SYLLABUS FOR MUSIC FROM 1750 TO 1850
MUS 353-01 MR 8:30-9:50 AM
MUS 353-02 MR 10:00-11:20 AM
ROGER W. MCKINNNEY
PROFESSOR OF CLARINET AND MUSIC HISTORY
This course is an historical overview of musical development from the time of Haydn, Mozart and Beethoven through that of Schumann, Chopin, Mendelssohn and Berlioz. There will be a strong emphasis on style, structure and musical genre. Composers of both major and minor significance in this era will also be examined. A strong music listening routine in class as well as outside assignments with special attention to the use of scores is of vital importance.
Grades for the course will be based on the following:
1. Class participation: 15%
2. Semester paper: 10%
3. Three exams (25% each): 75%
Exam dates will be announced after the work is finished for each composer group.
Each exam will consist of:
a) Music identification questions in the form of a listening part.
b) Objective style questions as well as essay form.
4. A research paper of an approved topic, having the weight of 15% of the final grade. The research topic (written on a 3 X 5 card) must be approved by me before you begin the paper. The topic is due on September 23, 2013. The grade for the paper will be judged by the following criteria:
FOOTNOTES, A TITLE PAGE AND BIBLIOGRAPHY PAGE ARE MANDATORY.
Manuals by William Campbell or Kate Turabian are preferred. Papers should be at least 10 pages in length and include a titled cover-page. Please read and refer to an appropriate manual for the proper format. The research topic (written on a 3x5 card) must be approved before you begin your work. RESEARCH INFORMATION SHOULD BE COMPREHENSIVE AND TAKEN FROM IMPORTANT SOURCES IN THE FIELD OF YOUR TOPIC. VOLUMES LISTED IN THE 'BOOK LIST' MAY ALSO BE USED. COMPUTER GENERATED CONTENT INFORMATION IS UNACCEPTABLE, AND IF USED WILL GENRATE A FAILING GRADE FOR THE PROJECT.
NOTE: To receive a passing grade for the course, all students must submit a final paper. It must conform to the above guidelines and submitted on the last day of class. There will be no extensions to this time frame.
5. Class participation means being prepared to lead constructive discussions on the topics at hand. Failure to participate can result in a significant reduction in the class participation grade.
6. Course work covered in lectures and assignments.
7. Periodic quizzes and/or take-home exams on assigned reading and related topics.
8. Listening assignments.
Class attendance in this course is of vital importance to assimilate the complexity of the material, making it imperative for each student to be present in class for every meeting.
Absence from class is absence from class participation, and might result in the reduction of the class participation grade. Students who believe they are entitled to an excused absence for religious observances, medical reasons, or family emergencies are REQUIRED to contact me before the missed class session, provide appropriate documentation.
All exams will be graded with the following point values:
A = 93-100 C = 73-76
A- = 90-92 C- = 70-72
B+ = 87-89 D+ = 67-69
B = 83-86 D = 60-66
B- = 80-82 F = 59-
C+ = 77-79
\NOTE: It would be well when planning your academic schedule to include a minimum of three hours per week (depending on individual skills) devoted to listening to the assigned music in the listening room at the West Library. Without a routine of listening (preferably with score) to the assigned pieces, retention of musical content will be very difficult, if not impossible. If the foregoing statement does not meet your needs, please use on a regular basis IMSLP (International Music Score Library Project).
RECORDING ON RESERVE
All music listed in the syllabus will be on reserve in the listening room of West Library.
LISTENING ASSIGNMENTS (SEE BELOW)
RESERVE BOOK LIST
Anderson, Emily - Letters of Beethoven (3 vols.)
Anderson Emily - Letters of Mozart and His Family (2 vols)
Blume, Friedrich - Classic and Romantic Music
Braunbeherns, Volkmar - Mozart in Vienna 1781-1791
Dart, Thurston = The Interpretation of Music
Einstein, Alfred - Mozart
Geiringer Karl - Haydn: A Creative Life
Wignall, Harrison J. - In Mozart's Footsteps
Heartz, Daniel - Haydn, Mozart and the Viennese School
Jahn, Otto - Mozart (3 vols.)
Landon, H. C. Robbins - Haydn: Chronicle and Works (5 vols.)
Landon, H. C. Robbins - Haydn: His Life and Music
Landon, H. C. Robbins and Mitchell, Donald - The Mozart Companion
Landon, H. C. Robbins - The Mozart Compendium
Landon, H. C. Robbins - The Mozart Essays
Landon, H. C. Robbins - Mozart: The Golden Years 1781-1791
Landon, H. C. Robbins - 1791: Mozart's Last Year
Merek, George - Beethoven
Newman, William S. - The Sonata in the Classical Era
Solomon, Maynard - Beethoven
Solomon, Maynard - Mozart
Thayer, Alexander Wheelock (Forbes ed.) - Life of Beethoven (2 vols.)
Ulrich, Homer - Chamber Music
Strunk, Oliver - Source Readings in Music History
Grout, Donald - A History of Western Music
Einstein, Alfred - Music in the Romantic Era
Newman, William S. - The Sonata since Beethoven
Ulrich, Homer - Symphonic Music
Newman, Ernest - Stories of the Great Operas
New Groove Dictionary of Music and Musicians
Hoboken - Thematische Verzeichnis (Haydn)
Köchel - Thematische Verzeichnis (Mozart)
Kinsky - Thematische Verzeichnis (Beethoven)
Apel, Willi - Harvard Dictionary of Music
Randel, Don Michael,ed. - The New Harvard Dictionary of Music
Baker's Biographical Dictionary of Musicians
BELOW IS THE SEQUENTIAL ORDER OF THE COMPOSERS STUDIED
There are three exams for the semester:
Exam #1 - Haydn and Mozart
Exam #2 - Beethoven, Schubert and Mendelssohn
Exam #3 - Schumann, Chopin and Berlioz - during exam week
Exam dates follow the complete of composer units and are approximations.
|NAME||BIOGRAPHICAL DETAILS||LISTENING ASSIGNMENTS||MUSIC FROM OTHER LANDS|
William Billings - "New England Psalm Singer."
W. A. MOZART
Act I - Scene 5 #4 – “Madamina, il catalogo”
Act I - Scene 9 #7 – “La ci darem la mano”
Act I - Scene 16 #12 – “Batti, batti, o bel
LUDWIG VAN BEETHOVEN
3. Mozart Chronology
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