with the use and distribution of music from various sources.

4) as responsible university students,

a) develop a personal academic plan that shows an understanding of the general education and graduation requirements for the desired music degree.

b) effectively use CWU computing resources, the library, the academic resource center and demonstrate awareness of skills needed for time management, studying and test taking at the university level.

c) pass a written examination, demonstrating knowledge of academic requirements and expectations of a music major.

Required Texts:

1. Kerman, Joseph. Listen. Sixth Edition. Boston: Bedford/St. Martin’s, 2008.
The textbook is available at local bookstores. CDs that accompany the text are also available for purchase but you may be able to listen to the examples by other means. The CD set is available for listening in the music library. Check with the music librarian at the service desk located on the fourth floor of the main library, and arrange for a time to do this listening well in advance of the class when it will be discussed. Recordings of the listening selections will also be made available through Blackboard.
2. University Catalogue.
3. Advising Handbook.
You should have copies of these from pre-registration and Wildcat Weekend meetings.

Format:

Music 104 is a lecture/discussion class, with emphasis on developing specific skills that lead to success as a music major. The class meets three times each week, with the expectation that you will need about two hours of preparation for each class session. A substantial amount of writing is included to broaden your ability to discuss the aesthetic experience. While most assignments will be submitted by paper copy, some assignments may require email transmission from your CWU email address. Notices regarding assignments may also be sent to your CWU mail address, so it is important to check it regularly during the quarter.

Grading:

Letter grade assignments based on total points for the quarter as follows:
90% and above = A, A-
80% - 89% = B+, B, B-
70% - 79% + C+, C, C-
60% - 69% = D+, D, D-
59% and below = F

Music 104 Grading Criteria:

Exams 35% of Grade
Exam # 1: 10% of Grade
Exam # 2: 10% of Grade
Final Exam: 15% of Grade
Recital Reviews: 10% of Grade
Music Research Project 25% of Grade
Music Analysis Projects 10% of Grade
Univ. 101 Requirements 20% of Grade

Please refer to the University Catalogue pages 30-32 for information regarding CWU’s Grading Policies and related topics. Your instructor will discuss grading criteria, policy regarding absence from class and suggestions for success in completing assignments. Guidelines regarding all written assignments, as well as a copy of this syllabus, are posted on Blackboard http://courses.cwu.edu/

Attendance:

Attendance is mandatory for the three evening meetings scheduled on 10/9, 10/23 and 11/13. Attendance for other class meetings will be determined by the individual instructor.

Other Policies:

For issues regarding student rights and responsibilities, students with disabilities, and the policy statements on gender equality, sexual harassment, drug and alcohol policy, etc. you should consult Appendices A - G (pages 280-293) of the University Catalogue. Submitting and taking credit for any work that was created by another, without giving citation of your source, is considered to be plagiarism and is a serious legal offence. Please be careful to document all sources of information, especially when submitting research projects. MLA documentation will be discussed as part of the music research project. There are several copies of the MLA Handbook available in the music library for your reference. Your section instructor may ask for a different format for citations. Each section instructor will go over any specifics they require in class.

Conferences:

Information regarding office hours and contact information will be given by each individual instructor. If you are having difficulty understanding the assignments, following class discussion or writing papers, you should address this problem sooner rather than later. The Academic Achievement Program (Hertz 205) provides some assistance with study and writing skills. You can also work on mastering material in the Listen text by consulting the Bedford/St. Martin’s website at http://www.bedfordstmartins.com/listen.

Exams:

Two exams are scheduled during the quarter (see your class schedule). The final exam will occur during the exam week according to the time your section of MUS104 meets. Consult the Class Calendar and Class Schedule to determine this time.

Final Exam Times are:

Section 1: Tuesday Dec. 9, 8-10am
Section 2: Wednesday Dec. 10, 8-10am
Section 3: Thursday Dec. 11, 12-2pm
Section 4: Wednesday Dec. 10, 12-2pm

Written Reviews of Music Department Events:

All music majors must attend at least seven music department recitals/concerts in the music building each quarter, and music minors must attend four. Admission to all music department programs (except jazz nights) is free with your student ID card.

The requirement for this class is that you write reviews of two department sponsored recitals or concerts, excluding jazz night programs. The writing assignment is an opportunity for you to put into words your impressions and responses to the performance of music, and based on the idea that when you must write something about music, one tends to listen more actively. Possibilities for programs include faculty and guest artist recitals, student recitals and ensemble performances in which you are not a participant. Recitals and concerts held in other venues require instructor approval.

The two required reviews of music department programs will be evaluated on your success in describing the musical experience. The quality of your active listening should be clear from the tone, syntax, descriptive language and depth of your observations. If you choose to write extensively about only one major selection of the program, then you should place it in context with the other selections. Organize your ideas in a logical manner, incorporating descriptive language and terms appropriate to academic writing. An outline for recital reviews is given later in the syllabus.

Written Review of One Non-Music Department Event:

This review should summarize an activity (art show, drama production, poetry reading or academic lecture not required for another class) and should be similar in format to the concert review in tone and depth of observation. That is, it is not to be merely a description of the event, but a considered evaluation of the content. If you are in doubt about what kind of event will meet the requirement for this assignment, please check with your instructor. A worship service, a film, a sports event or rally may not be used for your review. This event must occur on the CWU campus, as part of the purpose of this project is to get students involved within the CWU community.

For All Reviews:

Paper copies of reviews are acceptable. Reviews should be between 3-5 pages of double spaced type. Be sure that you include your name, date of submission, and date of recital or concert. You also can attach the actual program. It is due on or before the hour of your class on the date due.

Class Plans and Assignments:

All listening and reading assignments should be completed as it is scheduled. Often they have to be completed prior to class. For the listening preparation, it is helpful to follow the listening chart in the text for each selection, and take notes for yourself on texture, mode, form, genre and style. You will be expected to place all Western classical music examples in the appropriate historical period. While it would be ideal to have time to listen to and study all of the examples outlined with listening charts in our text, you are only required to be familiar with the those assigned in the Class Schedule and listed in the Listening List. The numbers in the Listening List do not refer to numbers on the CDs.

MUS 104 Introduction to Music Studies Fall 2008

Class Schedule

Week 1
TOPICS: Basic Elements of Music.

9/22–2:00 p. m., all sections.
Information on convocation and recital attendance; scheduling auditions, lessons, ensembles, juries; music department undergraduate handbook; use of department equipment and facilities; declaration of major and planning for classes offered in a two year cycle; adding or dropping classes in change of schedule period (before Sept. 30), Student Health and Counseling Center, the DHC, SSS, DSS and AAC, ”active” listening and preparation necessary for first class.

9/24
Due: WWW Packet
In Class. Introduction. Course requirements and grading for MUS 104.
Description of Blackboard.
Homework.
Reading: Ch. 1 (focus on dynamics and tone color);
Ch. 2 (focus on rhythm, meter, and tempo);
Ch. 3 (focus on melody, harmony, texture, and tonality);
Ch. 4 (focus on musical form and its factors: repetition,
contrast, and variation; musical genre and musical style.

9/26
In Class. Chs. 1-4. Basic Elements of Music: dynamics, tone color, rhythm,
meter, tempo, melody, harmony, texture, tonality, musical form and its factors (repetition, contrast, and variation), musical genre and musical style.
Homework.
Reading: Ch. 7 (focus on style features of Early Baroque music –
pp. 98-100, and instrumental genres: dance suite, fugue, variations, and passacaglia, pp. 108-111.)
Listening: Purcell, opera Dido and Aeneas, Dido’s aria “When I am laid”.
Read the analysis of this basso ostinato form on pp. 106-107.
Monteverdi, opera Coronation of Poppea

Week 2
TOPICS: The Baroque Era: Social Life, Culture and Music. Style Features, Genres, and Forms of Baroque Music.

9/29 and 10/1
In Class. Ch. 7. The Baroque Era: Social life and culture. Style features of
Baroque music: Rhythm and meter, basso continuo texture, functional harmony. Genres: dance suite, fugue, variations, and passacaglia. Basso ostinato form.
Homework.
Reading: Ch. 8 (read the whole chapter carefully; pay special attention
to music life in the early 18th century – pp. 123-125, and style features and the emotional world of Late Baroque music – pp. 125-130.)
Listening: Vivaldi, Violin Concerto in G, second movement.
Read the analysis of this basso ostinato form on pp. 135-36.

10/3 – Library Day for Univ. 101 Library Skills. Meet in lobby of library.
Homework.
Assignment: Library orientation assignment. (Due: 10/8).

Week 3
TOPICS: Baroque Concerto and Ritornello Form. Fugue.

10/6
In Class. Ch. 8. Late Baroque: musical life. The Baroque orchestra: solo
concerto and concerto grosso, ritornello form. The continuo.
Homework.
Reading: Ch. 9 (focus on Baroque concerto, pp. 132-42;
don’t miss biographies of Vivaldi and Bach on p. 136 and
p. 143!)
Listening: Vivaldi, Violin Concerto in G, first movement – pp. 134-135.
Bach, Brandenburg Concerto No. 5, first movement –
pp. 141-142.
NOTE: When you listen to both concerti, answer the questions:
1) What are the style differences between solo concerto and concerto grosso?
2) What are the differences between Vivaldi’s and Bach’s styles?

10/8
DUE: Library orientation assignment.
In Class. Ch. 9. Baroque genres: solo concerto and concerto grosso.
Movements plan. Ritornello form. Fugue as a genre and as a form.
Homework.
Reading: Ch. 9 (focus on fugue and dance suite, pp. 142-149.)
Listening: Bach, The Art of Fugue, Contrapunctus 4, pp. 146-147.
Bach, Orchestral Suite No. 3 in D, Air and Gavotte –
pp. 150-152.
Analysis: Fugue Assignment
NOTE: Listen to the fugue and mark all subject entrances in all voices. The score will be provided. (Due: 10/17)

10/9 (Thursday) – Evening Meeting, 7:00 - 7:50 p.m.
Instructions for writing review of non-music arts/humanities event, study skills and time management issues, Gen Ed, CAPS, SAFARI.

Week 4
TOPICS: Baroque Dance Suite and Binary Form. Baroque Operatic and Oratorio
Aria and da capo Form. The Lutheran Chorale: Forms Based on cantus firmus.

10/13
In Class. Ch. 9. Structure of the fugue. Baroque dance suite: movement plan
and Baroque dance/binary form. Form with trio.
Homework.
Reading: Ch. 10 (focus on da capo form in Baroque operatic aria –
pp. 157; don’t miss biography of Handel on p. 160!)
Listening: Handel, opera Julius Caesar, Sextus’ aria “La giustizia” –
pp. 158-159.
Reading: Ch. 10 (focus on the Lutheran chorale and different
settings of cantus firmus – pp. 164-168).
Listening: Bach, Cantata No. 4, “Christ lag in Todesbanden”, Stanza 3,
Stanza 4, and Stanza 7 – pp. 165-167.
Bach, Chorale Prelude “Christ lag in Todesbanden” –
pp. 167-168.
NOTE: After you listen to these compositions, describe different settings of the same melody in every case.
Handel, Messiah, “There were Shepherds” and “Glory to God”

10/15
In Class. Ch. 10. Baroque aria and recitativo (secco and accompagnato).
Da capo form. The Lutheran chorale: forms based on cantus firmus.

10/17
DUE: Fugue Project
Catch Up/Review for Exam 1

Week 5

10/20– Exam # 1, The Baroque Era.

10/22– Music Library Research Day. Meet in Music Library

10/23 (Thursday) – Evening Meeting, 7:00 - 7:50 p.m.
Meeting with your advisor during advising week, developing your major and academic plan, registration for Winter 2009, advising guidelines from the music education coordinator; music library research project instructions.

Week 6
TOPICS: Aesthetic of Classicism. Style Features, Genres, and Forms of Classical Music. Sonata Form.

10/27
DUE: Recital Review #1.
Discussion of This I Believe
Homework.
Reading: Ch. 11 (read the entire chapter carefully; pay special attention to
style features of Classical music – pp. 175-179, and form in Classical music – pp. 180-181.)

10/29
In Class. Ch. 11. The Enlightenment: Social life culture. Aesthetic of
Classicism. Style features of Classical music.
Homework.
Reading: Ch. 12 (focus on the symphony genre, its movements plan, a
form used in every movement; however, your special concern must be sonata form with its detailed structure – pp. 182-185; don’t miss biography of Mozart on p. 189 and Haydn on p. 195!)
Listening: Mozart, Symphony No. 40 in G minor, first movement.
Haydn, Symphony No. 95 in C minor, first movement.
NOTE: While you listen to the movements, follow the reading charts on p. 191, 193, 198, and 200.

10/31
In Class. Ch. 12. The symphony: Classical orchestra, movements plan, and
forms. Sonata form.

Week 7
TOPICS: Forms of Classical Music. Sonata Form. Opera in Classical Period.

11/3
DUE: Academic Plan.
In Class. Ch. 12. The symphony: Classical orchestra, movements plan, and
forms. Sonata form.
Homework.
Reading: Ch. 13 (read about other Classical genres: the sonata,
pp. 202-203, the string quartet – pp. 209-210; especially focus on the Classical concerto and used in this genre concerto sonata form – pp. 204-205; memorize the diagram of this form on p. 201.)
Listening: Mozart, Piano Concerto in A, K. 488, first movement.

11/5
In Class. Ch. 13. Concerto Sonata form.
Homework.
Reading: Ch. 13 Opera in the Classical Period.
Listening: Mozart, Don Giovanni
Analysis: Using the diagram of sonata-allegro form on p. 185, analyze the score handed out in class. Mark all sections, themes, and key areas right in the copy of the score (the copy will be provided).

11/7
In Class. Ch. 13. Opera in the Classical Period
Homework.
Reading: Ch. 14 (pay attention to the unique position of Beethoven between Classicism and romanticism, the French Revolution that formed Beethoven’s character, life attitude, and his symhonic style; focus on innovative interpretation of sonata form – pp. 227-37)
Listening: Beethoven, Symphony No. 5 in C Minor, all movements, but focus on movement 1

Week 8
TOPICS: Transition to Romanticism: Beethoven’s innovative approach to Classical genres and forms.

11/10
DUE: Recital Review #2.
In Class. Ch. 14. Transition to Romanticism: Beethoven’s innovative
approach to Classical genres and forms. Dramatization of sonata form.
Homework.
Reading: Ch. 14 (read the analysis of variations and extended ternary forms in the second and third movements of Beethoven’s Symphony No. 5)
Listening: Beethoven, Symphony No. 5 in C Minor, movements 2 and 3.

11/12
DUE: Sonata Form Project.
In Class. Ch. 14. Beethoven’s dramatization of slow movements and scherzo:
double variations and extended ternary form.
Review for Exam No. 2

11/13 (Thursday) – Evening Meeting, 7:00 - 7:50 p.m.
Finals week schedules, juries. Pre-view of class evaluation procedures.
A Take Home Exam on Academic Requirements!

Week 9
TOPICS: Romantic Aesthetic and its Influence on Musical Genres and Forms.

11/17- Exam #2

11/19
Research Project Question and Answer. Bibliography Format
Homework.
Reading: Ch. 15 (read the entire chapter very carefully!)

11/21
In Class. Ch. 15. Social and cultural life in the 19th century. Aesthetic of
Romanticism. Style features of Romantic music. Program music and its influence on music genres and forms.
Homework.
Reading: Ch. 16 (focus on the Lied and through-composed and strophic
forms – pp. 254-258, piano miniatures and modified ternary and “free” forms – pp. 264-268. Read the biographies of Schubert on p. 257, Schumann on p. 262 and Chopin on p. 267.)
Listening: Schubert, Erlkönig, as an example of through-composed form.
Schumann, Im wunderschönen Monat Mai, as an example of strophic form – pp. 259-60.
Schubert, Moment Musical No. 2 in A-flat, as an example of extended ternary form.
Schumann, “Eusebius” from Carnaval, as an example of free form.
Chopin, Nocturne in F-sharp, Op. 15, No. 2, as an example of modified ternary form.

Week 10
TOPICS: “Liberation” of form in Romantic Era. Miniature Forms

11/24
DUE: Music Research Project.
In Class. Ch. 16. Miniatures: strophic and through-composed forms in Lieder;
extended and modified ternary and “free” forms in piano pieces.

11/26– Thanksgiving. No Class.
11/28– Thanksgiving. No Class.

Week 11
TOPICS: “Liberation” of form in Romantic Era. Minature Forms
“Liberation” of Form in Romantic Era. “Grandiose” forms.

12/1
DUE: Take Home Exam on Academic Requirements
In Class. Ch. 16. Miniatures: strophic and through-composed forms in Lieder;
extended and modified ternary and “free” forms in piano pieces.
Homework.
Reading: Ch. 16 (read about Fantastic Symphony by Berlioz and focus on
unusual movements plan of the Symphony and free form based on sequence of episodes of the last movement – pp. 269-275. Read the biography of Berlioz on p. 271!
Listening: Berlioz, Fantastic Symphony, fifth movement.
NOTE: After listening, answer the questions:
1) Why is such free music form more appropriate to this symphony rather than standardized rondo or sonata form?
2) What keeps such free progression of contrasting episodes from collapsing?

12/3
DUE: Non-music event review.
In Class. Ch.16. Free forms of program compositions. The program
symphony.

12/5
In Class. Final Exam Review.

GUIDELINES FOR THE RECITAL REVIEWS
DUE ON OR BEFORE OCT. 27 AND NOV. 10

Identify the concert you attend. (Performer(s), date of concert, location)
Whatever concert, or musical event you choose to attend, you will be participating in and observing a social situation in which music is an integral part. Rather than focus solely on the music presented (the sound), you should regard the entire event as the subject of inquiry. You might want to make use of a simple version of the model the late Alan Merriam offers in his book The Anthropology of Music. He recommends examining all music from a three-point perspective: 1) as sound, 2) as concept, 3) as behavior.

The following questions, organized according to Merriam’s three concerns, should help you focus your observations. As you organize your thoughts, consider how your perspective on these concerns might change depending on whether you view them from the standpoint of the performer, the audience (or any participant), or the organizer(s). You do not necessarily need to comment on each of the sub-points listed below but do talk some about each of the three main sections.

Music as Sound:

1. What music is presented? (style(s), repertoire- i.e. selections of works or songs).
2. How do the musical selections performed compare to examples discussed in class and in your text? Or are there no similarities? Make specific comparisons/contrasts, mentioning titles of works, composers, and relevant characteristics.
3. Does the music encourage certain kinds of behavior?

Music as Concept:

1. Why do you think the performer(s) have chosen the repertoire performed?
2. Why do you think the organizers have chosen these performers, this music, this locale? (You might not know the answers to these questions, but you can make educated guesses as to why these items were chosen.)
3. Does this music, or its location, or the audience (or any combination of these conditions) project a particular attitude or perspective?

Music as Behavior:

1. How do people (all categories) act at this event?
2. Who interacts with whom and when? (performers among themselves, performers with other participants, participants among each other, etc.)
3. What role does the music play in encouraging (or discouraging) interaction? (dancing, sitting, etc.)
4. Does there appear to be any prescribed or expected behavior (rules)?
5. What role does the locale play in determining musical behavior?
6. Are there important props for this event? (printed material, decorations, etc.) How do people respond to them?
7. How are people dressed? Does their dress match other features of the event?

Other Items Perhaps to Discuss/Describe:
-Do you hear any form/pattern with a composition played?
-Describe some of the music performed as best you can.
-Did you enjoy the performance? Explain. (It is allright to give a bad review)

Last Updated:September 12 , 2008}
Contact Dr. Dan Lipori at liporid@cwu.edu

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