Syllabus: Music Appreciation – 10386 – Spring, 2016
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Texas A&M University Central Texas
MUSK 313–115 MUSIC APPRECIATION
11:00-1:45, MW
Founder’s Hall, Room 203
Instructor:
Office:
Phone:
Email:
Office Hours:
Francis Léger
Founder’s Hall, Room 221a
254.519.5441
[email protected]
By appointment
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Course Overview: Music Appreciation Is Presented In Six (6) Parts
I: ELEMENTS OF MUSIC
II: EARLY MUSIC
III: BAROQUE
IV: CLASSICAL
V: ROMANTIC
VI: 20TH CENTURY AND AFTER
PART 1
PARTS 2 - 3
PART 4
PART 5
PART 6
PARTS 7 – 11
Concepts: Music Appreciation in a Historical and Cultural Context
This is a course consisting of an introduction and overview of the music of Western Civilization. Study of the various
historical periods is presented within the context of music and its overall development. The class covers the cultural
background of each period and includes aspects of musical literature along with exposure to some of the most
significant musicians of each period. We will approach the process of learning and understanding music through the
use of various materials for listening activities, ongoing reading and listening assignments, class discussions, and
include the practice and development of basic musical skills.
All students are welcome. At the beginning of the course it is important that each student identify his/her level of
musical interest and pursuit as well as vocal and/or instrumental proficiency. Participation in musical activities
facilitates your musical and overall understanding, as well as the use of terminology presented throughout the course.
Learning Goals of the Course
Upon successful completion of this course you will be able to:
1. Identify and discuss aspects of music from different centuries with informed reference to time periods before and after.
Syllabus: Music Appreciation – 10386 – Spring, 2016
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2. Identify some principal or significant musicians up to the present day.
3. Identify (through listening/aural and stylistic analysis) the different types of music created and performed in different
centuries. When applicable, you will learn and practice using musical parameters for formal analysis such as melody,
rhythm, harmony, tonality, texture, form, and orchestration/instrumentation.
4. Apply formal analysis* (= stylistic analysis) and interpret works from each period of music. Please note that the
extent to which one can describe music in detail depends, in part, upon previous musical training in theory,
instrumental or vocal proficiency, etc.
5. Better understand and appreciate the requirements for making music and know how to practice and develop basic
musical skills and musicianship.
Instructional Materials
Music: An Appreciation (MAA) (11th Edition) Looseleaf Version, by Roger Kamien
Published by McGraw-Hill, Copyright 2014
ISBN 10: 1259241319
ISBN 13: 9781259241314
LearnSmart 1-Term Online Access for Music: An Appreciation (11th Edition)
ISBN10: 1259214052
ISBN13: 9781259214059
The instructional materials identified for this course are also viewable through http://www.bkstr.com/tamuctstore/home
Required Work
- Mid-term Test, written and listening test, one hour and fifteen minutes, 40%
A written and listening test consists of a series of questions in print along with a listening segment. You will have to
answer questions in True or False, multiple choice, or fill in the blank segments, and identify a series of musical works
from audio musical examples played in succession. You will not specifically be tested on, say, the dates of a particular
composer, but you must demonstrate your knowledge of music literature and composers in their historical context.
- Final Test, written and listening test, one hour and fifteen minutes, 40%
A written and listening test consists of a series of questions in print along with a listening segment. You will have to
answer questions in True or False, multiple choice, or fill in the blank segments, and identify a series of musical works
from audio musical examples played in succession. You will not specifically be tested on, say, the dates of a particular
composer, but you must demonstrate your knowledge of music literature and composers in their historical context.
- Attendance, 10%
It is expected that you attend every class and also understood that difficult circumstances and emergencies do arise.
Syllabus: Music Appreciation – 10386 – Spring, 2016
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- Participation, 10%
This I normally apply in your favor to reward class participation, improvement, and effort to raise the grade above the
strict mathematical average.
Paper* (extra credit)
You may exercise initiative to improve your grade by preparing a two (2) to three (3) page paper. It can be based upon
a topic from the assigned reading material or something discussed in class. This would in effect become a resource
paper to distribute to the rest of the class. You can submit the paper to me as a .doc or .pdf as late as Tuesday, April 28th
through email ([email protected]) and I will print copies.
* I record the grade as a note and YES, it can actually factor into the semester grade.
Instructor and Class Policies
Instructor’s Professional Statement:
“I want to empower you – to build a competitive musical foundation on which to cultivate your present and future love
for music – and yes, to change your life.” Should you want to know more about my work as a concert artist and unique
perspectives on music and teaching, please visit my professional website at www.FrancisLeger.com
Instructor’s Discretion:
For this class, I reserve the right of final decision in course requirements.
Late Work and Make-Up Work Policy:
Your acceptance and enrollment at the University confirms your commitment to attend classes. Therefore, late work
and make-up work are not accepted. If a test or exam is missed because of illness or extenuating circumstances, the
student must contact me as soon as possible to schedule a make-up exam. All make-up exams should be taken within
one week of the missed exam date unless a suitable make-up time is not available. Required papers and extra credit
papers must be submitted by the appropriate date.
Cell Phones:
Cell phones must be turned “off”, and there is no text messaging. For TAMUCT safety requirements I will leave my
cell phone “on”.
Communications:
E-mail is an official way of communicating with the class. Please check your email regularly for any changes to
assignments, etc. I accept papers only in digital format, preferably a .pdf, but also as a .doc.
Computers:
Generally, it is better not to have computers for taking notes in class. You may bring computers to test review sessions.
Syllabus: Music Appreciation – 10386 – Spring, 2016
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Study Notes:
Please be aware that study notes will be made available to you as pdfs or handouts. Therefore, you do not have to take
notes about details such as names, dates, etc. because you will have access to those later. This should leave you free to
look at the texts and images, listen to the lectures and music examples played in class, and join in any discussion while
taking only “minimal” notes along the way.
How to Organize Your Studying
Study and review the set of Study Notes thoroughly and repeatedly for definitions, concepts and information.
Take notes on the class lectures, but only “limited” notes. All the names, dates, and much text are in the Study Notes.
Keep up with reading the texts, preferably before the lectures, to enable questions and class discussions.
I recommend that you start:
… referring to your timelines and outlines, learning the main musical / historical periods, dates, and the context of
musical, historical events and culture.
… familiarizing yourself with musical works by period styles, always being aware that a work may arguably be
transitional or placed in more than one “style.” You should know why a work is in this or that particular style, and not
just memorize it as a certain fact. Think critically* whenever possible.
… reading so as to enlarge your awareness and love of music, its importance to you and the larger world, and
your overall English and foreign language “vocabulary”, which will help you gain a better understanding of every
aspect of music.
* What is the definition of critical thinking? Evaluation of the extent to which a statement is true, partly true or false.
* What is the definition of analysis? Unraveling of an object or phenomenon into its constituent parts.
Syllabus: Music Appreciation – 10386 – Spring, 2016
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The Syllabus Calendar
Every effort is made so that the lecture topics along with reading and listening assignments align with the appropriate day.
Assignments and work due are indicated in bold type.
Week 1
Mon., January 18 (Martin Luther King Jr. Day / No Class)
Wed., January 20
Topics:
Reading:
Listening:
The Elements of Music
Sound 4: Pitch 4, Dynamics 6, Tone Color 7, Listening Outlines, Vocal Music Guides, Properties of Sound 7
Melody 40, Melody and Words 44, Song Forms 45
Rhythm 31: Beat 32, Meter 33, Accent 34, Syncopation 34, and Tempo 34
Harmony 45: Consonance and Dissonance 46, The Triad 46, Broken Chords (Arpeggios) 47
Tonality (Key) 49: Major Scale 50, Minor Scale 51, Key Signature 52, Chromatic Scale 53,
Modulation: Change of Key 53, Tonic Key 54
Syllabus: textbook Preface, and selected topics listed above
Stravinsky: The Firebird, Scene 2
Ellington: C-Jam Blues
************
Topics:
Reading:
Listening:
The Elements of Music
Musical Texture 54: Monophonic 54, Polyphonic 54, Homophonic 55, Changes of Texture 56
Musical Form 58: Techniques That Create Musical Form 58: Repetition, Contrast, Variation
Types of Musical Form 59: Ternary 59 and Binary 60
Listening for Form 62
Selected topics listed above
Bizet: Farandole from L'Arlésienne Suite No. 2
Tchaikovsky: "Dance of the Reed Pipes" from The Nutcracker
Bach: Bourrée from Suite in E Minor for Lute
************
Topics:
Reading:
The Elements of Music
Orchestration/Instrumentation (Performing Media 10): Voices 10, Musical Instruments 12, Strings 13,
Woodwinds 17, Brass 20, Percussion 22, Keyboard Instruments 25, Electronic Instruments 27
Notation 36: Notating Pitch 36, Notating Rhythm 37, Notating Silence 38, Notating Meter 38, the Score 39
Performance 62
Musical Styles 66
Selected topics listed above
Listening:
Britten: The Young Person's Guide to the Orchestra (complete work)
Syllabus: Music Appreciation – 10386 – Spring, 2016
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Week 2
Mon., January 25 and Wed., January 27
Topics:
Reading:
Listening:
Early Music 71
The Middle Ages (Medieval) 71: Gregorian Chant 75, Hildegard 79, Secular Music 81, Polyphony 82,
“New Art” 84, Landini 86, Guillaume de Machaut 86
The Renaissance 93: Music and Society 98, Words and Music 98, Texture 99, Rhythm and Melody 99,
Sacred Music 99, Josquin 100, Palestrina 102, Secular Music 105-114
Selected topics listed above
Anon.: Estampie
Josquin Desprez: Ave Maria
Weelkes: As Vesta Was Descending
************
Topics:
Reading:
Listening:
The Baroque Period 117
Baroque Music 122: Mood 122, Rhythm 123, Melody 123, Dynamics 123, Texture 123,
Basso Continuo 123, the Orchestra 125, and the Forms 125
Baroque Society 126
the Sonata 145
Antonio Vivaldi 146
Selected topics listed above
Vivaldi: Spring (“La Primavera”) from The Four Seasons
************
Topics:
Reading:
Listening:
The Baroque Period (cont.)
The Concerto Grosso and Ritornello Form 128
J. S. Bach 151
the Baroque suite 159
The Chorale and Church Cantata 160
Selected topics listed above
Bach: Brandenburg Concerto No. 5, 1st movement
Cantata No. 104 "Wachet auf", 4th and 7th movements
************
Topics:
Reading:
Listening:
The Baroque Period (cont.)
The Fugue 136
The Oratorio 168
G. F. Handel 168
Selected topics listed above
Bach: Organ Fugue in G minor
Handel: selections from Messiah
Week 3
Mon., February 1 and Wed., February 3
Topics:
The Classical Period 181
Classical Style 186: Mood 186, Rhythm 186, Texture 187, Melody 187, Dynamics and the Piano 187
Syllabus: Music Appreciation – 10386 – Spring, 2016
Reading:
Listening:
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The Classical Orchestra 187
Classical Form 188
The Composer, Patron, and Public 189, Social Trends 190,
Vienna 190
Theme and Variations 195
Minuet and Trio 197
Rondo 199
Selected topics listed above
Mozart: Eine kleine Nachtmusik, 3rd movement
Beethoven: String Quartet in C minor, Op. 18, No. 4, 4th movement
************
Topics:
Reading:
Listening:
The Classical Period (cont.)
The Classical Symphony 200
Sonata Form 191
Chamber Music 202
Franz Joseph Haydn 203
Part V Chap. 3, 7, 9, & 10 (pp. 193-196, 203-204 and 205-211)
Mozart: Symphony No. 40 in g minor, 1st movement
Haydn: Symphony No. 94 in G Major "Surprise", 2nd movement
************
Topics:
The Classical Period (cont.)
The Concerto 210
Wolfgang Amadeus Mozart 210
The Opera: Don Giovanni 213
the Piano Concerto 225
Reading:
Listening:
Selected topics listed above
Mozart: excerpt from Don Giovanni
Mozart: Piano Concerto in A Major, K. 148, 1st movement
Week 4
Mon., February 8 and Wed., February 10
Topics:
Reading:
Listening:
[Test Review]
The Classical Period (cont.)
Ludwig van Beethoven 232
The Piano Sonata 236
Symphony No. 5 238
Selected topics listed above
Beethoven: Symphony No. 5 in c minor
Summary Assignment: Prepare for the Mid-Term Examination. (See “Part Summaries” at the end of each PART.)
Syllabus: Music Appreciation – 10386 – Spring, 2016
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Week 5
Mon., February 15 The Mid-Term Test
Wed., February 17 [Test Returned]
Topics:
Reading:
Listening:
The Romantic Period 251
Romanticism in Music 257: Individuality 257, Expressive Aims 257, Nationalism 258, Program Music 258,
Expressive Color 258 and Harmony 259, Expanded Ranges 259, Forms 259
Composers and their Public 260
Selected topics listed above
Schubert: Erlkönig
************
Topics:
Reading:
Listening:
The Romantic Period (cont.)
The Art Song 263: the Song Cycle 263
Franz Schubert 263
Robert Schumann 271
Frederic Chopin 274
Franz Liszt 279
Felix Mendelssohn 283
Program Music 289
Hector Berlioz 290
Selected topics listed above
Berlioz: Symphony fantastique, 4th movement
************
Topics:
Reading:
Listening:
The Romantic Period (cont.)
Nationalism in Nineteenth-Century Music 299, The Russian Five 299
Peter Ilyich Tchaikovsky 303
Bedrich Smetana 307
Antonin Dvorak 309
Johannes Brahms 315
Selected topics listed above
Smetana: The Moldau
Brahms: Symphony No. 3 in F Major
************
Topics:
Reading:
Listening:
The Romantic Period (cont.)
Giuseppe Verdi 323
Giocomo Puccini 330
Richard Wagner 340
Gustav Mahler 347
Selected topics listed above
Puccini: La Bohème
Wagner: Die Walkure
Syllabus: Music Appreciation – 10386 – Spring, 2016
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Week 6
Mon., February 22 and Wed., February 24
Topics:
Reading:
Listening:
The Twentieth Century and Beyond 355
Musical Styles: 1890-1950 361
Tone Color 363, Harmony 365, Alternatives to Traditional (Tonality) Tonal Systems 365
Rhythm 366, Melody 367
Music and Musicians in Society Since 1900 368
Impressionism and Symbolism 369: French Painting 369, and Poetry 370
Claude Debussy 370
Maurice Ravel 376
Selected topics listed above
Debussy: Prélude à L'Aprés-midi d'un faune
Still: Afro-American Symphony, 3rd movement
************
Topics:
Reading:
Listening:
The Twentieth Century and Beyond (cont.)
Neoclassicism 379
Igor Stravinsky 380: The Rite of Spring 381
Expressionism 389
Arnold Schoenberg 389: Atonality 391, the Twelve-Tone System 392
Survivor from Warsaw 394
Pierrot Lunaire, Op. 21 (Moonstruck Pierrot) 396
Selected topics listed above
Stravinsky: excerpts from Le Sacre du printemps
Schoenberg: A Survivor from Warsaw, Op. 46
Schoenberg: Pierrot Lunaire, Op. 21
************
Topics:
Reading:
Listening:
The Twentieth Century and Beyond (cont.)
Alban Berg 398
Anton Webern 402
Béla Bartók 404
Dmitri Shostakovich 411
Music In America 414
Amy Beach 418
Charles Ives 420: Three Places in New England
George Gershwin 424: Rhapsody in Blue
George Gershwin: Porgy and Bess
William Grant Still 428
Aaron Copland 430: Appalachian Spring
Alberto Ginastera 434
Musical Styles since 1945 438-465
Selected topics listed above
(various composers and their styles)
Bartók: Concerto for Orchestra, 2nd movement
Copland: Appalachian Spring, section 7
Syllabus: Music Appreciation – 10386 – Spring, 2016 10
Week 7
Mon., February 29 and Wed., March 2
Topics:
Reading:
Listening:
Jazz 467
Jazz in Society 467: Roots 470, Ragtime 473, Blues 474, New Orleans Style 479, Swing 482
(Ellington, Hampton, etc.), Bebop 485, Cool Jazz 488, Free Jazz 489, Jazz-Rock Fusion 490
Selected topics listed above
Smith: Lost Your Head Blues
************
Topics:
Reading:
Listening:
Music for Stage and Screen 495
Musical Theater 497: Characteristics and Development 497
Leonard Bernstein 499: West Side Story 500
Music in Film 503
Selected topics listed above
Bernstein: “America” and “Tonight” from West Side Story
************
Topics:
Reading:
Listening:
Rock 511
Development of Rock 513: Characteristics 516, Tone Color 516, Rhythm 516, Form 516,
Melody 516, Harmony 516
Rock in American Society 518, Rock and Recordings 519, Rock and Television (MTV) 520
Rock and Dancing 520
The Beatles 521
Selected topics listed above
Rock from your CD collection that is referred to in the textbook; bring examples to discuss in class
Week 8
Mon., March 7
Topics:
Reading:
Listening:
[Test Review]
Non-Western Music 529
Music in Non-Western Cultures 529
Characteristics 529: Oral Tradition 529, Improvisation 529, Voices 529, Instruments 529,
Melody 530, Rhythm 530, Texture 530
Interaction between non-Western and Western Music 531
Music in sub-Saharan Africa 531: Music in Society 532
Elements of African Music 533: Rhythm and Percussion 533, Vocal Music 533, Texture 533
African Instruments 533
Classical Music of India 537, Performers 538, Improvisation 538, Elements 538, Instruments 540
Koto Music of Japan 542
Selected topics listed above
Shankar: Maru-Bihag
Mitsuzaki: Godan-Ginuta
Assignment:
Prepare for the Final Test
See “Part Summaries” (pp. 354, 460, 490, 504, 522, 546.)
ANY AND ALL PAPERS DUE* (extra credit)
Syllabus: Music Appreciation – 10386 – Spring, 2016 11
Wed., March 9
[The Final Test]
Friday, March 11
FINAL GRADES SUBMITTED TO REGISTRAR
(By 3:00pm)
Some suggested topics for papers (extra credit)
-
a particular musical form or compositional style (ex. use of polyphony, etc.)
a particular musical work with some specificity regarding stylistic analysis and its impact on music of the time
a significant composer, perhaps an important time period or overall career of prolific accomplishment in his/her life
(ex. Franz Joseph Haydn – contributed to the development of the string quartet, composed over 100 symphonies, etc.)
how a key historical event impacted music at the time
why a single work may be widely considered as one of the greatest ever composed
any other subject that may be appealing and of special interest to you (double check with me)
Recommended or Optional Sources for Further Study and Research
Harvard Dictionary of Music
Naxos music library online
McGraw-Hill companion website* (www.mheducation.com)
* Purchase of the latest edition of the textbook, Music: An Appreciation (11th Edition) by Roger Kamien
along with access to LearnSmart gives you access to extensive online study and listening materials.
According to the publisher -- “Powered by innovative technology, this learning system (LearnSmart)
provides each student a fully customized experience by identifying the student’s strengths and
weaknesses and responding with personalized instruction that guides the learner to understand and
retain the course material.”
Syllabus: Music Appreciation – 10386 – Spring, 2016 12
COURSE AND UNIVERSITY POLICIES AND PROCEDURES
Drop Policy:
Occasionally, one encounters life circumstances that require extensive immediate attention. Should you be challenged
by such a predicament that does not allow you to devote the necessary time, effort, disciplined work and attention to
complete the course, then a suitable choice may be to drop the course before the drop deadline.
If you discover that you need to drop this class, you must go to the Records Office and ask for the necessary paperwork.
Professors cannot drop students; this is always the responsibility of the student. The record’s office will provide a
deadline for which the form must be returned, completed and signed. Once you return the signed form to the records
office and wait 24 hours, you must go into Warrior Web and confirm that you are no longer enrolled. Should you still
be enrolled, FOLLOW-UP with the records office immediately! You are to attend class until the procedure is complete
to avoid penalty for absence. Should you miss the deadline or fail to follow the procedure, you will receive an F in the
course.
Incomplete Policy:
If you want to discontinue the course and a drop is not possible because the drop deadline has passed, then an
incomplete may be an appropriate alternative. An incomplete does not dismiss you from the rigors of the class offerings
and course requirements. However, it does enable you to complete all requirements by allotting sufficient time to give
your best scholastic effort.
Academic Integrity:
Texas A&M University-Central Texas values the integrity of the academic enterprise and strives for the highest
standards of academic conduct. A&M-Central Texas expects its students, faculty, and staff to support the adherence to
high standards of personal and scholarly conduct to preserve the honor and integrity of the creative community.
Academic integrity is defined as a commitment to honesty, trust, fairness, respect, and responsibility. Any deviation by
students from this expectation may result in a failing grade for the assignment and potentially a failing grade for the
course.
Academic misconduct is any act that improperly affects a true and honest evaluation of a student’s academic
performance and includes, but is not limited to, cheating on an examination or other academic work, plagiarism and
improper citation of sources, using another student’s work, collusion, and the abuse of resource materials. All academic
misconduct concerns will be reported to the University’s Office of Student Conduct. Ignorance of the University’s
standards and expectations is never an excuse to act with a lack of integrity.
When in doubt on collaboration, citation, or any issue, please contact your instructor before taking a course of action.
Access & Inclusion:
At Texas A&M University–Central Texas, we value an inclusive learning environment where every student has an
equal chance to succeed and has the right to an education that is barrier-free. The Office of Access & Inclusion is
responsible for ensuring that students with a disability enjoy equal access to the University's programs, services and
activities. Some aspects of this course or the way the course is taught may present barriers to learning due to a
disability. If you feel this is the case, please contact Access & Inclusion at (254) 501-5831 in Warrior Hall, Ste. 212.
For more information, please visit their website at https://www.tamuct.edu/departments/disabilitysupport/index.php
Any information you provide is private and confidential and will be treated as such.
Syllabus: Music Appreciation – 10386 – Spring, 2016 13
Tutoring:
Tutoring is available to all TAMUCT students, both on-campus and online. Subjects tutored include Accounting,
Finance, Statistics, Mathematics, and Study Skills. Tutors are available at the Tutoring Center in Warrior Hall, Suite
111. Visit www.tamuct.edu/AcademicSupport and click "Tutoring Support" for tutor schedules and contact information.
If you have questions, need to schedule a tutoring session, or if you are interested in becoming a tutor, contact
Academic Support Programs at (254) 501-5830/5836, or by emailing [email protected]
Chat live with a tutor 24/7 for almost any subject on your computer! Tutor.com is an online tutoring platform that
enables TAMUCT students to log-in and receive FREE online tutoring and writing support. This tool provides tutoring
in Mathematics, Chemistry, Physics, Biology, Spanish, Calculus, and Statistics.
To access Tutor.com, click on https://www.tamuct.edu/departments/academicsupport/tutoring.php
University Writing Center:
The University Writing Center at Texas A&M University-Central Texas is a free workspace open to all TAMUCT
students. The UWC is located in 416 Warrior Hall. The center is open 11am-6pm Monday-Thursday during the spring
semester. Students may work independently in the UWC by checking out a laptop that runs Microsoft Office suite and
connects to WIFI, or by consulting our resources on writing, including all of the relevant style guides. Students may
also arrange a one-on-on session with a trained and experienced writing tutor. Tutorials can be arranged by visiting the
UWC. Tutors are prepared to help writers of all levels and abilities at any stage of the writing process. Sessions
typically last between 20-30 minutes. While tutors will not write, edit, or grade papers, they will help students develop
more effective invention and revision strategies.
University Library:
The University Library provides many services in support of research across campus and at a distance. We offer over
200 electronic databases containing approximately 250,000 eBooks and 82,000 journals, in addition to the 72,000 items
in our print collection, which can be mailed to students who live more than 50 miles from campus. Research guides for
each subject taught at TAMUCT are available through our website to help students navigate these resources. Oncampus, the library offers technology including cameras, laptops, microphones, web cams, and digital sound recorders.
Research assistance from a librarian is also available twenty-four hours a day through our online chat service, and at the
reference desk when the library is open. Research sessions can be scheduled for more comprehensive assistance, and
may take place on Skype or in-person at the library. Assistance may cover many topics, including how to find articles
in peer-reviewed journals, how to cite resources, and how to piece together research for written assignments.
Our 27,000-square-foot facility on the TAMUCT main campus includes student lounges, private study rooms, group
workspaces, computer labs, family areas suitable for all ages, and many other features. Services such as interlibrary
loan, TexShare, binding, and laminating are available. The library frequently offers workshops, tours, readings, and
other events. For more information, please visit our homepage: https://tamuct.libguides.com/
Technology Support:
For technology issues, students should contact:
Help Desk Central (24 hours a day, 7 days a week)
Email: [email protected]
Phone: (254) 519-5466
Web Chat: http://hdc.tamu.edu
When calling for support please let your support technician know you are a TAMUCT student.
For issues related to course content and requirements, contact your instructor.