3:00

pm 4:45 pm Tuesdays/Thursdays Buck Hall 111 Instructor: Dr. David Wells dwells@pacific.edu Office hours by appointment Joseph Kerman and Gary Tomlinson. Listen, 7th ed. (with 3-CD set). To achieve a general understanding of musics components. To gain a deeper understanding of the styles and trends found in European Classical music and how these trends relate to the general history of Europe. Two 1-hour exams (20% each) 40% Final exam (non-cumulative) 20% Three quizzes (5% each) 15% Three concert reviews (8.33% each) 25% Note that copies of student work may be retained to assess how the learning objectives of the course are being met. Quizzes and exams will consist of matching, multiple-choice, fill-in-the-blank, short essay, and the like. They will cover reading and listening assignments and material presented in lectures. You will need to be able to identify the individual assigned compositions and their composers. Dates of all quizzes and exams are noted in the schedule below. Make-up quizzes and examinations are not automatic and are given only under extraordinary circumstances. It is your responsibility to contact me regarding any make-ups in a timely manner. Changes of schedule for the final exam must be cleared through he Student Services Office. During the semester you will be required to attend three classical concerts and write a critical review of what you hear. These reviews should be roughly two to three typed pages. I will provide an outline that will serve as a guide to your reviews, along with a list of approved concerts. If you wish to write a review of a concert not on my list, I must approve it beforehand. One concert review is due on the date of each exam: Sept. 29, Nov. 1, Dec. 13. You are welcome, however, to submit reviews to me earlier than those dates. Attendance is expected at all class meetings. Quiz and exam questions will primarily come from what we discuss in class, and your participation in those discussions is a vital part of the learning process. If you do miss a lecture, I encourage you to arrange to get notes from one of your classmates. Reading and listening assignments for each week are given in the schedule below. I especially urge you to keep up with the listening assignments. Assimilation of this music requires repeated hearing over time. If you wait until a day or two before the quiz or exam to do the listening, you invite disaster. The Honor Code at the University of the Pacific calls upon each student to exhibit a high degree of maturity, responsibility, and personal integrity. Students are expected to act honestly in all matters, actively encourage academic integrity, discourage any form of cheating or dishonesty by others, and inform the instructor and appropriate university administrator if she or he has a reasonable and good faith belief and substantial evidence that a violation of the Academic Honesty Policy has occurred. Complete information about the Honor Code and all policy related to student conduct is located in Tiger Lore.

Music Appreciation MHIS 5 Fall 2011

Text: Course Objectives: Grading:

Quizzes/Exams:

Make-ups:

Concert Reviews:

Attendance:

Assignments:

Honor Code:

Classroom Rules
Food and beverages: You are always welcome to have beverages in the classroom. In fact given the time (late afternoon) and duration (1:45) of this class, I encourage the consumption of caffeinated/sugary/etc. beverages, and will likely do so myself. I ask that you do not eat in the classroom, though. We will typically take a 5-10 minute break around 4pm, and thats the perfect time to step outside and have a quick snack. Portable computers are very handy for taking notes. Unfortunately, they also make it easy to check Facebook, watch YouTube videos, tweet, or do thousands of things other than being engaged in class. In addition to disrupting ones own learning, these activities also distract anyone else with a view of the screen. I will extend you the privilege of being able to take notes on laptops. But know that if computer use becomes a problem, that privilege can be taken away. Cell phones, mp3 players, portable gaming systems, and the like have no place in the classroom. Please be sure to turn off or silence any devices you may have with you and keep them in your pocket or bag. Texting in particular is inappropriate and will not be tolerated.

Laptops/tablets:

Other Electronics:

MHIS 5 Weekly Schedule and Assignments

(subject to change)
Week 1 8/29: 9/1: Reading: Listening: Introduction/Overview/The Listening Process Music Fundamentals, part 1 Chapter 1 Rhythm, Meter, and Tempo Chapter 2 Pitch, Dynamics, and Tone Color Chapter 3 Scales and Melody Wagner, Prelude to The Valkyrie (DVD 9) Joplin, Maple Leaf Rag (DVD 10) Rachmaninov, Rhapsody on a Theme by Paganini, excerpt (DVD 11) Schubert, Symphony No. 8 in B minor, mvt. 1, excerpt (DVD 12) Gershwin, Who Cares? (DVD 13) Music Fundamentals, part 2 QUIZ and Music of the Middle Ages Chapter 4 Harmony, Texture, Tonality, and Mode Chapter 5 Musical Form and Musical Style Chapter 6 The Middle Ages Beethoven, Symphony No. 9 in D minor, mvt. 4, Joy theme (DVD 14) Stravinsky, Symphony of Psalms, mvt. 2, excerpt (DVD 15) Schubert, String Quartet in A minor, mvt. 1, excerpt (DVD 16) Beethoven, Piano Concerto No. 5 in E-flat major, mvt. 3, excerpt (DVD 17) Tchaikovsky, The Nutcracker Suite, Dance of the Sugar-Plum Fairy (DVD 18) Britten, The Young Persons Guide to the Orchestra (DVD 19-24) Anonymous, Plainchant antiphon, "In paradisum" (CD 1:1) The Renaissance in Music From Renaissance to Baroque; The Birth of Opera Chapter 7 The Renaissance Chapter 8 The Early Baroque Period Chapter 9, pages 102-109 Josquin, Pange lingua Mass, Kyrie (CD 1:2) The Rise of Instrumental Music Bach Chapter 9, pages 110-118 Chapter 10 Baroque Instrumental Music Chapter 11, pages 149-153 (Bachs Vocal Music) Vivaldi, Violin Concerto in G major, La stravaganza, op. 4, no. 12, mvts. 12 (CD 1:34) Bach, Brandenburg Concerto No. 5 in D major, mvt. 1 (CD 1:59) Bach, The Well-Tempered Clavier, Book I, Prelude and Fugue in C Major (CD 1:10-11) Rameau, Minuet and Tambourin from Castor et Pollux, Prologue(CD 1:12) Bach, Gigue from Cello Suite No. 2 in D Minor (CD 1:13) Oratorio and Late Baroque Opera Exam 1 Concert Review 1 Due Chapter 11, pages 139-148 (Opera and Oratorio) Handel, Messiah, There Were Shepherds, Glory to God, and Hallelujah Chorus (CD 1:1415)

Week 2 9/6: 9/8: Reading: Listening:

Week 3 9/13: 9/15: Reading: Listening: Week 4 9/20: 9/22: Reading: Listening:

Week 5 9/27: 9/29: Reading: Listening:

Week 6 10/4: 10/6: Reading: Listening: Week 7 10/11: 10/13: Reading: Listening: Week 8 10/18: 10/20: Reading: Listening: Week 9 10/25: 10/27: Reading: Listening:

The Enlightenment, Classical Chamber Music, and Concerti The Symphony Chapter 12 Prelude: Music and the Enlightenment Chapter 13 The Symphony Chapter 14, pages 186-194 (Sonata, Concerto, and String Quartet) Mozart, Symphony No. 40 in G minor, mvt. 1 (CD 1:1621) Haydn, Symphony No. 95 in C minor, mvts. 24 (CD 1:2233) Mozarts Operas Beethoven Chapter 14, pages 194-200 (Opera Buffa) Chapter 15 Beethoven Mozart, Don Giovanni, Act I, (excerpts) (DVD 1-3) Beethoven, Symphony No.5 in C Minor, Op. 67 (CD 2:1-15) Quiz 2 and Introduction to Romanticism Miniatures and Small Concerts Chapter 16 Prelude: Music after Beethoven: Romanticism Chapter 17, pages 238-250 (Schubert, Robert and Clara Schumann) R. Schumann, Dichterliebe, "Im wunderschnen Monat Mai" (CD CD 1:35) C. Schumann, "Der mond kommt still gegangen" (CD 3:1) R. Schumann, Carnaval, "Eusebius" and "Florestan" (CD 1:36-37) Rise of the Virtuoso The Dark, Supernatural, and Evil in Romantic Music Chapter 17, pages 250-259 (Chopin and Berlioz) Schubert, "Erlkonig" ("The Erlking") (CD 1:34) Chopin, Nocturne in F-Sharp. Op.15. No.2 (CD 1:38) Berlioz, Fantastic Symphony, mvt. 5 (CD 2:16-22) Exam 2 and Concert Review 2 Due Romantic Opera in Italy Chapter 18, pages 260-268 and 278-280 (Verdi and Puccini) Verdi, Rigoletto, Act III (excerpts) (CD 1:39-44) Puccini, Madame Butterfly, Aria, "Un bel di" (CD 2:29) Wagner and Total Artwork Late Romantic Instrumental Music Chapter 18, pages 268-277 (Wagner) Chapter 19 The Late Romantics Wagner, The Valkyrie, Act I, scene I (CD 2:23-28) Tchaikovsky, Romeo and Juliet, Overture-Fantasy (CD 3:2-13) Musorgsky, Pictures at an Exhibition (excerpts) (CD 2:30-31) Mahler, Symphony No.1, mvt. 3 (Funeral March) (CD 2:32-39) Responses to Romanticism Quiz 3 and Impressionism and Primitivism Chapter 20 Prelude: Music and Modernism Chapter 21, pages 317-324 (Debussy and Stravinsky) Debussy, Clouds (CD 3:1419) Stravinsky, The Rite of Spring, excerpt (CD 3:2026)

Week 10 11/1: 11/3: Reading: Listening: Week 11 11/8: 11/10: Reading: Listening:

Week 12 11/15: 11/17: Reading: Listening:

 Week 13 11/22: 11/24: Week 14 11/29: 12/1: Reading: Listening: 29) Week 15 12/6: 12/8: Reading: Listening: Finals Week 12/13:

Stravinskys Rite of Spring Thanksgiving Holiday Expressionism and Modernism 20th Century Music in the United States Chapter 21, pages 325-338 (Schoenberg, Berg, and Ives) Chapter 22 Alternatives to Modernism Chapter 24, page 395 (Gershwin) Schoenberg, Pierrot Lunaire, No. 18, The Moonfleck (CD 3:27) Berg, Wozzeck, Act 3, Scenes 34 (DVD 45) Ives, Orchestral Set, mvt. 2, "The Rockstrewn Hills Join in the People's Outdoor Meeting" (CD 3:28- Copland, Appalachian Spring (excerpts) (CD 3:3032) Gershwin, Prelude No. 1 (CD 3:40) Music After World War II Recent Directions and review Chapter 23 The Late Twentieth Century Webern, Five Orchestral Pieces. Op. 10, No.4, mvt. 4 (CD 3:33) Saariaho, From the Grammar of Dreams (excerpts) (CD 3:34-36) Adams, El Nio, excerpts (DVD 68) Final Exam, 36 pm Concert Review 3 Due