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MUHL 386 Graduate Overview

Music History
Fall 2017
Class: M/W 12:30-1:45pm
AUD 730
Instructor: David Kjar
Office: AUD 941
Email: d k j a r @ r o o s e v e l t . e d u

Office Hours: Tues/Thurs 10:00-11:00; also by appointment (or drop by the office anytime)

Course Description: This course covers the fundamental content of music history from the early Middle Ages through
the 21st-century. It will address deficiencies in your undergraduate study that were identified during diagnostic testing, and will
help prepare you for graduate MAS courses. Emphasis will be on the evolution of musical style, the practice of major musical
genres, and the contributions of major composers and theorists.

Anthology on Reserve in Performaing Arts Library: Burkhart/ Rothstein, Anthology for Musical Analysis, 7th ed.;
also scanned into Blackboard.

Scanned Textbook: Douglass Seaton, Ideas and Styles in the Western Musical Tradition, 4th edition (on Blackboard)

Blackboard: This course is essentiall y a hybrid course, taught primarily via independent study on the course Blackboard
site where you will find all the materials. The review sessions and exams, however, will take place during our Monday and Wednesday

Overview Testing Weekly schedule: Most weeks, (until November 30) there will be a class meeting on Monday from
12:301:45pm for review, discussion, and questions related to the material on the Blackboard siteall in preparation for that
weeks exam. On the Wednesday session of each week (until November 30), there will be a test from 12:301:45 on the designated

Seminar Schedule (After Thanksgiving Break)

The last four class meetings will be in a seminar format more akin to what you will experience in next springs Style and Literature
course. We will discuss assigned readings and analytical approaches, led by you and your colleagues.

Tests: Twelve weekly tests that are based on the materials presented on the Blackboard site. Tests will include questions about
mystery score and listening excerpts (similar to those on the assigned works list), definitions of terms, and
identification of important works and historical persons. Tests are in a multiple-choice format.

Teaching Assistant: Magdalena Sustere:

Grading: Twelve tests, weighted equally will constitute 90% of the grade. The seminar sessions starting on November 30 will
constitute 10% of the grade. Note: m u s t a c h i e v e a final average of at least 70% on the twelve tests to pass the course.

Grading Rubric:
Final grade is calculated on the following scale: 93100=A, 9092=A-, 8789=B+, 8386=B, 8 0 82=B-, 7 7 79=C+, 7 3
76=C, 70 72=C-, 0 69=F.

Make-up Test Protocol and Ethics:

Missed tests will not be made up except in the most extreme cases. If you mi s s a test, y o u mu s t n o t i f y me
immediately (within 24 hours) and present a doctors excuse or its equivalent. Make-up tests will be given only if both of
these requirements are met. Any student caught cheating will receive a zero for that test or assignment and may be
subject to additional academic disciplinary charges.
Dates Topics (Folders) Discussed
8/30 Seaton: Chapters 3-6
Review Medieval
Medieval Monophony: Gregorian chant: Hodie Christus Natus Est
Sacred Hildegard von Bingen: O virga ac diadema
Medieval Monophony:
Bernart de Ventadorn: Can vei la lauzeta mover
Leonin: Viderunt omnes
Medieval Polyphony: to
Perotin: Viderunt omnes
Anonymous: Fole acostumance/Dominus
Medieval Polyphony: after Guillaume de Machaut: De bon espoir/Puisque la douce rosee/Speravi
9/6 Test #1 Medieval
9/11 Review Renaissance Seaton: Chapters 7-11
Early Renaissance: English
Guillaume Dufay: Communio from Missa Sancti Jacobi
& Burgundian Music
High Renaissance: Franco-
Anonymous (attr. Josquin des Prez): Tu pauperum refugium
Flemish Music
Late Renaissance Sacred Giovanni Pierluigi da Palestrina: Sanctus and Benedictus from Missa
Music Aeterna Christi Munera
Cipriano De Rore: De le belle contrade doriente
Renaissance Secular Music Carlo Gesualdo: Moro, lasso
Orlando Gibbons: The Silver Swan
9/13 Test #2 Renaissance
9/18 Review Early and Middle Baroque Seaton: Chapters 12-14
Early Baroque: Monody and Claudio Monteverdi: Vi ricorda o boschi ombrosi and Ahi, caso
Early Opera acerbo from LOrfeo
Early Baroque: Instrumental
Giovanni Gabrieli: Canzon septimi toni a 8
Music and the Venetian
Girolamo Frescobaldi: Toccata No. 3
Middle Baroque Vocal
Henry Purcell: Didos Lament from Dido and Aeneas
Arcangelo Corelli: Adagio and Allegro from Violin Sonata, Op. 5, No. 1
Middle Baroque
Arcangelo Corelli: Allemanda from Trio Sonata, Op. 4, No. 11
Instrumental Music
Franois Couperin: Les moissonneurs from Pices de clavecin, VI
9/20 Test #3 Early and Middle Baroque
9/25 Review Late Baroque Seaton: Chapters 14-15
Late Baroque: Vivaldi & Antonio Vivaldi: Violin Concerto, Op. 9, No. 2, II
Rameau Jean-Philippe Rameau: Hippolyte et Aricie , Act IV, Scene I
G. F. Handel: Largo and Allegro from Concerto Grosso in B minor, Op. 6,
No. 12
Late Baroque: Handel
G. F. Handel: Thy rebuke hath broken his heart from Messiah
G. F. Handel: Whereer you walk from Semele
J. S. Bach: Gavottes I and II from English Suite No. 3 in G minor
J. S. Bach: Fugue No. 2 in C minor, The Well-Tempered Clavier, Book I
Late Baroque: J. S. Bach
J. S. Bach: Chorale prelude, Durch Adams Fall ist ganz verderbt
J. S. Bach: Crucifixus from Mass in B Minor
9/27 Test #4 Late Baroque
10/2 Review Classical Seaton: Chapters 16-18
D. Scarlatti: Sonata in D major, K. 96
Early Classicism C. P. E. Bach: Sonata in A major, H. 186, II
Pergolesi: Aspettare e non venire from La serva padrona
Haydn: String Quartet in G minor Op. 74, No. 3, Movement II
Haydn: Symphony No. 101 in D major, Movements III & IV
Classicism: Haydn and Mozart: Piano Sonata in B-flat major, K. 333, Movements IIII
Mozart Mozart: Clarinet Concerto in A major, K. 622, Movement I
Mozart: La ci darem la mano from Don Giovanni
Mozart: The Bird-Catchers Song from The Magic Flute
10/4 Test #5 Classical
10/9 Review Early Romantic Seaton: Chapters 19-20
Beethoven: Piano Sonata in F minor, Op. 2, No. 1, Movements I & III
Beethoven Beethoven: Symphony No. 3 in E-flat major (Eroica), Movement I
Beethoven: String Quartet in F minor, Op. 95, Movement I
Beethoven: Piano Sonata in C major, Op. 53 (Waldstein), Movement I
Schubert: Thrnenregen from Die schne Mllerin
Schubert: Erlknig
Early German Romanticism
Mendelssohn: Songs Without Words, Op. 19b, No. 1
Schumann: Warum? from Phantasiestcke
Other Early Romantics Chopin: Mazurka No. 37 in A-flat major, Op. 59, No. 2

10/11 Test #6 Early Romantic Seaton: Chapters 20-21

10/16 Review Romantic
Romantic Orchestral Music Berlioz: Symphonie fantastique, Movement IV

Brahms: Wie Melodien zieht es mir

German Late-Romanticism
Wolf: Das verlassene Mgdlein
Musorgsky: Coronation Scene from Boris Godunov
Other National Styles
Franck: Chorale No. 1 in E major, Moderato
Wagner: Prelude to Act I from Tristan und Isolde
Romantic Opera
Wagner: Philter Scene from Tristan und Isolde
Verdi: Quel vecchio maledivami! from Rigoletto
10/18 Test #7 Romantic

10/23: Review Late Romanticism and Impressionism Seaton: Chapters 21-22

I: Late Romanticism Mahler: Symphony No. 5, IV I: Late Romantic
II: Impressionism & Other French Debussy: Prlude LAprs-midi dun faune Techniques
Styles Debussy: La cathdrale engloutie II: Scales
Ravel: Sonatine, I III: Harmony/
Sonorities 1
10/25: Test #8 Late Romanticism and Impressionism

10/30: Review Serialism Seaton: Chapter 23

III: The Second Viennese School Schoenberg: Five Pieces for Orchestra, IV: Atonal/ 12-Tone Techniques
Schoenberg: Piano Piece, Op. 33a
Schoenberg: Three Piano Pieces, op. 11, no. 1
Berg: Vier Lieder, Schlafend trgt man
mich, Op. 2
Webern: Drei Lieder, Wie bin ich froh!,
Op. 25

11/1: Test #9 Serialism

11/7: Review Primitivism, Nationalism, Neoclassicism Seaton: Chapters 22-23
IV: Primitivism Stravinsky: Le sacre du printemps, V: Rhythm
IV: Nationalism Introduction to Part II VI: Harmony/Sonorities 2
V: Neoclassicism Bartk: Two Pieces from Mikrokosmos
Bartk: Music for Strings, Percussion, &
Celesta, I Ives: The Cage
Ives: General William Booth Enters Into
Copland: Billy the Kid, Street in a Frontier
Stravinsky: Symphony of Psalms, I
Hindemith, Ludus tonalis, Fuga prima

11/9: Test #10 Primitivism, Nationalism, Neoclassicism

11/13: Review Postwar Serialism, Experimentalism, Indeterminacy, Sound Masses, Electronic Music
Seaton: Chapters 23-24
VI: Post-War Serialism & Messiaen: Quatour pour la fin du temps, VII: Integral Serialism
Complexity Liturgie de cristal VIII: New Sonorities & Textures
VII: Experimentalism Babbitt: The Widows Lament in Springtime
VIII: Indeterminacy Carter: Eight Pieces for Four Timpani, No. 7
IX: Sound Masses Canaries
X: Electronic Music Crawford Seeger: String Quartet 1931, III
Cage: TV Kln
Penderecki: Threnody
Ligeti, Ten Pieces for Woodwind Quintet, I
Stockhausen: Kontakte (excerpt) (No score)

11/15: Test #11 Postwar Serialism, Experimentalism, Indeterminacy, Sound Masses, Electronic
11/27: Review Eclecticism, Multiculturalism, Minimalism, and Neo-Romanticism
Seaton: Chapter 24
XI: Eclecticism & Multiculturalism Crumb: Madrigals, Book IV, No. 1 IX: Process Music
XII: Minimalism Takemitsu: Rocking Mirror Daybreak, Autumn
XIII: Neo-Romanticism Ligeti: Galamb Borong
Riley: In C
Reich: Piano Phase
Adams: Nixon in China, This is Prophetic
Tower: Wild Purple
Saariaho: Quatre Instants, Attente

11/29: Test #12 Eclecticism, Multiculturalism, Minimalism, and Neo-Romanticism


Seminar Sessions

12/4, 12/6, 12/13 (final exam period: 12:30-3pm)