Music 255 Syllabus 1
Conrad Grebel University College, University of Waterloo
MUSIC 255: THE ROMANTIC CENTURY: BEETHOVEN AND BEYOND
Winter 2013
Course Syllabus
Lectures:
Instructor:
Office Hours:
Email:
Website:
Tuesdays, Thursdays, 10:00–11:20 a.m., CGR 1302
Eva Branda
Tuesdays, 12:00–2:00 p.m., CGR 2107 or by appointment
[email protected]
learn.uwaterloo.ca
Prerequisites:
The ability to read music is necessary.
Description:
The music of the 19th century in all its principal forms by its great composers: Beethoven,
Schubert, Schumann, Liszt, Chopin, Wagner, Verdi, Brahms, Bruckner, and others. This course
combines detailed musical analysis of selected works with a study of the social, cultural, and
political milieus in which these works were written and performed. Particular emphasis is given
to reception history, and the compositions are examined in conjunction with a range of
contemporary sources (including reviews and letters).
Objectives:
By the end of the semester, you should be able to:
 Describe features of Romantic music in all its major genres and forms
 Make meaningful connections between different repertories and listen to music thoughtfully
 Place studied musical works into a broader historical context; explain the relationships
between selected compositions and their social, cultural, and political worlds
 Examine primary sources and existing music scholarship with a critical eye
 Communicate ideas clearly and effectively in written work (on examinations and
assignments)
Required Materials:
The following course materials are available for purchase:
Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. A History of Western Music. 8th
Edition. New York: W. W. Norton, 2010.
Burkholder, J. Peter and Claude V. Palisca, eds. Norton Anthology of Western Music. Vol. 2:
Classic to Romantic. 6th Edition. New York: W. W. Norton, 2010.
The listening excerpts can be accessed on the Norton website at wwnorton.com/musichistory. To
active your registration code, use the password provided in the inside cover of your textbook.
The website also includes study guides, summaries, quizzes, and other materials that might be
useful for study and review.
Music 255 Syllabus 2
Optional Material:
Instead of accessing the listening excerpts online, you may wish to purchase the CDs:
Norton Recorded Anthology of Western Music. Vol. 2: Classic to Romantic. 6th Edition. New
York: W. W. Norton, 2010.
NB: The required and optional materials for this course are on reserve in the Milton Good
Library.
Evaluation:
Short Assignment
Midterm Test
Essay Proposal
Final Essay
Final Exam
15% (January 31)
20% (February 14)
5% (March 14)
30% (April 4)
30% (TBA)
Listening Tips:
Listen to the assigned piece(s) before coming to the lectures every week; do not wait until the
week before a test or examination to begin your listening. While listening to each composition,
write down some of your general impressions: what was unique about the piece? How would you
describe it to somebody? Think about its genre, form, instrumentation, melody, harmony,
rhythm, and texture. Read about it in your Norton Anthology and try to listen for the specific
features that are described in the accompanying commentary. Remember that you are also
required to know the title, composer, and date for each work. Be sure to bring the Norton
Anthology to class, so that you can listen attentively, following along in the score.
Preparation:
The lectures will give emphasis to and go beyond the scope of the material covered in the
textbook and anthology. In order to succeed in the course, it is crucial that you attend all of the
classes and that you come prepared. Read the assigned pages from the textbook in advance of the
lectures each week. It is recommended that you take notes to synthesize what you have read and
that you review these notes on a regular basis. As a starting point, you may find it useful to make
a list of key terms and concepts that you encounter in the readings. Excerpts from various
primary sources will be posted to the course website on a weekly basis; be sure to read these
excerpts before coming to class.
Midterm Test and Final Examination:
It is your responsibility to arrive on time and prepared (with a writing utensil and a student ID
card) for your midterm test and final examination. If you have a disability that needs to be
accommodated, please contact AccessAbility Services (AS) (see below for details). Make-up
tests and examinations will be administered only in cases of illness, when a medical certificate is
provided (see below for details) or under extenuating circumstances. Elective arrangements (such
as travel plans) are not considered acceptable grounds for granting an alternative examination
time. The midterm test will be written in week 6 (on Thursday February 14, 2013). The final
examination will be scheduled during the examination period at the end of the semester.
Music 255 Syllabus 3
Short Assignment, Essay Proposal, and Final Essay:
The short assignment, essay proposal, and final essay must be type-written and double-spaced in
12-point font, with 1-inch margins. Include your name, student number, the course name and
number, and date on all assignments. Assignments must be submitted at the start of class (10:00
a.m.) on the due date in hard copy, accompanied by a Turnitin.com receipt (see below, for more
information on Turnitin.com). Late assignments are to be submitted either to the main office at
Conrad Grebel (CGR 2101) or to the Music Office (CGR 1101), accompanied by a turnitin.com
receipt, and will be penalized at a rate of 5% per day. (Any assignment submitted after 10:00
a.m. on the due date will be considered late and will be subject to the late penalty). Assignments
will not be accepted after one week. All written work will be graded on style and organization as
well as content. Proper grammar without spelling mistakes is expected; edit your written work
carefully before handing it in. Any secondary sources that you have consulted must be
documented appropriately. For all written assignments, please consult The Chicago Manual of
Style when formatting your footnotes and bibliography. For more information on citations, please
see subjectguides.uwaterloo.ca/content.php?pid=76050&sid=1190389.
Academic Integrity:
In order to maintain a culture of academic integrity, members of the University of Waterloo are
expected to promote honesty, truth, fairness, respect, and responsibility.
Discipline: A student is expected to know what constitutes academic integrity, to avoid
committing academic offences, and to take responsibility for his/her actions. A student who is
unsure whether an action constitutes an offence or who needs help in learning how to avoid
offences (e.g. plagiarism, cheating, etc.) or about “rules” for group work/collaboration should
seek guidance from the course professor, academic advisor, or Undergraduate Associate Dean.
When misconduct has been found to have occurred, disciplinary penalties will be imposed under
Policy 71 – Student Discipline. For information on categories of offences and types of penalties,
students should refer to Policy 71 – Student Discipline, which can be accessed at
www.uwaterloo.ca/secretariat/policies-procedures-guidelines/policy-71.
Grievance: A student who believes that a decision affecting some aspect of his/her university life
has been unfair or unreasonable may have grounds for initiating a grievance. Read Policy 70 –
Student Petitions and Grievances, Section 4, uwaterloo.ca/secretariat/policies-proceduresguidelines/policy-70. In addition, consult arts.uwaterloo.ca/student-grievances-faculty-artsprocesses for the Faculty of Arts’ grievance processes.
Appeals: A student may appeal the finding and/or penalty in a decision made under Policy 70 –
Student Petitions and Grievances (other than regarding a petition) or Policy 71 – Student
Discipline if a ground for an appeal can be established. Read Policy 72 – Student Appeals,
uwaterloo.ca/secretariat/policies-procedures-guidelines/policy-72.
Academic Integrity Website (Arts):
arts.uwaterloo.ca/arts/ugrad/academic_responsibility.html
Academic Integrity Office (University):
uwaterloo.ca/academicintegrity/
Music 255 Syllabus 4
Turinitin.com: Plagiarism detection software (Turnitin) will be used to screen assignments in this
course. This is being done to verify that use of all material and sources in assignments is
documented. In the first week of the term, details will be provided about the arrangements for the
use of Turnitin in the course. See uwaterloo.ca/academic-integrity/integrity-waterloofaculty/turnitin-waterloo for information.
Accommodation for Students with Disabilities:
The AccessAbility Services (AS), located in Needles Hall, Room 1132, collaborates with all
academic departments to arrange appropriate accommodations for students with disabilities
without compromising the academic integrity of the curriculum. If you require academic
accommodations to lessen the impact of your disability, please register with the AS Office at the
beginning of each academic term.
Accommodation for Illness:
A medical certificate presented in support of an official petition for relief from normal academic
requirements must provide all of the information requested on the “University of Waterloo
Verification of Illness” form or it will not be accepted. This form can be obtained from Health
Services or at www.healthservices.uwaterloo.ca/verification.htm.
Religious Holidays:
In the event that a student requires an alternative test or examination time on religious grounds,
the Academic Dean of Conrad Grebel needs to be notified within one week of the announcement
of the test or examination date.
Counseling:
Free confidential counseling is available, in both individual and group sessions, with qualified
professionals to help registered students, faculty, and staff with personal concerns, approaches to
studying, and career decision. The UW Counseling Services website is
www.adm.uwaterloo.ca/infocs or you may contact Lorraine Nesbitt, Administrative Assistant at
[email protected], ext. 33528, NH Room 2080.
NB: The course schedule outlined below may be subject to minor changes.
Music 255 Syllabus 5
COURSE SCHEDULE
Date
Jan. 8
Topics/Weekly Preparation
Lecture: Introduction
Assignments/Tests
Jan. 10
Lecture: Ludwig van Beethoven I: The “Heroic” Period
Reading: Chapter 24, pp. 567–585*
Listening: Ludwig van Beethoven, Symphony No. 3 in E-flat major, Op. 55,
Eroica, 1st movement (NAWM 119)
Jan. 15
Lecture: Ludwig van Beethoven II: The Late Period
Reading: Chapter 24, pp. 585–594
Listening: Ludwig van Beethoven, String Quartet in C-sharp minor, Op. 131, 1st
and 2nd movements (NAWM 120)
Jan. 17
Lecture: The Romantic Lied
Reading: Chapter 25, pp. 595–615
Listening: Franz Schubert, Gretchen am Spinnrade, D. 118 (NAWM 121)
Franz Schubert, Winterreise, D. 911, No. 5: ‘Der Lindenbaum’
(NAWM 122)
Jan. 22
Lecture: Piano Music: Inwardness (Innigkeit)
Reading: Chapter 25, pp. 616–626
Listening: Fryderyk Chopin, Nocturne in D-flat major, Op. 27, No. 2
(NAWM 127)
Robert Schumann, Carnaval, Op. 9, No. 5: ‘Eusebius’ and No. 6:
‘Florestan’ (NAWM 125)
Jan. 24
Lecture: Piano Music: The Cult of the Virtuoso
Reading: Chapter 25, pp. 626–632
Listening: Niccolò Paganini, Caprice, Op. 1, No. 24 in A minor***
Franz Liszt, Trois études de concert, No. 3: ‘Un sospiro’ (NAWM 128)
Jan. 29
Lecture: Orchestral Music: The Program Symphony
Reading: Chapter 26, pp. 633–644
Listening: Hector Berlioz, Symphonie Fantastique, 5th movement: ‘Dream of a
Witches’ Sabbath’ (NAWM 130)
Jan. 31
Lecture: Chamber Music and the Concerto
SHORT ASSIGNMENT DUE
Reading: Chapter 26, pp. 644–652
Listening: Clara Schumann, Piano Trio in G minor, Op. 17: 3rd movement
(NAWM 134)**
Felix Mendelssohn, Violin Concerto in E minor, Op. 64: 3rd movement
(NAWM 131)
Feb. 5
Lecture: Choral Music: The Oratorio Reborn
Music 255 Syllabus 6
Reading: Chapter 26, pp. 652–660
Listening: Felix Mendelssohn, Op. 70: Chorus, ‘And then shall your light break
forth’ (NAWM 135)**
Feb. 7
Lecture: Early Romantic Opera: The Italian Bel canto
Reading: Chapter 27, pp. 661–673
Listening: Vincenzo Bellini, Norma, Excerpt from Act I, Scene 4: ‘Casta Diva’
(NAWM 138)
Gioachino Rossini, Il barbiere di Siviglia: Act I, No. 7, ‘Una voce poco
fa’ (NAWM 137)
Feb. 12
Lecture: Early Romantic Opera: France and Germany
Reading: Chapter 27, pp. 673–684
Listening: Carl Maria von Weber, Der Freischütz, Act II, Finale: ‘Wolf’s Glen
Scene’ (NAWM 140)**
Feb. 14
Midterm Test (Chapters 24–27)
MIDTERM
–– READING WEEK (NO CLASSES) ––
Feb. 26
Lecture: Richard Wagner I: The New German School
Reading: Chapter 28, pp. 685–693
Listening: Richard Wagner, Tristan und Isolde, Prelude and Conclusion of Act I
(NAWM 141)
Feb. 28
Lecture: Richard Wagner II: Wagnerism
Reading: Chapter 28, 693–702
Listening: Richard Wagner, Tristan und Isolde, Prelude and Conclusion of Act I
(NAWM 141) continued
Mar. 5
Lecture: Italian Opera of the Resurgence (Risorgimento)
Reading: Chapter 28, pp. 702–709
Listening: Giuseppe Verdi, La Traviata, Act III: Scena and Duet (NAWM 142)
Mar. 7
Lecture: French Opera and Exoticism
Reading: Chapter 28, pp. 709–712
Listening: Georges Bizet, Carmen, Act I, No. 10: Seguidilla and Duet (NAWM
144)
Mar. 12
Lecture: Russian Opera and Realism (Verismo)
Reading: Chapter 28, pp. 712–723
Listening: Modest Musorgsky, Boris Godunov, Coronation Scene (NAWM 145)
Mar. 14
Lecture: The Return of the Symphony: Brahms
Reading: Chapter 29, pp. 724–735
ESSAY PROPOSAL DUE
Music 255 Syllabus 7
Listening: Johannes Brahms, Symphony No. 4 in E minor, Op. 98: 4th movement
(NAWM 147)
Mar. 19
Lecture: The Return of the Symphony: Tchaikovsky
Reading: Chapter 30, pp. 754–756
Listening: Piotr Il’yich Tchaikovsky, Symphony No. 6 in B minor, Pathétique,
Op. 74: 3rd movement (NAWM 151)
Mar. 21
Lecture: A Bohemian Excursion: Smetana
Reading: Chapter 30, pp. 756–758
Listening: Bedřich Smetana, Má Vlast [My Country], No. 1: ‘Vyšehrad’ [‘The
High Castle’]***
Mar. 26
Lecture: A Bohemian Excursion: Dvořák
Reading: Chapter 30, pp. 756–769
Listening: Antonín Dvořák, Slavonic Dance, Op. 46, No. 1 in C major (NAWM
152)
Antonín Dvořák, Cello Concerto in B minor, Op. 104: 2nd
movement***
Mar. 28
Lecture: Late Romanticism: The Symphonic Poem
Reading: Chapter 29, pp. 735–743
Listening: Richard Strauss, Don Quixote, Op. 35: Themes and Variations 1–2
(NAWM 149)
Apr. 2
Lecture: Late Romanticism: Songs of Death
Reading: Chapter 29, pp. 743–749, Chapter 30, pp. 750–753
Listening: Gustav Mahler, Kindertotenlieder, No. 1: ‘Nun will die Sonn’ so hell
aufgeh’n’ (NAWM 150)
Gabriel Fauré, Requiem, ‘Introit & Kyrie’***
Apr. 4
Lecture: Final Thoughts and Exam Review
ESSAY DUE
*All of the readings are from Burkholder, Grout, and Palisca’s A History of Western Music.
**These listening examples are not on the Norton website, but are available on Naxos Music Library (links are
posted on the course website).
***These listening examples are not in the Norton Anthology (scores are posted on the course website).