You are on page 1of 4

MuL 135 Music of the 20th Century UP College of Music

Rm. 206 Department of Musicology


Instructor: Verne de la Peña, PhD 1st Sem AY 2018-2019
Email: musicdean.upd@up.edu.ph
Consultation by appointment (Tel. 9260026)

“I can't understand why people are frightened of new ideas. I'm frightened of the old ones.”
John Cage (1912-1992)

SYLLABUS

A. Rationale:
The 20th century is perhaps the most exciting but at the same time the most tumultuous century that the entire world
has experienced. The explosion of scientific knowledge and technological developments forever changed the way
humans lived and interacted. However, it was also the century of two devastating world wars the world has yet
unseen. This period of intense creation, destruction and recreation was paralleled in the arts. MuL 135 places these
social and cultural circumstances as the backdrop to better understand the music of the 20th century.

B. Course Aims Objectives


This course aims to provide you an awareness of the expansive developments in styles, philosophies and aesthetics
that occurred in Western music in the 20th century. The goal is to improve your ability to listen intelligently and
perceive the distinctive features of a composition and enable you to classify a work under a particular style artistic
movement of the period. By the end of the semester, you should be able to name the significant composers and
schools of thought and discuss their contribution towards the development of art and music of the century and how
these were shaped by social and political factors. As a result of this understanding, your artistry as a musician will
hopefully be enhanced and your musical taste as a listener expanded.

We expect to achieve these goals through reading, discussion, viewing and listening as well as performance. Tests
will assess both your objective and subjective knowledge of the topic. Classroom discussion, journal writing and
essay requirements will challenge you to improve your communicative skills and formulate your own opinions. The
practical project you will work on in a small group towards the end of the semester will necessitate the application
of your creativity and challenge your organizational and management abilities.

C. Course Text and Materials


The main text that we are using for this course is Twentieth-century music: a history of musical style in modern
Europe and America by Robert Morgan (ML 197 M67) which can be found in the reserve section of the music
library. It is highly advisable that each student own a copy of this book.

Other materials such as readings and links to audio and video examples are available online at the MuL135 site at
the Uvlé (University Virtual Learning Environment). Using your CRS account name and password, login to Uvlé
and search for MuL 135. You can enter this course site using the key mul135delapena. This site will also be used to
submit course requirements such as the journal entries and performance reports. Needless to say, all students should
enroll in the course online site.

For listening and viewing examples, a YouTube channel is dedicated to this course. Details regarding this channel
will be announced in class.
D. Grading Summary

Requirement %
Tests (5 exams) 30
Class Participation 10
Journal (5 entries) 10
Performance Report (2 concerts) 10
Final Group Project 40
100

E. Course Requirements
The course is committed to active learning, emphasizing varied activities that balance intellectual and experiential
approaches.
1. 5 Tests. Written examinations will be given comprised of objective, essay and music identification
(listening).
2. Class Participation. The course will veer away from passive, lecture based teaching to encourage the
students in actively participating in various learning activities.
3. Journal, 5 entries. Students will be required to submit 5 journal entries that reflect on the topics discussed
in class or their reactions to assigned listening or viewing examples.
4. 2 Performance Reports. The experience of 20th century music is incomplete without hearing it performed
live. Concert attendance then will be required for certain productions relevant to the course and prescribed
by the professor. The students will be asked to write a short (2 page) report of their concert experience.
5. Final Group Project. The ultimate test of knowledge of the course content is the ability to perform 20 th
century music in a public platform. Details of this requirement will be discussed in class.

F. Course Policies
1. Attendance. Your presence in the class is critical. Much of learning will be accomplished through various
activities in class. For this reason, your attendance will be part of your grade for class participation. If you
had to be absent for health reasons, a health certificate needs to be secured from the University Health
Service. Although some absences are excusable, such as official performances, etc. students are still
responsible for compensating for whatever they missed in class.
2. Tardiness. Being late for class for 15 minutes or more warrants an absence. I often give short quizzes first
thing in the session to encourage students to come on time.
3. Readings. Reading is a skill that every college student should develop. All assigned readings are important,
whether or not they get to be discussed in class. As mentioned earlier, it is vital to own a copy of the
required text.
4. Deadlines. Deadlines for the submission of assignments such as journals and reports will be observed
strictly. All submissions will be done online thru upload portals in uvlé which are set up to reject late
submissions.
5. Plagiarism. The university regards copying another author’s work without due citation as a very serious
offense. In this age of the internet, it is quite easy to find sources which could be cut and pasted by anyone.
Please remember that it is also that simple for the instructors to check if the work you submitted was not
lifted elsewhere.

DATE TOPIC LISTENING TRACK DEADLINES, ETC


8.9 Intro to Course
8.14 The 19th C Musical Background. TCM 1-8
8.16 The Historical Context: Europe at the turn Mahler: Das Lied Von der Erde Journal Entry 1
of the Century. TCM 12-17 R Strauss: Salome
8.21 HOLIDAY
8.23 Transitional Figures: Mahler and Strauss. Debussy: Prelude to an Afternoon of a
TCM 18-40 Faun
8.28 Transitional Figures: Debussy and Satie. Satie: Gymnopedies
TCM 40-61
8.30 Test 1
9.4 The Atonal Revolution: Schoenberg, Schoenberg: Five Pieces for Orchestra
Webern and Berg. TCM 62-88 Op 16
9.6 New Tonalities: Stravinsky and Bartok. Stravinsky: Le Sacre du Printemps
TCM 89-100
9.11 New Tonalities: Stravinsky and Bartok
(cont)
9.13 Other European Currents: Rachmaninov, Ravel: Rhapsodie Espagnole Journal Entry 2
The Futurists, Kodaly, Ravel
9.18 Beyond the Continent: Vaughn Williams Ives: Symphony No. 4
and Ives. TCM 128-148
9.20 Test 2
9.25 Europe After WW 1. TCM 151-158 Stravinsky: Symphony of Psalms
9.27 Neo-ClassicismL Satie and Les Six, Milhaud: La Creation du Monde
Stravinsky and Bartok. TCM 159-186
10.2 Workshop: The 12-Tone System. TCM Schoenberg: Chamber Symphony Op 2 Perf. Repot 1
187-219
10.4 Workshop: The 12 Tone System Webern: 5 Pieces for Orchestra Op 21
10.9 The Influence of Politics: Hindemith, Weill, Prokoviev: Suggestion Diabolique Journal Entry 3
Prokofiev, Shostakovitch. TCM 220-250
10.16 England After WW1: Walton, Britten and Britten: Sinfonia da Requiem
Tippet TCM 270-282
10.18 The US: Copland, Cowell, Partch, Varese. Copland: Appalachian Spring Suite
TCM 283-314 Cowell: Aeolian Harp
Varese: Ameriques
10.23 Test 3
10.25 The World After WW2. TCM p. 325-332
10.30 Integral Serialism: Messian, Boulez, Xenakis: Voyageabsolu des Unari Perf. Report 2
Stockhausen and Babbit. TCM p. 333-358 Andromede
Boulez: Le Marteu sans Maitre
Stockhausen: Gesang der Junglinge
11.1 HOLIDAY
11.6 Indeterminacy: Cage and Others. TCM Cage: Aria with Fontana Mix Conceptualize
539-378 Berio: Circles Project
11.8 Innovations in Form and Texture Penderecki: St. Luke’s Passion Journal Entry 4
TCM p. 379-406 Ligeti: Lux Aeterna
11.13 Test 4
11.15 The New Pluralism. TCM p. 407-422 George Crumb: Black Angles Begin work on
Arvo Part: Tabula Rasa Project
John Coltrane: A Love Supreme
11.20 Minimalism and New Tonality. TCM p. Adams: Short Ride on a Fast Machine
423-440 Glass: Music in 12 parts (1st part only)
Riley: A Rainbow in Curved Air
11.22 Music and the External World. TCM p.
441-460
11.27 Group Work
11.29 Group Work Journal Entry 5
TBA Test 5
TBA Submission of Group Project