Music 242: From High Baroque to the Dawn of
Romanticism
Spring 2013: M-W (2:30-3:45)
Steve Saunders
Office: 235 Bixler
Phone: x5677; e-mail: sesaunde
Class Home Page: www.colby.edu/music/saunders/MU242
Office Hours: Mondays and Wednesdays 10:00-11:00 (but feel free to drop in any time!)
Overview
Music 242 concentrates on music of what is sometimes called the “long eighteenth century,” covering
the so-called late Baroque, Classical, and early Romantic periods. The course deals with composers,
their works, and the cultures in which the musical compositions arose, treating its subjects from several
viewpoints: historical, cultural, and analytical. Music 242 will introduce you to: 1) a variety of musical
compositions, representing the range of styles and genres cultivated in the late Baroque, Classical, and
early Romantic periods; 2) the historical and analytical questions posed by those works, and; 3)
questions about the nature of historical understanding--the sources that historians use to study these
repertoires, and the ways in which they think about such music.
Textbook Purchases
• Richard Taruskin and Christopher H. Gibbs. The Oxford History of Western Music: College
Edition. New York: Oxford University Press, 2013. (OHWM)
• Dover Scores to:
Bach, “Six Brandenburg Concertos”
Mozart, “Eine kleine Nachtmusik”
Beethoven, “Symphony No. 3 in E-flat Major, Eroica”
Beethoven, “Symphony No. 9 in D minor, Choral”
Class Home Page
www.colby.edu/music/saunders/MU242
The web pages contains assignments, public domain scores, streaming audio files, resources, and
supplementary links.
Requirements and Evaluation
Your grade in Music 242 will be based on:
1. Class participation (5%)
Regular class attendance is required. Since this is a small class with significant student
involvement, you should notify me in advance if you will miss a class. Many classes will be
conducted as seminars, for which you will have presentations to prepare. Short assignments,
preparation of musical performances, and brief oral reports on additional readings will also be
part of the class participation component. See the attendance policy, below.
2. The score on a midterm exam (25%), and final exam (25%).
Both the midterm and final will have two sections: a listening/score study portion, and a written
portion. The midterm covers first portion of the course; the final covers only the latter half of the
semester and is not cumulative.
3. Grade on the best 3 (of 4) quizzes (15%).
You can drop your lowest quiz grade. There are no make-ups of quizzes; a missed quiz counts
as the dropped grade.
4. Grades on 2-3 short research/analysis papers (10%)
5. Grade on a longer seminar paper (20%)
Attendance Policy
Regular attendance is required, and unexcused absences are not permitted. You may miss two
class meetings for illness, emergencies, athletic conflicts, etc. without penalty—provided that
you notify me before class of your absence. Each unexcused absence or excused absences
beyond two lowers the semester grade by 5 percentage points.
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Music 242: Tentative Course Syllabus
DATE
TOPICS
ASSIGNMENT
(To be completed before each class)
W Feb 6
M Feb 11
W Feb 13
Introduction to Music Bibliography
and Term Research Project
Bach I: Keyboard Works
Bach II: Instrumental Music:
The Brandenburg Concertos
(Or: What Bach Learned from Vivaldi)
M Feb 18
Handel II: Opera and Oratorio
W Feb 20
Bach III: Vocal Music
M Feb 25
Bach, Handel, and Anti-Semitism
W Feb 27
No Class
M March 4
Precursors of Classicism
W March 6
Hasse and Opera Seria/
Gluck and the Ideals of Operatic Reform
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_________________________________________
Reading:
OHWM, 325-27; 328-43
Marshall/Bach, 3-17
May, 81-101
Listening: Chorale Preludes (selected)
Prelude in C Major, WTC I
Fugue in b minor, WTC I
Reading:
OHWM, 344-52
Schulenberg, 1-4; 20-22
Wolff/Bach Family, 119-25
Listening: Vivaldi, Concerto, Op. 8 #8
Bach, Brandenburg Concerto. #5
Quiz #1 (Take Home) Due
Reading:
OHWM, 353-64
Kelly, First Nights, 11-17; 27-39
Listening: Handel, Giulio Cesare (excerpts)
Handel, Israel in Egypt (excerpts)
Reading:
OHWM, 364-67
Marshall/Bach, 3-17
Fuller, 545-46
Listening: Bach Cantata #78
B minor Mass (excerpts)
Reading:
OHWM, 367-77; 380-82
Marrisen, Rejoicing against Judaism
Roberts, False Messiah
Listening: Messiah (excerpts)
Bibliographies Due
Reading:
OHWM, 378-80, 383-401; 340-43
Kirby, 2-4
Ratner, Clavecin Style, 350-51
Rosen/Classical, 43-53
Listening: Scarlatti, Sonata in G, K. 105
C.P.E. Bach, Fantasia in C minor
J. C. Bach, Sonata in D, Op. 5, no. 2
Pergolesi, La serva padrona (aria)
Rameau, La Cupis
Quiz #2: Bach and Handel
Reading:
OHWM, 401-405
Abbate/Parker, “Discipline,” 91-113
Weiss/Taruskin, 301-2
Listening: Hasse, Cleofide (aria)
Gluck, Orfeus ed Euridice (exerpts)
M March 11
The Idea of Classicism/The Ideals of
Classicism
W March 13
Sonata Forms
M March 18
Haydn: The Symphonies
W March 20
Haydn’s Ingenious Jesting with Art:
String Quartets
March 23-30
M April 1
Spring Break
Mozart I: Chamber Music and Concerto
W April 3
Mozart II: Mozart the Symphonist
M April 8
Mozart III: Mozart the Dramatist
W April 10
Mid-Term Exam
Topic for Seminar Paper Due
Reading:
OHWM, 406-08
Rosen/Classical, 57-73; 78-81
Listening: Mozart, Eine kleine Nachtmusick I
Bach, Brandenburg #5 (III)
Reading:
OHWM, 428-32
Koch, 199-201
Ratner/Classical, 217-21
Listening: Mozart, Eine kleine Nachtmusik
Haydn, Symphony #85 (I)
Reading:
OHWM, 411-22; 427-28; 430-37
Rosen/Classical, 93-98
Ratner/Classical, 9-26 or
Webster,
Listening: Symphony #104
Paper #1 Due (Pro and Con)
Reading:
OHWM, 422-27
Grave, 209-14
Wheelock, 3-6; 10-15
Rosen/Classical, 95-98
Listening: Haydn String 4tet, Op. 33 # 2
Haydn Symphony #45 (I), Farewell
_____________________________________
Reading:
OHWM, 438-441; 453-63
NAWM, 222-23
Ratner/Classical, 283-84; 294-302;
305-307
Kerman/Concerto
Listening: Mozart Quartet, K. 465, I-II
(Dissonance Quartet)
Piano Concerto in A, K. 488
Begin to Study for Mid-Term
Reading:
OHWM, 449-53
Zaslaw/Working Stiff
Zaslaw/Mozart Symphonies, ??
Ratner/Classical, 144-56 (skim)
Listening: Mozart Symphonies in A, K. 186a
and C, K. 551 (finale)
Reading:
OHWM, 441-49
Carter, 49-68
Listening: Mozart, Marriage of Figaro (excerpts)
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M April 15
Beethoven I: The Classicist
W April 17
Beethoven II: The Composer as Hero
M April 22
Beethoven III: Late Beethoven
W April 24
McClary on Beethoven:
Beethoven as Misogynist
M April 29
The Legacies of Beethoven and
The Romantic Ideal
OHWM, 499-510
Cook, Beethoven 9th, 26-40; 103-109
Listening: Symphony 9
Sonata, Opus 109
Reading:
McClary, “Beanstalk”
Higgins, “Guerilla Musicology” et al.
Listening: Vandervelde, Genisis II
Beethoven 9th, 1st mvmt.
Paper #2 Due (Beethoven Analysis)
Reading:
Cook, Music, A Short Intro, Ch. 2
Schubert I: Schubert and
German Lieder
Listening:
Quiz #3
Reading:
W May 1
Reading:
OHWM, 479-83
Lockwood 151-68
Listening: Symphony #2
Piano Sonata, Op. 13 (I)
String Quartet Op. 18, #6 (I)
Begin Paper #2
Reading:
OHWM, 483-99
Listening: Beethoven Symphony #3 (Eroica)
Reading:
Dahlhaus, 19th-cent. Music, 88-96
Rosen, Romantic Gen., 25-33;
38-39; 68-78
Treitler, Language, 26-27
Listening:
M May 6
Schubert II: Instrumental Music
Reading:
Listening:
W May 10
Literary Musicians: Berlioz,
Mendelssohn and Schumann
Reading:
Listening:
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Schumann, Carnaval
OHWM, 532-46; 559-61
Youens, pp. 35-37; 75-76
Hallmark, 36-45
Auf dem Flusse
Erlkönig
Auf dem Wasser zu singen
Die schöne Müllerin (excerpts)
OHWM, 546-60
String Quartet in d minor, "Death
and the Maiden" I
Impromptu in E-flat, Op. 90, no. 2
OHWM, 599-619
Plantinga, 220-30; 234-36
Frauenliebe und Leben
Papillons
Music 242: Listening Requirements for Exams (on class web page)
Midterm Exam
Bach, Johann Sebastian
Vivaldi, Antonio
Handel, George Frideric
Scarlatti, Domenico
Bach, Johan Christian
Bach, Carl Phillip Emanuel
Pergolesi, Giovanni Battista
Rameau, Jean-Philippe
Hasse, Johann Adolph
Gluck, Christoph Willibald
Haydn, Franz Joseph
Mozart, Wolfgang A.
Cantata #78, Jesu, der du meine Seele
Mass in b minor (excerpts)
St. John Passion (excerpts)
Organ Chorales (selected)
Prelude in C Major, BWV 846
Fugue in b minor, BWV 869
Brandenburg Concerto #5 in D Major
Concerto, Op. 8, #8 (RV 332)
Water Music Suite (excerpts)
Israel in Egypt (excerpts)
Giulio Cesare (excerpts)
Sonata in D, K. 105
Sonata in D Major, Op. 5, no. 2 (1)
Fantasia in C Minor, Wq 63/6/iii
La serva padrona (excerpts)
Piéces de clavecin en concert (La Cupis)
Digli ch’io son fedele (aria from Cleofide)
Orfeo ed Euridice (excerpts)
String Quartet in E-flat Major, H. III/38, “The Joke”
Symphony no. 85 in B-flat Major (The Queen)
Symphony no. 45 in f# minor, “Farewell” (I)
Symphony no. 104 in D Major (complete)
Eine kleine Nachtmusik, K. 525
String Quartet in C, K. 465 (Dissonance), I and II only
Piano Concerto in A, K. 488
Symphony in A, K. 186a
Symphony in C Major K. 551 (IV)
The Marriage of Figaro (excerpts)
Così fan tutte (excerpts)
Final Exam
Beethoven, Ludwig van
Schubert, Franz
Schumann, Robert
Symphony #2 in D Major
Symphony #3 in Eb Major
Symphony #9 in D minor
String Quartet in Bb, Op. 18, no. 6 (I)
Piano Sonata in c minor, Op. 13, “Pathetique” (I)
Piano Sonata in E Major, Op. 109
Auf dem Fluße
Erlkönig
Auf dem Wasser zu singen
Die schöne Müllerin (excerpts)
String Quartet in d minor ("Death and the Maiden"), I-II
Impromptu in E-flat Major, Op. 90, no. 2
Papillons, Op. 2
Carnaval, Op. 9 (excerpts)
Frauenliebe und –leben
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