ECU—MUSC 5426
2003/04 F (Tu 15:00–17:00)
INSTRUCTOR: Dr. Kevin N. Moll
201 Fletcher / (252) 328-1250 / [email protected]
M U S I C O F THE RO M AN TI C ERA
CO URS E S YL L AB US
OBJECTIVES:
This course is designed to consider in some depth a selection of significant works produced by major
composers of the nineteenth century. In a seminar format, class meetings and assignments will focus on specific
compositions, emphasizing questions of genre, form, and compositional style, but also drawing upon the musicological
literature to explore a variety of broader historical and cultural issues. Substantial student participation is expected.
TEXTS REQUIRED AND RECOMMENDED
1) Dahlhaus, Carl. Nineteenth-Century Music. 1980. Trans. J. Bradford Robinson. Berkeley and Los Angeles: University of
California Press, 1989. REQUIRED for purchase and available at ECU Bookstore; also on reserve in the music library.
2) See list of REQUIRED scores, recordings, and readings on reserve at ECU music library. Supplementary RECOMMENDED
reference works are provided on a separate handout.
COURSE REQUIREMENTS: Due to the seminar format of this course, regular attendance and participation is essential (see
below, GENERAL POLICIES #1). Formal requirements include examinations, class presentations, and written assignments.
2 Examinations
(25% of final grade)
These examinations will consist of listening ID, essay questions, and short-answer identifications.
10%
15%
Take-Home MID-TERM Exam
In-Class FINAL Exam
due Tuesday
Thursday
28 October
18 December
at class time
2:00 p.m.
Class Presentation(s)
(25% of final grade)
Each student will prepare and deliver two class presentations during the semester: one ANALYTICAL and one
HISTORIOGRAPHICAL. The ANALYTICAL presentation should be conceived as a systematic account of a particular piece,
accounting for its historical context, its musical components, form, and structure. The HISTORIOGRAPHICAL presentation
should introduce notable issues that have been discussed in the mainstream musicological literature, including the
textbook. Delivery of both types of presentation should be NO LESS than 20 minutes, and NO MORE than 30 minutes, in
duration. Note that each piece studied will entail both types of presentation, and students are expected to work as teams.
Note that for each individual presentation requires a HANDOUT of NO MORE than 2 pages, illustrating major points.
N.B.: Each student is REQUIRED to meet with the instructor no less than ONE WEEK before each presentation. It is the
STUDENT’S RESPONSIBILITY to make a 15-minute APPOINTMENT with the instructor at an appropriate time.
25%
Class Presentation(s)
Dates to be arranged
Final score in this area also includes general class preparedness
5 Written Assignments (50% of final grade) N.B.: This course is officially designated as WRITING INTENSIVE.
Paper A will consist of reworked and formalized lecture notes for the analytical presentation, including documentation and
a works-cited list. The Term Paper may deal with any topic, but must be approved by the instructor.
10%
05%
05%
20%
10%
1) 4-5 page Paper A (on analytical presentation)
2) Term-Paper Proposal and Annotated Bibliography
3) Term-Paper Outline + Rough Draft
4) Term Paper (8-12 pages)
5) Revision of Term Paper (8-12 pages)
due Tuesday, 07 October
due Tuesday, 21 October
due Tuesday, 11 November
due Tuesday, 25 November
due MONDAY, 15 December (in mailbox by 5 p.m.)
EVALUATION: The percentage each requirement contributes to the final grade is shown above. In addition, students’
ATTENDANCE and PARTICIPATION will be considered. EXAMINATIONS are NOT comprehensive.
Each written assignment (except Nos. 2-3 above) will be graded on the basis of four criteria (total of 100 pts):
1) Content
2) Organization
40 pts
20 pts
3) Documentation
4) Writing Style
15 pts
15 pts
+ Documentary Format
+ Overall Format
05 pts
05 pts
GENERAL POLICIES:
1) PLEASE NOTE that MORE THAN 2 UNEXCUSED ABSENCES in this course will adversely affect your final grade.
2) The WRITTEN ASSIGNMENTS are specified above. All papers should be typewritten, double-spaced, and should include
proper DOCUMENTATION. Papers will be evaluated primarily on the basis of QUALITY OF WORK displayed. The
PAGE LENGTHs indicated above presuppose 250–300 words per page. Note that LATE submittals will be reduced by 5
points per day received late. Under no circumstances will a paper be accepted after the final exam.
N.B.: Any student who fails to submit EVERY required written assignment will automatically be liable to fail the course.
3) Be advised that cases of PLAGIARISM or ACADEMIC FRAUD will incur a severe penalty.
4) OFFICE HOURS: Monday, 3:00–4:00; Tuesday, 9:00–10:30 and 12:15–13:45; or by appointment.
5) Miscellaneous Information:
A) Emergency Services:
Information hotline (252) 328-0062 Internet Emergency Notices:
1) www.ecu/services/weatherpage.html
2) www.ecu.edu/oehs/emergency/SEVERE.HTM
B) ECU seeks to comply with Americans with Disabilities Act (ADA). Students seeking accommodation for a covered disability must see the Department of
Disability Support Services, Brewster A-114 (252) 328-6799, to verify disability.
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[October 9, 2003]
ECU—MUSC 5426 (2003/04 F)
INSTRUCTOR: Dr. Kevin N. Moll
S CH E DUL E O F CL AS S ME E T I NG S AND AS S I G NME NT S
Sess.Day Date
Topic—Works and Reserve Readings
Dahlhaus Reading
Due
pp. 15-26
background 1-15
01
Th 09/02 Introduction to the course
00 Beethoven, Violin Concerto in D, Op. 61 (1806)
Jander, Owen. “Romantic Form and Content…” MQ 69 (1983): 159-79.
02
Tu 09/09 01 Beethoven, Symphony No. 9 in D minor, op. 125 (1824)
pp. 81-96
Sanders, Ernest. “Form and Content in the Finale…” MQ 50 (1964): 59-76
background 6-51
Treitler, L. “History, Criticism, and Beethoven’s 9th Symphony,” 19CM 3 (1980): 193-210
03
Tu 09/16 02 Schubert, Symphony No. 8 in B minor (“Unfinished”), D. 759 (1822)
Chusid, Martin. Selections from Norton Critical Score: pp. 71-87 and 98-110.
pp. 152-60
background 75-81
04
Tu 09/23 03 Meyerbeer, Les Huguenots (1836)
Pendle, Karin. “Eugène Scribe…” MQ 57 (1971): 535-61.
pp. 54-75; 117-34
05
Tu 09/30 04 Schumann, Papillions, op. 2 (1832)
Jensen, Eric F. “Explicating Jean Paul…” 19th CM 22 (1998): 127-43.
pp. 142-52
06
Tu 10/07 05 Schumann, Dichterliebe, op. 48 (1840)
Komar, Arthur. Selection from Norton Critical Score: pp. 77-81.
W 1 : Pa p e r A Du e ( i n c l a s s )
pp. 96-111
—
Tu 10/14 FALL BREAK
—
07
Tu 10/21 06 Liszt, Sonata in B minor (1853)
Longyear, Rey. “Liszt’s B Minor Sonata…” Music Review 34 (1973): 198-209.
W 2 : T e r m Pa p e r Pr o p o s a l / An n o t a t e d B i b l i o g r a p h y Du e
T a k e - H o me Mi d - T e r m E x a m Di s t r i b u t e d
pp. 134-52
08
Tu 10/28 07 Liszt, Les Preludes (1850)
Bonner, Andrew. “Liszt’s Les Préludes” 19th CM 10 (1986): 95-107.
E 1 : T a k e - H o me Mi d - T e r m E x a m Du e ( i n c l a s s )
pp. 236-44; 244-52
09
Tu 11/04 08 Wagner, Die Walküre (1856)
Newcombe, Anthony. “The Birth of Music…” 19th CM 5 (1981): 38-66.
pp. 192-206
10
Tu 11/11 09 Brahms, Ein deutsches Requiem, Op. 45 (1868)
Beller-McKenna, Daniel. “How deutsch a Requiem?” 19th CM 22 (1998): 3-19.
W 3 : T e r m Pa p e r O u t l i n e / Ro u g h Dr a f t Du e
pp. 160-90; 252-61
11
Tu 11/18 10 Verdi, Aïda (1871)
Gossett, Philip. “Verdi, Ghislanzoni,…” Critical Inquiry 1 (1974): 291-334.
pp. 206-17; 217-36
12
Tu 11/25 11 R. Strauss, Also sprach Zarathustra (1899)
12 R. Strauss, Till Eulenspiegels lustige Streiche (1895)
Youmans, Charles. “The Private Intellectual Context…” 19th CM 22 (1998): 101-26.
W 4 : T e r m Pa p e r Du e ( i n c l a s s )
pp. 330-51; 263-76;
pp. 360-8
13
Tu 12/02 13 Mahler, Symphony No. 6 in A minor (1904)
Floros, Constantin. “The Sixth Symphony.” GM: The Symphonies, 161-86.
pp. 330-9; 360-8
14
Tu 12/09 14 Debussy, Prélude à “L’après-midi d’un faune” (1894)
Austin, William W. Selection from Norton Critical Score: pp. 71-96.
pp. 320-8; 368-79
Lec
KM
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—> M! 12/15 W 5 : T e r m Pa p e r Re v i s i o n Du e (in instructor’s mailbox by 5 p.m.)
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—> Th! 12/18 E 2 : I n - Cl a s s END-TERM EXAM (14:00–16:30)
REVIEW
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[October 9, 2003]
ECU—MUSC 5426 (2003/04 F)
INSTRUCTOR: Dr. Kevin N. Moll
G UI DE L I NE S FO R L E CT URE AS S I G NME NT S AND PAPE R A
Over the course of the semester, each student will give two presentations centering on specific works (as represented on syllabus).
Both ANALYTICAL and HISTORIOGRAPHICAL presentations will be STRICTLY LIMITED TO 30 MINUTES EACH, to be followed
by questions and discussion, for which the presenters will act as leaders. LISTENING EXAMPLES should be incorporated into
Analytical presentations, but must be restricted to a maximum of TEN MINUTES. The purpose of these assignments is to give the
student experience in preparing and delivering a balanced and focused account of the musical and historical issues presented by a
given piece. ANALYTICAL presentations should attempt to mediate between three elements: 1) placing the work in its historical
context; 2) an analytical account of the work itself; and 3) consideration of important musical questions raised in the applicable
readings assigned for the day. HISTORIOGRAPHICAL presentations should account for any signifcant issues raised in the
textbook, and should also explore other questions arising from a consideration of further secondary literature. Such questions
might include the work’s genesis, source problems, reception history, alternative analytical approaches, or general cultural context
of the work. For any given piece, both types of presentation must be accompanied by a 1-2 pp. CLASS HANDOUT, which will
include a bibliography of major sources consulted. It is expected that students giving presentations on each piece will have
consulted each other beforehand to maximize continuity. The presenters on any given day will also act as discussion leaders, and
each should have prepared no less than FIVE QUESTIONS FOR CLASS DISCUSSION. The notes for the student’s analytical
lecture will be reworked and submitted as PAPER A, including appropriate documentation and a works-cited list.
G UI DE L I NE S FO R T E RM PAPE RS
DESCRIPTION OF ASSIGNMENT (check syllabus and schedule for due dates)
4 STAGES: 1) PROPOSAL and BIBLIOGRAPHY; 2) OUTLINE and ROUGH DRAFT; 3) TERM PAPER; 4) REVISION
The main written assignment will be completed in four stages, as is outlined above. The resulting TER M P AP ER (and its
REVISION) should be NO LESS than 8 pages, and NO LONGER than 12 (double-spaced, typewritten or computer printout),
not including the required LIST OF WORKS CITED and any supplementary APPENDICES or MUSICAL EXAMPLES,
which should be placed on a separate page or pages. Note that part of the grade for content will be determined by how strictly
these guidelines are observed.
REVISION OF TERM PAPER
The purpose of this revision is to implement instructor recommendations for improvement, as well as other appropriate
modifications. When turning in your revision, it is necessary to R E S U B M IT T H E O R IG IN A L V E R S IO N as well.
DOCUMENTATION
Essays are to include DOCUMENTARY FOOTNOTES, as well as a LIST OF WORKS CITED (bibliography). Part of
the grade for documentation is based on the stipulation that each paper include citations from no less than 6 published (i.e,
printed) sources, including at least:
one MUSICAL ENCYCLOPEDIA
two MONOGRAPHS (books that are not textbooks)
two articles from SCHOLARLY JOURNALS or ANTHOLOGIES
The documentary apparatus should include full information on author, title, source of publication (e.g., journal or
encyclopedia, or publisher for monographs), and date of publication, and page numbers when applicable. The proper format
for both footnotes and bibliography can be found on an accompanying style sheet. INTERNET sources are acceptable, but
only as supplementary citations, not as substitutes for those on the above list.
GENERAL CONSIDERATIONS
TOPICS:
Subject matter for term papers is open, as long as it has some direct relevance to the course content as expressed
through the syllabus. It is suggested, however, that the term paper be treated as an outgrowth of one of the
presentations. The most important consideration in developing a topic is FOCUS, so that the topic selected will
be neither too broad nor too shallow. Please do not hesitate to confer with the instructor if you have any
questions in developing a topic.
The successful essay will be concise and well-argued, constituting a unified and individual interpretation of a given topic.
Opinions should be supported by concrete arguments and facts, and must demonstrate a familiarity with secondary literature
on the subject; your paper should NOT, however, be simply a summary of previous opinions from the literature. Grades for
written assignments will be based on the quality of four elements:
1) CONTENT (40%)
N.B.:
2) ORGANIZATION (20%) 3) DOCUMENTATION (20%) 4) WRITING STYLE/FORMAT (20%)
Please keep in mind that all information taken from primary or secondary sources, whether quoted or paraphrased,
must be properly documented through footnotes.
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[October 9, 2003]
ECU—MUSC 5426 (2003/04 F)
INSTRUCTOR: Dr. Kevin N. Moll
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[October 9, 2003]