Dr. Dan Lipori's Website: Music 373 Music History II.

Music 373-01. Music History: 1600-1800

Daniel Lipori, Instructor
Winter 2010 Quarter
MWF 9-9:50 AM, Music Room 117

1. OFFICE HOURS: TBA
Office Phone: 963-1242
Email: liporid@cwu.edu
Web Page: http://www.cwu.edu/~liporid

Also whenever my office door is open, feel free to come in if you have any questions or problems concerning this course.

2. COURSE DESCRIPTION AND GOALS:

Music 373 is an introductory survey of the European art music of the Baroque and Classical periods.
Class time will be spent discussing historical background on the composers and musical styles of these periods. There will be several listening and score assignments to accompany the lectures. Reading assignments will be given daily to accompany the lectures.

A student earning a grade of C or higher will be able to:

1. identify the different types of music available during the Baroque and Classical periods, either by music score or listening example. This will be assessed by correctly identifying music score and listening examples on class exams.

2. demonstrate knowledge of the different musical forms and genres of the Baroque and Classical periods, how they evolved, and their relationship within the culture and society of the time. This will be assessed by the written portion of the class exams as well as by analytical and compositional assignments.

3. demonstrate knowledge of the primary composers of the Baroque and Classical periods. This will be assessed by being able to identify musical compositions of various composers as well as demonstrating knowledge of important biographical information on each.

4. write in a scholarly manner about various styles of music. This will be assessed by short papers showing a strong command of the material. Theses papers will be graded not only for their content, but also for their proper format and structure.

3. TEXTS AND RESERVE ITEMS:

a. Required Texts:

Seaton, Douglass. Ideas and Styles in the Western Musical Tradition. New York: McGraw-Hill, 2007.

Burkholder, J. Peter, and Claude V. Palisca, eds. Norton Anthology of Western Music, Volumes 1 and 2. New York: Norton, 2010.

Burkholder, J. Peter, and Claude V. Palisca, eds. Norton Recorded Anthology of Western Music, Volumes 1 and 2. New York: Norton, 2010.

b. Reserve Items (To be held in Music Library):

Norton Recorded Anthology of Western Music, Volumes 1 and 2. (Recordings also available on my Blackboard site) (Also available for purchase)

Weiss, Piero and Taruskin, Richard, eds. Music in the Western World: A History in Documents. New York: Schirmer, 1984.

4. COURSE REQUIREMENTS AND GRADING:

a. Daily assignments:

(1) Assigned Readings from primary text and other sources as needed.
(2) Listening selections.
(3) Score study of items.

b. Evaluation:

(1) Baroque Exam 100 points.
(2) Assignment 1 50 points.
(3) Assignment 2 25 points.
(4) Assignment 3 50 points.
(5) Assignment 4 25 points.
(6) Final Exam (mainly Classical with some Baroque) 150 points.

c. Grading:

400 total points possible
365-400 points = A
360-364 points = A-
355-359 points = B+
325-354 points = B
320-324 points = B-
315-319 points = C+
285-314 points = C
280-284 points = C-
275-279 points = D+
240-274 points = D
0-239 points = F

d. Absences:

Attendance is not mandatory but strongly encouraged. If you know prior to a class meeting that you will be absent, please let me know beforehand so we are not waiting for someone to start a lecture. You are responsible for obtaining all materials covered during missed classes.

Verbal Changes to assignments, due dates, etc. given in class will always take precedence over what is written in the syllabus.

e. Late Assignments:

Personally, I feel that there is no good reason for turning an assignment in after the scheduled due date, other then your death. But, if something else should come up, here are my policies. An assignment is considered late if it is turned in after 12pm for a morning class or after 5pm for an afternoon class the day the assignment is due. Assignments will be lowered one letter grade for each class day late. A weekend will count for at least two days late. No assignments will be accepted after the scheduled final exam for the class. If you email an assignment to me and I cannot open it with the programs I have on my computer, then it will be considered late until a readable copy is obtained, even if the original email was sent before the due date.

5. ASSIGNMENTS:

You will have two assignments pertaining to each period of music studied. Assignment 2 is a fugue analysis, while Assignment 4 is a sonata from analysis. For the other assignments you will choose one option from several choices. More specific details concerning assignments are given later in this syllabus. Of course with all assignments, you are welcome to turn them in before the due date or I am happy to look over an assignment a day or two before it is turned in to make sure you are on the right track.

6. PROPOSED CLASS SCHEDULE:

Week 1: 1/6, 1/8

Introduction
The Arrival of the Baroque (pp. 175-90) (WT 171-74) (Listening # 66, 67)

Week 2: 1/11, 1/13, 1/15

Monteverdi and Early Italian Opera (pp. 193-200) (WT 1-3; 174-78) (Listening #’s 69, 70)

Week 3: 1/18, 1/20, 1/22

Mon. 1/18 MLK Day. No Class

Other Vocal and Sacred Music (pp. 200-06) (Listening #’s 74, 76, 77)
Early Instrumental Music (pp. 206-11) (Listening #’s 79, 85)

Week 4: 1/25, 1/27, 1/29

French and English Opera (pp. 213-23) (WT 197-200) (Listening #’s 82, 86)
Instrumental Forms (pp. 223-35) (Listening #’s 81, 91, 93, 94)

Fri. 1/29 Assignment 1 Due

Week 5: 2/1, 2/3, 2/5

Handel (pp. 237-45) (Listening #’s 99, 100)
Bach (pp. 245-55) (WT 246-48) (Listening #’s 96, 98)
Moving to Classic (pp. 257-59) (Listening # 95)

Fri. 2/5 Assignment 2 Due

Week 6: 2/8, 2/10, 2/12

Catch Up/Review

Wed. 2/10 Baroque Exam

Fri. 2/12 WMEA All State. No Class

Week 7: 2/15, 2/17, 2/19

Mon. 2/15 President’s Day. No Class

New Currents in the Early Eighteenth Century (pp. 259-68) (Listening #’s 101, 103, 106, 107, 108)
Mannheim (pp. 268-73) (Listening # 109)

Week 8: 2/22, 2/24, 2/26

Early Haydn and Mozart (pp. 275-85) (WT 298-300)
Opera Seria and Reform Opera (pp. 286-88) (Listening # 104)
Instrumental Genres (pp. 288-92)

Week 9: 3/1, 3/3, 3/5

Sonata Forms (pp. 292-99) (Listening #’s 111, 112, 116)
Middle Classic (pp. 301-07) (Listening # 114)
Mozart Operas (pp. 307-13) (Listening # 117)

Fri. 3/5 Assignment 3 Due

Week 10: 3/8, 3/10, 3/12

Beethoven (pp. 313-17; 330-39) (WT 326-29) (Listening #’s 118, 119, 120)
Catch Up/Review

Fri. 3/12 Assignment 4 Due

Wed. 3/17 Final Exam (8-10am)

Assignment 1
Due on or before Friday January 29

Choose one option and prepare a report on the topic of your choice. The length will vary depending on the option but if the option you choose is purely text, it should be between 3-5 pages in length of double spaced type. Be sure to indicate which option you have chosen in the heading of your paper.

Option 1

The Doctrine of Affections

Define the Doctrine of Affections as it pertains to Baroque music and general attitudes regarding music’s expressive power. Consider in your answer whether the doctrine is in any way indebted to language (especially dramatic language); and whether the emotion behind a word is more powerful than the word defining it. Consider also the musical ramifications of such and idea.

Option 2

Early Instrumental Music

Discuss how some of the same tendencies that guided the evolution of Renaissance vocal types into Baroque vocal chamber music genres operated in parallel fashion in instrumental genres during the period.

Option 3

Early Opera

Watch a Baroque opera (at least an hour) (Purcell’s Dido and Aeneas is just about an hour) and list the dramatic functions of each of the musical forces in seventeenth century opera; solo singers, chorus, orchestra. When and how do their different types of musical numbers and styles of singing or playing (1) advance the drama, (2) express affective responses to dramatic situations, (3) provide musical diversion, and (4) punctuate the dramatic structure? I do not need a synopsis of the plot. Talk about scenes in relation to the items mentioned above.

Option 4

Fugue

Compose a four voiced fugue based on a theme given to you by me! After the exposition, you should have at least two full statements of the theme, as well as some episodes and stretto sections. You might want to look at some of Bach’s fugues for examples.

Assignment 2
Due on or before Friday February 5

Fugue Analysis

Each of you will be assigned a different Bach fugue from the Well Tempered Clavier Book 1(You do not need to print out the prelude)Mark in the score:

-All the statements of the fugue subject and the key area of each
-Where the exposition ends
-Where the countersubject is, and any later statements
-Any sections of stretto
-any episodes

Recordings are available on the Blackboard site (As well as copies of the scores!)

Assignment 3
Due on or before Friday March 5

Option 1

Music and Patronage

Choose and answer TWO.
1. Define a patron. How does a patron in the classical European sense differ from today’s ticket or record buyer?
2. Do we today have any system of support for musicians comparable to the old aristocratic patronage?
3. Are certain types of musical styles and structures better suited to development under musical patronage? (Consider length, instrumental and vocal resources used, etc.) Why?
4. Are there non-musical forms of patronage around today similar to Classical European patronage?

Option 2

More Patronage

Watch the 1st act of Mozart’s The Marriage of Figaro. (On reserve in the Music Library) In what ways (textually, dramatically, and musically) does the marriage of Figaro highlight issues associated with patronage? Are any features of Mozart’s life mirrored in the drama?

Option 3

Enlightenment

Describe the basic ideas behind the enlightenment. Within your description, be sure to mention what the enlightenment was and what were some of the primary results of it, especially from a musical perspective.

Option 4

Concerto

Discuss the differences between the concerto in the Baroque and Classical periods. Be sure to mention structural changes as well as harmonic ones. Are there other factors that led to these changes?

Assignment 4
Due on or before Friday March 12

Sonata Form Analysis

Each of you will be assigned a different Mozart String Quartet. (Only first movement, no need to print out other movements!)Mark in the score:

-Everything included in the diagram of sonata-allegro form as discussed in class
-label each section and the key area of each
-this of course includes principal theme, transition, second theme, closing theme, and coda (if it is there) in addition to exposition, development, and recapitulation

Recordings are available on the Blackboard site (as well as copies of the scores!)

Music 373. Music History: 1600-1800