MUSIC 306 The Symphony
Spring 2012
David Lawton, Instructor; Carol McGonnell, teaching assistant
Tuesdays and Thursdays, 12:50-2:10 p.m.
Music Building, Room 0113
Office hours: Tuesdays, 2:30-3:30 p.m.; Thursdays, 11:30-12:30
Office telephone: 632-7301. E-mail: [email protected]
SYLLABUS
COURSE DESCRIPTION:
MUS 306 - G: The Symphony
Study of important symphonic works from the 18th century to the present. The course will concentrate on the
development of styles from Haydn, Mozart, and Beethoven through the Romantics, Brahms, and Mahler,
concluding with the transformation of the symphonic idea in works of Stravinsky and Webern. Not for music
major credit.
Prerequisite: MUS 101 or 119 or 130
3 credits
This course will be a one-semester survey of the historical development of the symphony, the most
important and most enduring orchestral genre, from its beginnings in the pre-Classical era and the
symphonies of Haydn and Mozart, through the symphonies of several major twentieth century
composers, including Jean Sibelius, Arnold Schoenberg, Anton Webern, and Igor Stravinsky. The
course will trace the mainstream development through study of representative examples by the major
Austrian and German composers (Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Schumann,
Brahms, Bruckner and Mahler), but we will also study major symphonies by composers of other
nationalities: Berlioz (France), Liszt (Hungary), Tchaikovsky (Russia), Dvorak (Czechoslovakia), and
Sibelius (Finland). Intended for non-majors, the course will involve reading assignments in the required
textbook as well as listening assignments in the Music Library. An attempt will be made to place these
symphonies in their historical context, both in relation to contemporary political events and to parallel
developments in the visual arts, especially architecture and painting. Lectures will involve slide show
presentations of visual art, and class discussions on the assigned reading and listening. In addition, you
will be required to attend a performance by the Stony Brook Symphony Orchestra on Saturday, February
25, 2011 and submit a short report due in class on Tuesday, February 28 (see below for further details.)
COURSE LEARNING OBJECTIVES
1. The student will demonstrate an understanding of the development of the symphonic genre (including
the musical form, instrumentation, and other aspects of musical style) from the mid-18 century through
the 20 century in Germany/Austria, France, Finland, Russia, Hungary, and Czechoslovakia through two
midterms and one final examination, which will include at least two take-home essay questions.
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2. The student will demonstrate an understanding of some aspects of visual art (painting, sculpture, and
architecture) in interconnection with the symphonies as cultural expressions of their particular historical
time period and nationality through two midterms and a final examination, which will include at least
two take-home essay questions.
COURSE REQUIREMENTS
Attendance and Make Up Policy
Attendance will be taken at the beginning of every class meeting. If you are not able to attend a class,
please notify me at least one day in advance by e-mail, stating the reason for your absence. Because my
lectures do not duplicate the reading assignments, it is important to attend every class.
Arriving late or leaving early is disruptive; please make every effort to arrive on time, and do not leave
until I dismiss the class.
Your grade will be based on two midterm examinations (the first including the short report), a final
examination, several other written assignments, and attendance.
Description and schedule of Required Readings and/or Assignments
See below under MEETING SCHEDULE
Exams
See below under MEETING SCHEDULE
GRADING
The course will be divided into four units, each ending with a mid-term examination on the material
covered in that unit:
Unit I: Antecedents in Baroque and Pre-classical music; the Classical symphony from Haydn
through Symphonies of Beethoven and Schubert: January 24-February 21.
Midterm
Examination No. 1: Tuesday, February 28 (with take-home essay
about Stony Brook
Symphony concert on February 25).
Unit II: The symphony from Mendelssohn through Mahler. March 1--March 22.
Midterm Examination No. 2: Thursday, March 29.
Unit III: Programmatic symphonies and the non-German symphony: April 10-April 19.
Unit IV: Some important twentieth-century symphonies: April 24-May 1
Final Examination (on Units III and IV only): Thursday, May 10, 2012,
2:15-4:45 p.m.
Thursday May 3 will be a review session for the Final Exam.
The final examination is scheduled for Tuesday, May 10, 2012 from 2:15-4:45 p.m., in Room 0113.
Your grade will be based upon your cumulative average for the semester, based upon your scores on
each one of the three examinations, take-home essays and extra-credit assignments or exam questions. In
calculating your final grade, I will use the following percentages calculated on the basis of your
cumulative point total for the semester as a percentage of the total points possible:
95—100%: A
90-95%: A87—89%: B+
84—86%: B
80—83%: B77—79%: C+
74—76*: C
70—73%: C67—69%: D+
64—66%: D
60—63%: D59% or lower: F
In calculating your final grade I will also factor in attendance, particularly in borderline cases where the
percentage could is on or near the boundary between two letter grade levels. In that case good
attendance will favor the higher grade level, and poor attendance the lower one.
MEETING SCHEDULE
Unit I: Antecedents; the symphony from Haydn through Schubert
Tuesday, January 24:
Course overview; chronology
The High Baroque style in the visual arts: architecture and painting: Balthasar Neumann’s Residenz for
the Prince-Bishop of Würzburg, with frescoes by Giovanni Battista Tiepolo.
Baroque musical antecedents to the symphony:
Listening in class: Corelli, Sonata da camera, op. 4, no. 1 in C major (1694); Bach, Suite No. 3:
Gavotte (ca. 1720); Handel, Concerto grosso op. 6 no. 2 in F major (1739); Bach, Suite No. 3: Overture
(ca. 1720) ; Pergolesi, Sinfonia to the opera L’olimpiade (1735).
Thursday, January 26: Pre-classical symphonies
The Neo-Classical style in architecture and painting: Ange-Jacques Gabriel’s Ermitage for Mme
Pompadour in Fontainebleau, Jean Honoré Fragonard’s paintings The Progress of Love; JacquesGermain Soufflot’s Panthéon in Paris, Jacques-Louis David’s paintings The Oath of the Horatii and the
The Lictors bring to Brutus the Bodies of his Sons.
Reading: Stedman, Chapters 1, pp. 3-16; and 2, pp. 17-31.
Listening in class:
Giovanni Battista Sammartini, Symphony in G major, JC 39 (before 1740); Johann Stamitz, Symphony
in F major. Op. 4, no. 1 (ca. 1752-1754); Georg Christoph Wagenseil, Symphony in G major (ca. 17601762).
Tuesday, January 31: Middle Haydn and Mozart symphonies
Reading: Stedman, Chapter 3, pp. 41-49. Study especially the discussion of Haydn’s Symphony
No. 44 in e minor (1771), pp. 42-46, and Mozart’s Symphony No. 29 in A major, K. 201 (1774), pp. 4649. Also Neal Zaslaw, Mozart’s Symphonies: Context, Performance Practice, Reception, Chapter 10
“Meanings for Mozart’s Symphonies,” pp. 510-525.
Listening:
Haydn, Symphony No. 44 in e minor (1771) CD 1746
Mozart, Symphony No. 29 in A major, K. 201 (1774) CD 7837/48
Thursday, February 2: Late Mozart and Haydn symphonies
Reading: Stedman, Chapter 3, pp. 50-62. Study especially the discussion of Mozart’s Symphony
No. 40 in g minor, K. 550 (1788) on pp. 50-55; and Haydn’s Symphony No. 104 in D major (1795) on
pp. 57-61. Also Neal Zaslaw, Mozart’s Symphonies: Context, Performance Practice, Reception, Chapter
10 “Meanings for Mozart’s Symphonies,” pp. 526-544.
Listening:
Mozart, Symphony No. 4 in g minor, K. 550 (1788)
Haydn, Symphony No. 104 in D major (“London”) (1795)
Tuesday, February 7: The symphonies of Beethoven
Architecture: Claude-Nicolas Ledoux, projects for barrière, Paris, 1785-89; Thomas de Thomon, Bourse
in St. Petersburg, 1801; Charles Percier, Paris Arc du Carousel; Alexandre-Pierre Vignon, Paris, Church
of the Madeleine; Carl Friedrich Schinkel, Berlin, Schauspielhaus and Alte Museum. Painting: JacquesLouis David, The Death of Marat, 1793; David, Napoleon Crossing the St. Bernard Pass, 1800; Joseph
Mallord WIlliam Turner, Snow Storm: Hannibal and His Army Crossing the Alps, 1812; Paul
Delaroche, Napoleon Crossing the Alps, 1848; Jean-Auguste-Dominique Angres, Napoleon as First
Consul, 1804; David, The Coronation of Napoleon in Notre-Dame, 1805-07; Ingres, Napoleon I on the
Imperial Throne, 1806; Antoine-Jean Gros, Napoleon on the Battlefield at Eylau, 1808; Anne-Louis
Girodet-Trioson, The Revolt at Cairo, 1810; Francisco Goya, The Third of May 1808, 1814; Turner, The
Field at Waterloo, 1818.
Reading: Stedman, Chapter 4, pp. 63-95. Study especially the discussion of Beethoven’s
Symphony No. 5 in c minor, op. 67 (1807), on pp. 76-82. Also E. T. A. Hoffmann, “Review of the Fifth
Symphony,” in Elliot Forbes, editor, Beethoven Symphony No. 5, (New York, W. W. Norton, 1971), pp.
150-163.
Listening:
Beethoven, Symphony No. 5 in c minor, op. 67
Thursday, February 9: The Symphonies of Beethoven, continued
Reading: Stedman, Chapter 4, pp. 73-76; Lewis Lockwood, Beethoven: the music and the life:
“The Ninth Symphony,” pp. 411-431 (posted on Blackboard)
Listening: Beethoven, Symphony No. 9 in d minor, op. 125 (1822-24): first and second
movements
Tuesday, February 14: The Symphonies of Beethoven, concluded
Reading: Lewis Lockwood, Beethoven: the music and the life: “The Ninth Symphony,” pp. 431440 (posted on Blackboard)
Listening: Beethoven, Symphony No. 9 in d minor, third and fourth movements.
Thursday, February 16: The Symphonies of Schubert
Architecture: neo-Greek and neo-Gothic styles, 1820-1840. Sir Robert Smirke, The British Museum,
London, 1823; Sir Charles Barry and A.W. N. Pugin, Houses of Parliament, London, 1836.
Romantic painting: Line vs. color: Jean-Auguste-Dominique Ingres, The Apotheosis of Homer, 1827;
Delacroix, The Death of Sardanapalus, 1827; Géricault, The Raft of Medusa, 1819; Delacroix, Liberty
Leading the People, 1830.
Fantasy and exploration of the Psyche: William Blake, Dante’s Divine Comedy, Hell, Canto 5, 1817;
Delacroix, Insane Woman, 1822.
Reading: Stedman, Chapter 5, pp. 96-107; and Louise Cuyler, The Symphony, pp. 88-92, about
Schubert’s Symphony No. 9 in C major (1825) (posted on Blackboard).
Listening:
Schubert, Symphony No. 9 in C major (“The Great”), first and second movements
Tuesday, February 21: The Symphonies of Schubert, concluded
Reading: Robert Schumann, “Schubert Symphony in C major,” in Robert Schumann on Music
and Musicians, pp. 107-112.
Listening: Schubert, Symphony No. 9 in C major (“The Great”), third and fourth movements.
Thursday, February 23:
Review session for first midterm
Saturday, February 25, 8 p.m. Concert by the Stony Brook Symphony Orchestra, Glen Cortese, guest
conductor, featuring Mahler’s Symphony No. 5. Attendance at this concert is required. There will be a
short written assignment about this concert, due Tuesday, February 28, as a take-home essay that will be
part of the midterm exam that day.
Tuesday, February 28:
First midterm examination, in class; the short written assignment will be due at the beginning of
the exam.
Unit II: The Symphony from Mendelssohn through Mahler
Thursday, March 1: The Symphonies of Mendelssohn
Architecture: neo-Renaissance style: Sir Charles Barry, Travellers’ Club, London, 1829; Reform Club,
London, 1837.
Painting: the Nazarenes: Franz Pforr, Entry of Rudolf von Hapsburg into Basel, 1723, 1810; Friedrich
Overbeck, Italia and Germania, 1811; Joseph Anton Koch, Dante Attacked by Three Wild Beasts, 1825.
Biedermeier and daily life: Martin Drölling, Kitchen Interior, 1815; C.S. Eckersberg, Portrait of Bella
and Hanna, 1820; Wilhelm Bendz, Interior on the Amaliegade, 1830.
Reading: Stedman, Chapter 5, pp. 108-115. Study especially the discussion of Mendelssohn’s
Symphony No. 4 (1833; revised 1834) on pp. 110-115; also John Michael Cooper, Mendelssohn’s
‘Italian’ Symphony, Chapter 5 “An ‘Italian’ Symphony,” pp. 155-191.
Listening:
Mendelssohn, Symphony No. 4 in A (“Italian”) (both versions)
Tuesday, March 6: The Symphonies of Schumann
Painting: the landscape, man in nature: Caspar David Friedrich, The Cross in the Mountains, 1808;
Wanderer on the Sea of Fog, Chalk Cliffs at Rügen, 1818; Moon Rising over the Sea, 1820; A man and
Woman Contemplating the Moon, Sunset, 1830.
Reading: Stedman, Chapter 5, pp. 115-123. Study especially Louise Cuyler, The Symphony, pp.
97-101, about Schumann’s Symphony no. 4 in d minor (1841; revised 1853); also Maria Rika Maniates,
“The D minor Symphony of Robert Schumann,” in Festschrift für Walter Wiora zum 30. Dezember
1966, (Kassel, Bärenreiter, 1967), pp. 441-447 (both posted on Blackboard)
Listening:
Schumann, Symphony No. 4 in d minor, both versions
Thursday, March 8: The Symphonies of Brahms
Architecture: neo-Baroque: Charles Garnier, Paris Opéra, 1861-1874.
Painting: Pre-Raphaelites: Dante Gabriel Rossetti, The Girlhood of Mary Virgin, 1848; Willaim Homan
Hunt, The Light of the World, 1853; French Realism: Gustave Courbet, A Burial in Ornans, 1849; The
Meeting, 1854; Jean François Millet, The Gleaners, 1857;
Impressionism: Claude Monet, La Grenouillère, 1869; Jean Renoir, La Grenouillère, 1869.
Reading: Stedman, Chapter 5, pp. 140-158. Study especially the discussion of Brahms’
Symphony No. 1 (1876-77) on pp. 151-157.
Listening:
Brahms, Symphony No. 1 in c minor, first and second movements.
Tuesday, March 13: The Symphonies of Brahms, concluded
Reading: Robert Pascall, “Brahms’s First Symphony Slow Movement: The Initial Performing
Version,” in The Musical Times, 122 (1981), pp. 664-667. (Posted on Blackboard)
Listening: Brahms, Symphony No. 1 in c minor, initial performing version of the second
movement; third and fourth movements.
Thursday, March 15: The Symphonies of Bruckner
Painting: French Second Empire: Gustave Caillebotte, Paris, Rainy Weather, 1877; Post-Impressionism:
Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884-86; Vincent Van Gogh,
Sunflowers, 1888; Wheatfield with Crows, 1890. Dreams: Arnold Böcklin, The Island of the Dead, 1886.
Reading: Stedman, Chapter 5, pp. 170-181, focusing especially on the discussion of Bruckner’s
Symphony No. 4 in E-flat major (1873), pp. 177-181.
Listening: Bruckner, Symphony No. 4 in E-flat major (1873), all.
Tuesday, March 20: The Symphonies of Mahler
Architecture: Art Nouveau: August Endell, Atelier Elvira, Munich, 1897.
Painting: Vienna Secession: Gustav Klimt, Judith I, 1905; The Kiss, 1907; Egon Schiele, The Hermits,
1912.
Reading: Stedman, Chapter 5, pp. 214-235 , focusing on the discussion of Mahler’s Symphony
No. 5 (1902) on pp. 223-234; also Constantin Floros, Gustav Mahler: The Symphonies, pp. 135-159.
Listening: Mahler, Symphony No. 5 in c-sharp minor, first and second movements.
Thursday, March 22: The Symphonies of Mahler, concluded
Listening: Mahler, Symphony No. 5 in c-sharp minor, third, fourth and fifth movements.
Tuesday, March 27:
Review session for second midterm
Thursday, March 29:
Second midterm examination, in class
Tuesday, April 3: NO CLASS (Spring break)
Thursday, April 5: NO CLASS (Spring break)
Unit III: Programmatic symphonies and the non-German symphony.
Tuesday, April 10: The Symphonies of Berlioz
Reading: Stedman, Chapter 5, pp. 123-133, focusing especially on the discussion of Berlioz’s
Symphonie fantastique (1829-1830), pp. 126-133. Also Robert Schumann, “Hector Berlioz: Symphonie
fantastique” (review, 1835), in Robert Schumann On Music and Musicians, pp. 164-188; Edward T.
Cone, “The Composer and the Symphony,” and “The Symphony and the Program,” in Edward T. Cone,
Editor, Hector Berlioz Fantastic Symphony, (New York, W.W. Norton, 1971), pp. 3-17 and 18-35, as
well as Hector Berlioz, “On Imitation in Music,” in the same volume, pp. 36-46. (Posted on Blackboard)
Listening:
Berlioz, Symphonie fantastique (1829-1830).
Thursday, April 12: The Symphonies of Liszt
Reading: Stedman, Chapter 5, pp. 133-140, especially the discussion of Liszt’s Faust Symphony
on pp. 134-140. Also Franz Liszt, “Berlioz and his Harold Symphony, “ in Oliver Strunk, Source
Readings in Music History, pp. 847-873; also Nicholas Vazsonyi, “Liszt, Goethe and the Faust
Symphony,” in Journal of the American Liszt Society, 40 (1996), pp. 1-23.
Listening:
Liszt, A Faust Symphony (1854/57).
Tuesday, April 17: The Symphonies of Tchaikovsky
Russian painting: Ilya Repin, They did not Expect Him, 1884-85; Arkhip Kuindzhi, Birch Grove, After
the Storm, 1879; Isaac Levitan, Evening Bells, 1892; Haystacks, 1899.
Reading: Stedman, Chapter 5, pp. 159-170, especially the discussion of Tchaikovsky’s
Symphony No. 4 in f minor (1877), pp. 164-170.
Listening: Tchaikovsky, Symphony No. 4 in f minor (1877).
Thursday, April 19: The Symphonies of Dvorak
Reading: Stedman, Chapter 5, pp. 181-193, especially pp. 187-193.
Listening: Dvorak, Symphony No. 7 in d minor (1885).
Unit IV: Some important twentieth-century symphonies
Tuesday, April 24: The Symphonies of Sibelius
Architecture: Antonio Gaudí, Sagrada Familia, Barcelona, 1903; Walter Gropius and
Adolf Meyer, Fagus Works in Alfeld, 1911-1914; Model factory at the Werkbund Exhibition of 1914.
Painting: The Fauves: Henri Matisse, The Happiness of Life, 1905; Portrait with the Green Line, 1905;
Pablo Picasso, Les Demoiselles d’Avignon, 1907; Futurism: Umberto Boccioni, The City Rises, 1910;
Cubism: Georges Braque, The Portuguese, 1911-12; Picasso, L’aficionado, 1912; Abstract
Expressionism: Wassily Kandinsky, Improvisation No. 26, 1912.
Reading: Stedman, Chapter 6, pp. 243-258, especially the discussion of Sibelius’s Symphony
No. 4 in a minor (1911) on pp. 249-258.
Listening: Sibelius, Symphony No. 4 in a minor (1911).
Thursday, April 26: Symphonies of the Second Viennese School
Reading: Alban Berg, “Thematic Analysis of Schoenberg’s Kammersymphonie, op. 9,” in
Journal of the Arnold Schoenberg Institute 16 (1993), pp. 236-268 (posted on Blackboard).
Kathryn Bailey, The twelve-note music of Anton Webern, Chapter 3 “Canon,” pp. 94-104.
Listening:
Schoenberg, Kammersymphonie, op. 9 (1906)
Webern, Symphonie, op. 21
Tuesday, May 1: The Symphonies of Stravinsky
Reading: Louise Cuyler, The Symphony, pp. 224-228; Eric Walter White, Stravinsky, the
composer and his works, second edition, (Berkeley and Los Angeles, University of California Press,
1979), pp. 428-435. (posted on Blackboard)
Listening:
Stravinsky, Symphony in 3 movements (1945)
Thursday, May 3:.
Review Session for Final Examination
The final examination will take place on Thursday, May 10, 2011 from 2:15-4:45 p.m., in our normal
room, 0113 (to be confirmed). The examination will focus entirely on the material for Unit III.
CLASS PROTOCOL
The use of cell phones during class lectures is disruptive, and will not be allowed.
During class you may use a laptop computer to take notes on lectures.
During exams all electronic devices, such as cell phones, laptop computers, i-pods or i-pads, pagers, etc.
must be turned off and placed under your seat.
Arriving late for class or leaving early is disruptive, and is not acceptable.
CLASS RESOURCES
Required text
The required text is available in the campus bookstore:
Stedman, Preston. The Symphony. (Second edition: Englewood Cliffs, Prentice Hall, 1992).
Blackboard site
A blackboard site will be maintained for the course.
Access to our class's on-line Blackboard site:
You can access class information on-line at: http://blackboard.sunysb.edu If you have used Stony
Brook's Blackboard system previously, your login information (Username and Password) has not
changed. If you have never used Stony Brook's Blackboard system, your initial password is your
SOLAR ID# and your username is the same as your Campus Net ID , which is generally your first initial
and the first 7 letters of your last name (if you have a sparky account, it's your username).
For help or more information see:
http://www.sinc.sunysb.edu/helpdesk/docs/blackboard/bbstudent.php For problems logging in, go to
the helpdesk in the Main Library SINC Site or the Union SINC Site , you can also call: 631-632-9602 or
e-mail: [email protected]
As of Fall 2011 only excerpts of the listening can be posted on Blackboard--not the entire work. You
will therefore have to do your listening in the Music Library (there are numerous listening stations). The
Music Library has uploaded the playlists for each of the four Units of MUS 306 onto the iTunes
streaming server. This means that you can access the files from any of the Mac Mini Computers in the
Music Library, as well as at the SINC site computers. Once you log in, open iTunes and click "Music
Reserve List," and then select "MUS 306- Spring 2012 -Unit [I, II, III, or IV, depending on the files you
need]. For each exam I will post on Blackboard the excerpts that you will need to know for the exam. In
order to listen to them through the blackboard site, you will need either iTunes (a free download which
many of you may have and use with your iPods) or for people with older computers that cannot install
iTunes (pre-windows 2000 operating system) you can use "quicktime player" to access the files.
Course reserve list
The following materials are on reserve for MUS 306 in the Music Library.
Scores
1. Haydn, Symphony No. 44 in e minor. M1001 .H4 M44 -m
2. Mozart, Symphony No. 29 in A major, K. 201
3. Mozart, Symphony No. 40 in g minor. M1001 .M92 K. 550 1997
4. Haydn, Symphony No. 104 in D major (“London”). m M1001 .H4 no. 104 1997
5. Beethoven, Symphony No. 5 in c minor. mM1001 .B4 op. 67 1971m
6. Beethoven, Symphony No. 9 in d minor. mM1001 .B4 op. 125 1999
7. Schubert, Symphony No. 9 in C major (“The Great”). mM1001 .S375 D. 579 1997
8. Mendelssohn, Symphony No. 4 in A major (“Italian”). M1001 .M53 op. 90 1997
9. Schumann, Symphony No. 4 in d minor. mM1001 .S392 op. 120 1999
10. Brahms, Symphony No. 1 in c minor. mM1001 .B8 op. 68 1997
11. Bruckner, Symphony No. 4 in E-flat major. M1001 .B89 no. 4 2001
12. Mahler, Symphony No. 5 in c-sharp minor. mM1001 .M 21 no. 5 1998
13. Berlioz, Symphonie fantastique. mM1001 .B53 op. 14 .E8
14. Liszt, Eine Faust-Symphonie. mM1001 .L774
15. Tchaikovsky, Symphony No. 4 in f minor. mM1001 .C44 op. 36 1998
16. Dvorak, Symphony No. 7 in d minor . mM1001 .D97 no. 7 1970
17. Sibelius, Symphony No. 4 in a minor. mM1001 .S567 op. 63 1991
18. Schoenberg, Kammersymphonie, op. 9 M209 .S363 Op. 9 1973
19. Webern, Symphonie, op. 21 M1001 .W4 op. 21
20. Stravinsky, Symphonie in three movements mM1001 .S915 S9 1984
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required statements appear in all teaching syllabi (graduate and undergraduate courses) on the Stony
Brook Campus.
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Faculty are required to report to the Office of Judicial Affairs any disruptive behavior that interrupts
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