MUSIC 1010
Introduction to Music
Fall Semester 2014
August 25 – December 12
Credit Hours - 3
Instructor - Dr. Warren L. Burton
DMA, University of Oregon
WARNING!! Do not become overwhelmed by the scope and
requirements of this syllabus. There are many options listed. Get
an overview of the syllabus and then begin reading or do a quiz.
Simply start and gradually learn to use the resources as you
move along.
NOTICE: On line courses can move at your own pace, but within
the parameters of the due dates.
Summary of Course Requirements
Synopsis of On Line Programs
Course Explanation
How to Succeed in this course
Quizzes and Worksheets On Line
How to contact the instructor
Course Objectives
Materials needed
Textbook Description
Course Requirements
Grading
Examinations
Writing a Concert Report
Basic Classical Recording Library
Assignment Schedule
Course Syllabus
Department:
Music
Title and Number of Course: Introduction to Music - MUSIC 1010
Book Title: Baroque and Pieces - By Warren L. Burton
Publisher: Tabernacle Books, Inc
Copyright: 2007 - Fourth Edition
ISBN:
0974879096
Instructor Name: Dr. Warren L. Burton
No. of Credits:
3
SUMMARY OF COURSE REQUIREMENTS
1.
All lectures/programs are delivered on line according to Assignment Outline
2.
No required concert reports. They may be used for extra credit. (SEE AN
ALTERNATIVE FOR CONCERT REPORTS ON PAGE 9.)
3.
Extra credit concert reports – use ASSIGNMENTS side bar to send in reports
4.
Tests will be delivered on line during the designated week.
5.
Eleven worksheet answers from the book sent in on line according to schedule
found in Assignments Outline. These are attached to selected programs.
6.
Thirty quiz responses sent in on line for each lecture/program.
SYNOPSIS OF ON LINE PROGRAMS
Lecture number
1
2
3*
4*
5*
6*
7
8
Subject matter of the lecture
Classical Experience, How to listen, Performance Media
Concerto, Ostinato, Motive, Pitch, Instrument Families
String Family
Woodwind Family
Brass Family
Percussion Family
Concerto, Theme & Variation, Dynamics
Beat, Tempo, Rhythm, Ostinato
9
10*
11*
12
13
14*
15
16*
17*
18*
19
20
21
22*
23
24*
25*
26
27
28*
29
30
Meter, Motive,
Program Music, Absolute Music
Scale Systems, Arpeggios, Textures
Waltzes, Rhythm, Melody, Cantabile,
One-Part, Binary, Ternary and Rondo Forms
The Baroque Period
Choral Forms, Suites
The Classical Period
The Impressionistic Period
Opera
Opera
Overtures, Sonata
Harmony, Sonata Allegro Form, Tone Poems
The Romantic Period
On Beethoven, The Ninth Symphony
Chamber Music
Continuation of the Romantic Period
Underworld Themes, Art Song
Composers in Turmoil, Ballet
Impressionism, Modern Music
Modern Music
Jazz History
*Should not be one of three that you may miss.
COURSE EXPLANATION
If your attention were directed toward a beautiful cloud formation or a lovely
sunset, would you first put on a blindfold? Unfortunately, many people do much
the same thing by "blindfolding" their ears when they listen to music. Many people,
when called upon to listen to classical music, automatically tune out the sound by
letting the music become background for mind wandering or perusal of inner
thoughts. Sometimes they become so conditioned to the thunderous music of the
day that they will not permit themselves to enjoy other kinds of organized sound.
Thus hampered, the listener sometimes finds classical music dull and uninteresting.
Introduction to Music is a General Education course, designed for people who know
little or nothing about music, as well as those who have participated in music for a
good part of their lives. Anyone can benefit from further involvement with the
processes of music appreciation by moving forward from their current level of
enjoyment.
The goals of the Introduction to Music class are to develop an appreciation of music
style; to free musical perception from bias and personal taste; and to see music as an
expressive art form, representative of its time and place. We present the materials
through on line lecture/programs with musical and visual examples, and through a
narrative textbook in a novel form.
HOW TO SUCCEED IN THIS COURSE
Hundreds of students have had a rich and satisfying experience with the
Introduction to Music class. One of the main objectives of this course is to help you
learn to listen to what we call classical music. Once you begin to separate the
massive sounds into identifiable components, your ability to appreciate and to enjoy
this type of concert music increases dramatically.
The purpose of this class is not to have you replace any other music that you
currently enjoy, but to help you become well enough acquainted with concert music
to the point where you will add it to your entertainment categories. In so doing, you
will understand why people, through the past 400 centuries, have come to treasure
this music as one of the great heritage's of mankind.
Many people with built-in prejudices take this course only to fulfill general
education requirements. Since the University setting is to make you more
knowledgeable and a "well-rounded" person, by including an appreciation and
understanding of the arts, you are encouraged to erase your biases and learn about
this great body of music: its’ composers and its' history, and you will find that it will
enrich your life forever.
The Introduction to Music course will give you practical listening training. You are
encouraged to attend live concerts and view concert videos or telecasts. You are to
answer questions from each lecture. It will be easy and tempting for you to read
and answer the question while the music is being played. Don't do this. For if you
do, you will never achieve any understanding, much less appreciation, of music. On
the mid-term and final exams, there will be listening excerpts to identify, for
instrument and other elements of music. Only in this way can we evaluate whether
you are achieving one of the goals of the course, learning to listen.
Do not slight the listening requirements. If you do the minimum, your time
investment will still fall short of an on-campus class requirements. The on line
lecture/programs provide the material in a more concentrated form than presented
in a class. Remember words cannot describe musical sounds.
THEY MUST BE HEARD.
Here are a few points to help you listen:
1.
Do not listen necessarily for emotional thrills or intellectual stimulation.
2.
Listen much in the same manner as you would sit down and concentrate on
word ideas of a great book.
3.
Develop your memory for music.
4.
Concentrate on important aspects of the music. Do not try to comprehend
everything at once.
5.
Do not attempt to visualize specific scenes. All music does not have pictorial
meaning.
6.
Apply knowledge to your listening. Each chapter and on line lecture helps
you learn what to listen for.
If you will do this, then you may become one who knows how to enjoy an aesthetic
experience. After all, aesthetic experiences are a part of what makes human beings
human. The pig and the goat both have ears, eyes, and nervous systems, but their
reaction to a symphony or a fine painting is so negligible that their response can
safely be described as unawareness.
The textbook is arranged to teach you new terminology, with constant
reference to learned words in each new chapter. It will also be to your advantage to
review each previous chapter before beginning work on the next one. This will
enable you to retain and use the information to a better advantage.
QUIZZES AND WORKSHEETS ON LINE
The Quiz appears automatically with each program/lecture called up. It is used to
assess your knowledge and understanding of the material being presented. Hint:
Move the lecture text and visual box low enough on the screen to where two or three
Quiz questions can be viewed. Keep the current question in mind and when you
hear the answer in the lecture/program, pause the presentation and put which ever
answers the question correctly, in the answer box. Push play to continue with the
lecture/program. IMPORTANT NOTICE: when you submit your quiz for the final
and only time, be sure the quiz is the active screen. Otherwise the score is not placed
in your file.
The Worksheets from the book are due at various times. See the Assignment Outline
at the back of the syllabus for dates. When these come due, bring the original
completed worksheet with you. Type in your answers and submit on line.
Worksheet answer sheet is attached to the program due on the same date. These will
not be immediately corrected, but you can find your scores in the record section for
the class. This way you will have the completed worksheets to review for tests.
CONTACTING DR. BURTON
Please check course bulletin board first. Your question may already be answered.)
EMAIL: Use Canvas e-mail to reach Dr. Burton
PREREQUISITES: No prerequisites
COURSE OBJECTIVES
At the end of this course, each student will be able to do the following:
1.
Identify the components that make up the sources of musical sound.
a. The characteristics of sound
b. The sources of musical sound production
c. Medium through which music is recreated
d. Elements of music
2.
Distinguish among the various forms found in musical composition.
3.
Recognize the musical characteristics and main composers of the five main
periods of music.
4.
Make statements about concert programs that describe feelings and
reactions to the music heard.
INSTRUMENTAL IDENTIFICATION
Part of the enjoyment to be had in listening to music, comes from being able to
recognize the sounds of all the instruments called timbre. The listener cannot follow
thematic material as it is tossed back and forth between individual instruments and
orchestral choirs unless he recognizes the particular sounds of each instrument.
The Midterm examination will require that you be able to identify the orchestral
instruments. As you listen to all the examples in the lecture/programs try to
establish which sound belongs to which instrument.
Appraise your attitude at this point. You are the only person who can make
yourself pay attention, who can center your listening on one part of the music or
another, who can make yourself remember a musical pattern. All the textbook can
do is to suggest ways and offer guides. You must make the effort. Your attitude will
determine whether you will develop an inner sensitivity to the finer things in life or
remain blindfolded in a world of great beauty. Good luck!
MATERIALS
You will need the course textbook. There are 30 one-hour lecture/programs that
correlate with the on line quizzes. These on line lecture/programs give you the
listening examples that illustrate the reading material in the course book.
TEXTBOOK DESCRIPTION
The textbook is Baroque and Pieces. The book is in the novel form as opposed to the
traditional textbook. It is through the discussion of the main characters in this book
that the music learning takes place. Because the musical descriptions are carefully
discussed in the novel approach, the musical terms and concepts are better
understood than from the traditional music appreciation textbook.
In a recent class survey, ninety percent of the students found the format of Baroque
and Pieces to be a more effective way to present musical terminology, ideas, and
experiences than a regular college textbook outline format. Five percent didn't seem
to care one way or the other and other five- percent preferred a traditional
textbook. Apparently, for most people, this book better serves the learning needs of
new listeners.
One additional word of advice; there is a large body of evidence that suggests
that your learning can be enhanced and made more effective by using music of the
Baroque Period and early Mozart from the Classical Period as background for your
studies. On the internet you can find inexpensive sources such as
ClassicalMusicDepot.com to buy or down music by Vivaldi, orchestra music by
Bach, Handel, and Corelli, and early Mozart Symphonies or concertos. Play this
music during your study period. Do not use any other music styles.
Let me cite a study. Seventy-two mice ran a maze. On an average, they
needed ten minutes to find their way through. The mice were then divided into
three groups exposing one group to heavy metal band Anthrax, and the second
group to classical music by Mozart. A control group heard no music. At the end of
four weeks, the control group with no music took five minutes to get through the
maze. The Mozart mice took 1-1/2 minutes to get through the maze. The hard rock
mice stumbled through the maze in an average of thirty minutes. That is the reason
you do not listen to contemporary pop music while you study. The Baroque music
will help you focus on your task at hand. WARNING: Other knowledgeable music
researchers believe no such benefit can be attributed to the above procedures.
Music can however, soothe emotions, excite enthusiasm, and give us a sense
of cultural identity. Try it, you’ll like it.
COURSE REQUIREMENTS
Number of Lessons: There are 30 lecture/programs, eleven of them will have both
quizzes and worksheets. You are required to complete 27 of the 30 on line
lecture/programs for full credit. You are however, encouraged to do them all. Begin
by reading the text and completing the worksheet found in the back of each chapter.
When that worksheet is due, (see schedule at the end of the syllabus) enter the
answers only on the web worksheet page provided. This way you can have your
worksheet to study for the tests. You can check your score in your personal record.
Concert Reports: Experiencing music through live performance is the ultimate
musical experience. We want you to have this adventure, however it is not required.
You can use 3 concert reports to add to your over all grade at 3 points each. Any
university or community concert series may be used for this extra credit assignment.
Concert Reports can easily be sent through ASSIGNMENTS.
Number of Tests: There will be one mid term test and one final examination.
GRADING
POINTS
PERCENT OF
11- Worksheets (in Book)
158
25%
*30- quizzes, 27 are
required (on line)
406
25%
Mid-term Exam
65
20%
Final Exam
100
30%
100%
EXTRA CREDIT
*Concert Reports & or
Videos
(3 points
each)
TOTAL
(9%)
(109%)
FINAL GRADE
93-109 = A
90-92 = A-
87-89 = B+
83-86 = B
80-82 = B-
77-79 = C+
73-76 = C
70-72 = C-
67-69 = D+
63-66 = D
60-62 = D- (never happened)
*A feature of the class is to be able to substitute a video for a concert report. There
are ten videos the cover the entire the material of Music 1010 on line, but presented
in a visual manner. These may be used for review or if you watch one in its entirety
and submit a properly filled out response sheet through the ASSIGNMENTS option,
in the same manner you would a concert report, you will have three point added to
your score.
The video presentations are located on the Home Page under Concert Reports and
Videos.
The subject material covered is as follows:
Video
Video
Video
Video
Video
Video
Video
Video
Video
Video
#1: Listening – Elements of Music – Mediums of Performance
#2: Strings and Woodwinds
#3: Brass and Percussion
#4: Elements of music-Textures- Theme Variation
#5: Program & Absolute music – Form
#6: Barouqe Period-Choral forms-Impressionism
#7: Chopin-Piano forms-Sonata form-Opera-Ballet
#8: Classical Era –Tone Poems-Chamber Music
#9: Chamber Music –Schubert – Art Songs
#10: Romantic and Modern Periods
MID-TERM AND FINAL EXAMINATIONS
These tests are given on line. They are multiple-choice and will include listening
identification of instruments, performance media, and other listening objectives.
There will be: select the term that least belongs within the group; true/false
questions and fill-in-the-blank from a multiple choice of answers. Baroque and
Pieces teaches the minimum terminology that a well-educated person should have at
their disposal; it includes approximately a third of the regular terms that are found
in other introduction to music texts. Therefore, the expectation is that the students
will know the material in the book and be able to demonstrate that knowledge
accumulation on the mid-term and final exam. The final exam will be 80% from the
material after the mid-term and 20% review of mid-term materials.
NUMBER OF TEST QUESTIONS FROM EACH CHAPTER:
The questions come from both the lecture/programs and the worksheets.
They do not come from the quizzes necessarily. The listening skills are learned
during the on line lecture/programs. By knowing the worksheet material well you
will succeed on the examinations.
TIME LIMITS:
The tests on line are shorter than campus tests. Each is in two parts. Part one is the
factual test and is timed, You must complete it within the perimeters of the period.
These perimeters are described on line. You will half approximately 15 seconds for
each question. Not enough time to consult your worksheets. The second part is
listening identification. The examples will be played. You answer these questions in
your time frame. Questions for both parts of the test will be pulled out of a test
bank of several hundred questions. Thus your knowledge of the subject will be
randomly sampled and therefore the test will not assess all that you know.
THE FOLLOWING IS EXACT INFORMATION FROM THE TWO TESTS.
KEEP THIS INFORMATION AT HAND AS YOU READ THE BOOK. LEARN IT
AS YOU GO.
The following is from the Music 1010 Midterm Exam
Items to know either by definition or reason.
!
Melody
!
Performance media
!
Program music
!
Cadenza
!
Purpose of tempo and dynamic
markings
!
A few facts about Richard Wagner
!
Timber
!
Textures
!
Score
!
Art Music
!
Meter, beat syncopation
!
Theme and Variation
!
Ternary, binary
!
Role Italian language plays in music
!
Program notes
!
Cadenza
!
Dagwood Sandwich
!
Doctrine of Ethos
!
Ostinato
!
Form
!
Motive
!
Scales
!
Classical music
!
Third movement time signature
!
Main Italian tempo markings
!
Arpeggio
!
Cantabile
!
Movement
SELECT THE ANSWER THAT LEAST BELONGS WITH THE OTHER TERMS
a. English Horn
b. oboe
c. bassoon
d. clarinet
The follow are examples of listening type questions.
The musical dialogue is between the ____________.
a. Brasses and woodwinds
b. Strings and Brasses
c. Strings and Woodwinds
Listen to the musical example and choose the answer which best identifies either the
instruments(s) or the musical example.
a. String Quartet
b. Cello choir
c. Woodwind choir
d. Organ
Listen to the musical example and choose the answer which best identifies either the
instruments(s) or the musical example.
Solo played by ____________.
a. Cello
b. Flute
c. Violin
d. Oboe
The Following are from the Music 1010 Final Exam
In addition to the general testing information from the midterm the below are exclusively from
the Final Exam. There will be like listening identification on the Final.
Strong attraction to nature- in which period did it happen?
a. Romantic
b. Classical
Bach is best remembered for the piano preludes rediscovered by Mendelssohn.
a. TRUE
b. FALSE
This a listening example of an ________.
a. Opera aria
b.
Art song
A piano added to a string quartet would be called a piano quintet.
a. TRUE
b. FALSE
Concerto Grosso - in which period did it happen?
a. Baroque
b. Classical
Franz Liszt permitted Wagner to marry his daughter - in which period did it happen?
a. Romantic
b. Classical
In Modern music, melody, rhythm, and harmony underwent radical and innovative change.
a. TRUE b. FALSE
These notes all sounding together are called ______.
a. scales
b. unison
c. chords
d. entwined
The whole tone scale belongs to:
a. Impressionism
b. Romanticism
Which was not a type of work written by Chopin?
a. ballads
b. symphonies
c. nocturnes
d. polonaise
The string sound in this excerpt feels like _______.
a. staccato
c. cantabile
d. arpeggio
b. pizzicato
The famous four-note figure at the beginning of Beethoven's Symphony No. 5 is best described
as:
a. a coda
b. a key
c. a theme
d. a motive
"Choral Symphony" was composed - in which period did it happen?
a. Baroque
b. Classical
Choose the letter combination which best illustrates the rondo form:
a. ABACA
b. ABAA
c. ABBA
d. AAABAA
Know what these words or terms mean:
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
!
Cadenza
Chromatic Scale
At Song
The Seasons
Order of the time periods
Aria – Recitat1ive
Chopin’s piano styles
Rondo form
Definition of Art
Concerto
Symphonic Poem
Whole Tone scale
Main composers from each time
period
Koechel and opus
Symphony
String Quartet
Bach Compositional styles
Trill
Rondo
Cadenza
Aria – Recitative
Baroque Suite
Patronage
Sonata Form parts
Concerto Grosso
Pavoratti?
Absolute or abstract
Program music
Main characteristics of each period
CONCERT REPORT EXAMPLE
This is an example of a "first" concert report. Note the limited use of musical
terminology, yet the concert is described in a musical context. Note the examples of
musical description. The last paragraph is an evaluation of the evening.
The Utah Symphony Orchestra, performed at the Kent
Concert Hall Wednesday night. Since this was the first
symphony I have attended, I was awed by the complexity and
volume of the symphony. The Kent Concert Hall was packed and
this helped enhance the mood the symphony generated. Overall,
it was an exhilarating night.
The symphony started the night out with the Othello
Overture, Op. 93, by Antonin Dvorak. Although I liked this piece
the least out of the three played, I still enjoyed it immensely.
The strings began this piece with a quick tempo, but the flute
accompanied by the strings briefly interrupted providing a
slower tempo contrast. The tempo built in the middle to a
frantic rhythm punctuated by the sweet timbre of the
woodwinds. The end of the piece was very sinister, symbolizing
the regrets and death of Othello. The finale was a crescendo as
the percussion instruments, especially the cymbals, joined in.
There were two reasons why I enjoyed this piece. The
first was that I was seated very close to the front. The only
instruments that I could see well were the strings, and they
were the center of this piece. It was interesting to see the
violins as they played tremolo or the theme with all of the bows
dancing in unison. The second reason was the dynamics of the
piece. The tempo changes contrasted moods of ecstasy, anger
and despair.
The second piece performed was Symphony No. 3 in F
Major, Op. 90 by Johannes Brahms. The first movement, Allegro
con brio, begins with the cellos playing pizzicato accompanying
the woodwinds. This is followed by a French horn quintet. The
piece quietly ends with the strings performing pizzicato.
The second movement, Andante, lives up to its tempo
indication with a feeling of walking through farmland. The
woodwinds played beautifully throughout this movement. I
really enjoyed the plaintive farmland-valley sound created by
the clarinets and bassoon. The end of this movement is much
like the opening except for a rippling string accompaniment.
The third movement, Poco allegretto, was my favorite
piece played during the evening. The smoothness of its texture,
and the richness of the timbres created a romantic masterpiece.
I really enjoyed the French horns playing the melody,
accompanied by the cellos playing pizzicato. There were nice
quick tempo spritzes played by the strings to keep the piece
moving. This and the preceding movements were ternary in
form, providing the complexity and continuity to make this
piece very satisfying and soothing to listen to.
The finale built tempo and loudness that eventually
subsided into the woodwinds playing beautifully. It finished like
the opus began, with the strings playing while the violins played
tremolo, creating a quiet excitement. All of these movements
ended peacefully, which is surprising because most of the
orchestral music I have heard usually ends with a fortissimo.
The last piece was Concerto No. 1 in B-flat Minor for
Piano and Orchestra, Op. 37 by Peter Tchaikovsky. Seung-Un Ha
was featured on the piano and was simply brilliant. I have
always liked Tchaikovsky, so this piece was already quite
familiar to me. It was still very impressive to hear it live with a
grand piano center stage.
The first movement opens with the melody played by the
violins and cellos, punctuated by the piano. The piano continues
throughout the piece trading center stage and the theme with
the other instruments. Its conclusion is very strong and loud.
The second movement was interesting due to the
contrast between the solo flute, piano, and cellos. The
movement finished softly in preparation for the third
movement.
The third movement is a study of the dynamics between
the entire orchestra playing a quick tempo, and the violins
playing solo. The whole orchestra gradually overpowers the
violins to a loud crescendo finale.
This whole symphony was a delight to me. I concentrated
most on the Brahms piece because it was new to me, but I
enjoyed all three pieces. Due to this wonderful evening, my wife
and I made a promise to visit the symphony again and again.
BASIC CLASSICAL RECORDING LIBRARY
There are frequent requests for music that a beginning listener to the classics would
enjoy. Below is a list of CDs that would constitute a basic library.
The Seasons --------------------------------------------------- Vivaldi
Brandenburg Concerto No. 2 --------------------------- J. S. Bach
Eine Kleine Nachtmusik ----------------------------W. A. Mozart
Symphony No. 5 Op. 67 ---------------Ludwig Van Beethoven
Favorite Overtures - Phillips CD 420813-2
Orpheus in the Underworld ------- Offenbach
Poet and Peasant ----------------------- Suppé
William Tell --------------------------- Rossini
La belle Hélene --------------------- Offenbach
Die Fledermaus ------------------- J. Struss Jr.
Barber of Seville --------------------- Rossini
Light Cavalry -------------------------- Suppé
Symphony No. 5 -------------------------- Peter Tchaikowsky
Symphonie Fantastique --------------------------- H. Berlioz
Scheherazade ---------------------------------- Rimsky-Korsakov
Firebird Suite ---------------------------------------- I. Stravinsky
And God Created Great Whales --------------- A. Hovhaness
ASSIGNMENT SCHEDULE
Fall 2014
TIME PERIOD WHEN
DUE
Week
Week
Week
Week
of
of
of
of
Aug 25-31
Aug 25-31
Sept 1-07
Sept 1-07
Week
Week
Week
Week
Week
Week
of
of
of
of
of
of
Sept
Sept
Sept
Sept
Sept
Sept
08-14
08-14
15-21
15-21
22-28
22-28
VIEW ON LINE
LECTURE
1
2
3
4
5
6
7
8
9
10
Read Chapter
And Send in
worksheet
1
2
3
4
5
SEND
QUIZ
1
2
3
4
5
6
7
8
9
10
Week
Week
Week
Week
Week
of
of
of
of
of
Sept 29-05
Sept 29-05
Oct 06-12
Oct 06-12
Oct 13-19
11
12
13
14
15
Week
Week
Week
Week
Week
Week
Week
Week
Week
Week
Week
of
of
of
of
of
of
of
of
of
of
of
Oct 13-19
Oct 20-26
Oct 20-26
Oct 27-02
Oct 27-02
Nov 03-09
Nov 03-09
Nov 10-16
Nov 10-16
Nov 17-23
Nov 17-23
16
17
18
19
20
21
22
23
24
25
26
Week
Week
Week
Week
Week
of
of
of
of
of
Nov 17-23
Nov 24-25
Dec 01-05
Dec 01-05
Dec 08-12
27
28
29
30
FINAL
6
MID TERM
ON LINE
7
8
9
10
11
EXAM
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
ONLINE