MIT21M.

011:INTRODUCTIONTOWESTERNMUSIC(Fall2013)
AHASSDandCIHSubject
Lectures

W3:305:0016160 MartinMarks,CourseCoordinator
(10268;mmmarks@mit.edu)

Recitations
(01)MF12,4156
(02)TR12,4156
(03)TR23,4152

TeresaNeff(10266;tneff@mit.edu)
MartinMarks
TeresaNeff

WritingAdvisor

ElizabethFox(12116;emfox@mit.edu)
GENERAL INFORMATION

21M.011isahistoricalsurveyofclassicalmusicintheWesternworld,fromtheMiddleAgesto
thepresent.Theclassisopentoanystudentwhohasaninterestinthismaterial,whetherornot
youcanreadmusicorhavestudieditinsomeformalready.Becauseitisamusicsubject,many
willsupposeittobeeasyandentertaining.Itcanbeveryentertaining,yes,butitisalsodesigned
tobechallenging.Weemphasizethedevelopmentoflisteningskillswhichenhancethe
enjoymentofmusicanonverbalyethighlyexpressiveart.Wealsoaskyoutoconsidermusic
frommultipleperspectives,involvingculturalhistory,literature,andtheotherarts.Thereisa
newsetofassignedpiecestobemasteredfornearlyeveryclass.Whilesomeofthesewillopen
easily,otherswillrequirerepeatedlisteninginordertogettheminyourear.Theyoftenbring
togetherunfamiliartexts,instruments,andforms,andittakestimetoaccustomyourselftothe
distinctivesonoritiesofeachhistoricalperiodsmusicalstyles.
Webelievethatyouwillbenefitfromthisclassfortherestofyourlife.Thetimeyou
spendpursuingthemusicinthisclasswillwillindeedopenyourearsandimaginations;anditis
hopedthatyouwillbeemotionallyandintellectuallystimulated,broadened,and,inthebest
senseoftheword,educatedaswellasentertained.
Enrollment.Because21M.011isaCIHsubject,thereisacapof18studentsperrecitation.
SincetheclassisofficiallyalsoaHASSDsubject,anadmissionlotterywasrunoverthesummer.All
studentsadmittedviathesummerlotteryareguaranteedaslotintheclass,providedthatthey
attendarecitationstartinginthefirstweek.Ifyouhavealegitimatereasonformissingthefirstor
secondrecitationmeeting,besuretonotifytheinstructoraheadoftime.Studentsmaychangetheirpre
assignedrecitations,buttheyshouldinformtheoriginalinstructoratonce,sothatanaccuratecountand
classlistcanbequicklyestablished.Aslongasthereareopenslotsintherecitations,instructorswill
acceptadditionalstudentswhowishtojointheclass;butbecausewemovequicklythroughthematerial,
afterSeptember18wewillnotadmitadditionalstudents.

21M.011SyllabusFall2013page2

ASSIGNMENTS.Thefocusoftheclassisontheweeklylisteningandreadingassignmentsthatare
giveninthissyllabus.
Attendanceatalllecturesandrecitationmeetingsisrequired.
Thelectureswillplacetheassignedmusicinhistoricalcontextandintroduceanalyticconcepts
concerningeachperiodsmusicalformsandstyles.Frequentlyinlecturetherewillbeliveperformances,
aswellaspresentationsthatgobeyondthecorecurriculum.Inrecitationstherewillberegular
discussionoftheassignments,oralpresentationsaboutpreassignedtopics,andsupplementalmaterials
andexercisesdesignedbyeachinstructor.
TEXT:Kristine Forney and Joseph Machlis. The Enjoyment of Music, Eleventh
Edition (hardbound). New York: W. W. Norton, 2011
Used and new copies of the book are at the MIT Coop. A simple way of
summing up the reading for the course is that the student will be asked to
read the entire text over the term, but not all material will be examined to
the same extent. The material you need to focus on will be evident
throughout the syllabus below, and through what is emphasized in the
lectures, recitations, tests, and writing assignments. Formaximumbenefit,bring
yourcopyofthebooktoeveryrecitationmeeting!

Note: You may bring laptops to class; however, please limit use of
these devices to activities directly relevant to this class (primarily taking
notes, if you work that way). Please note that when music is being played in
lecture or recitation, you should not use that time to surf the web, open or
reply to email, or even take copious notes. That time is just for listening (and
thinking)!
LISTENINGASSIGNMENTS:When you acquire your copy of the text, be sure
you also obtain the accompanying set of eight compact discs. The discs
contain good recordings of over 90 pieces of Western music, which
constitutes almost all of the required listening for the term. But do note that
there will be some additional music played and discussed in the lectures and
recitations, and some of this material may be required for identification on
tests, or included in essay assignments. In all such cases the additional
materials will be posted on the classs Stellar site, and also made available in
our wonderful Lewis Music Library (Building 14E).
TESTS
Twolisteningquizzeswillbegivenatthestartofrecitations:thefirstonMonday&Tuesday,
September30&October1(5%ofyourfinalgrade),thesecondonMonday&Tuesday
November4&5(10%).ThesewillcovertheassignmentsforweeksIIVandVIX
respectively.Questionswillfeatureexcerptsfromtheassignedlisteningwhichyouwillbe
askedtoidentifyanddescribeinconciseways.Therewillalsobeshortquestionsabout
contextualmaterial(e.g.,definitionsofterms,explanationofmusicalforms,etc.).Thequizzes
willensurethatyouaredoingtheassignmentsproperlyandwillhelpyoudevelopyour
listeningskills.

21M.011SyllabusFall2013page3

AfinalexamwillbegivenduringFinalsWeekDec1620,mainlycoveringthelecturesand
assignmentsforweeksXXIV,butalsowithafewquestionsreviewingtheentiresemesters
work.Aguidesheetwillbedistributedlateinthesemester.(25%ofthefinalgrade)
WRITINGASSIGNMENTS:Threeanalyticessays,thesecondofwhichmustberevised,
andthreeshorterwriteups(=reflections)onconcerts.
Essay 1 (1250-1500 words) is due Monday September 23: it will concern
assigned examples of music from the Medieval, Renaissance, and early
Baroque periods. (10%)
Essay 2 (1250-1500 words) is due Tuesday October 22: it will concern assigned
examples of 18th-century music, in late Baroque and Classical styles. (10%)
A revised and expanded version of Essay 2 is due by Monday
November 18; it will incorporate discussion of an assigned example of
19th-century music. (10%)
The completed folder of three concert write-ups (each one to run 500600 words) is due by Wednesday November 29. (10%)
Essay 3 (1250-1500 words) is due Friday December 6: It will concern
assigned examples of twentieth-century music. (10%)
See below, pp. 15-19, for further details on the writing assignments.
Successfulwritinginthiscoursewilllargelydependontheorganizationofeachessay,the
strengthofthereasoning,andthemasteryofstylisticfundamentals(spelling,punctuation,grammar,and
syntax).TheWritingAdviserfor21M.011isElizabethFox(12116;emfox@mit.edu).Shewillbe
availablethroughoutthetermtohelpwithalltheessays.
Plagiarisminthewritingofanypaperisaseriousacademic(andmoral)offense.
Plagiarismincludesanyunacknowledgeduseofoutsidesources,whetherpublishedornot,
whetherbyscholars,bloggers,orfellowstudents.Inourclimateoffacileelectronicexchange
andInternetcopying,thetemptationtouseotherpeopleswrittenworkwithoutpropercitation
isgreat.Butthestudentshouldbeawarethatplagiarisminthisoranycoursewilllikelyleadto
afailinggradeintheclass,andcarriestheriskofexpulsionfromtheInstitute.
Discussionsinrecitations are a significant part of the Communications-Intensive
(CI) component of this class. From time to time students will be asked to
give brief extemporaneous presentations on topics from the reading,
listening, and lectures. Students will also be asked to lead discussions or
make presentations about pre-assigned topics in a more formal manner,
mainly during the second half of the semester. In some cases we will make it
possible for you to work in teams.
Grading. Your recitation instructor is your grader. The following percentages are
followed, with some discretionary leeway for students on border lines, especially
those who show improvement during the semester: Quiz 1 = 5%; Quiz 2 = 10%;

21M.011SyllabusFall2013page4

Final = 25%; Essays 1-3 and revised Essay 2 = 10% each; Combined Concert
Write-ups = 10%; Contributions to discussion and Oral Presentations = 10%.
CLASSMATERIALSONLINEandONRESERVE
TheclasshasaStellarsite.Accesswillbelimitedtostudentswhoareactuallyenrolledbecause
ofcopyrightrestrictions.Thesitecontainsthesyllabus,assignmentsheets,announcements,some
additionalrecordings(bothaudioandvideo),andlinkstowebsites,asneededforpapers,etc.
TheLewisMusicLibrary(14E109):forrecordingsandbooksuploadedtotheclasssStellar
site,therearebackupcopiesavailableinthelibrary.Somematerialswillcirculate;otherswill
beputonreserve.ACourseReservesNotebookatthefrontdeskhasaprintedcopyofthe
syllabuswithalistofshelfnumbersforreserveitems. TheshelfnumberforourmaintextThe
EnjoymentofMusicisMT90M232011.TheCDsareshelvedunderMT6M134E52011[CD
14,58,&booklet].
Note:AnyMITstudentcancheckoutnonreserveCDsandDVDsfromtheLibraryforuptoa
weekatatime,andtherearemanyonlinedatabasesoflisteningandviewingmaterials.Visitthe
MusicLibraryontheweborinperson!Itsagreatplacetowork,torelax,andtoexploreall
typesofmusicandthestafflovestohelp!

21M.011SyllabusFall2013page5

OverviewoftheScheduleofWednesdayLectures,
WritingAssignmentsandTests
I

Sep4

Introduction:TheElements,Materials,andRangeofWesternMusic

II

Sep11

SacredandSecularTraditionsintheMiddleAgesandtheRenaissance

III

Sep18

BaroqueMusicinthe17thCentury:CONTRASTandDRAMA!

Essay1dueMondaySeptember23rdby5pm(hardcopy)

IV

Sep25

BachandHandel:LateBaroqueVocalMusic

QuizI:firsthalfofrecitationonMondayandTuesday,Sep30Oct1

Oct2

Handel,Bach,andOthers:LateBaroqueInstrumentalMusic

VI

Oct9

HaydnandMozart:ClassicalInstrumentalGenres

VII

Oct16

Mozart,Haydn,andBEETHOVEN:FiveMonumentalLandmarks

Essay2dueTuesdayOctober22ndby5pm(hardcopy)

VIII Oct23

RomanticSongsandPianoMiniatures,ca.18151850

IX

ProgramMusic,AbsoluteMusic,andNationalism,ca.18301890

Oct30

QuizII:entirerecitationonMondayandTuesday,November45

Nov6

RomanticOpera,ChoralMusic,andBallet,ca.18501890

XI

Nov13

PostRomanticandModernistInnovators,ca.18901914

RevisedEssay2duebyMondayNovember18

XII

Nov20

ModernistMusicinEuropebetweenTwoWorldWars

CompletedFolderofConcertWriteupsduebyWednesdayNovember27

(Nov 27
XIII Dec4

No Lecture: Have a Happy Thanksgiving!)

AmericanModernismto1945inConcertHallsandBeyond

Essay3dueFridayDecember6

XIV Dec11

FromthePostWWIIVanguardtotheNewMillennium
OldCurrents,NewCurrents,andCrossCurrents

FinalExamduringFinalsWeek(datetobeannouncedearlyinthesemester)

21M.011SyllabusFall2013page6

21M.011SyllabusFall2013page7
SCHEDULEOFWEEKLYLECTURES,
WITHREADINGANDLISTENINGASSIGNMENTS
Note.ForeachweeksassignmentthepagestoreadfromtheForneyandMachlistext(F&M)aregivenat
theheadoftheassignment.Thelecturedatemarksthebeginningoftheweekduringwhichwewillfocus
ontheassignment.Itishelpfulifyoumakeastartonassignmentsreadingandlisteningadayortwo
beforetheWednesdaylecture,andcompleteitbeforethefollowingweeksassignment.Aswegothrough
thesemester,yourinstructorswilltellyouwhattofocusonforeachupcomingrecitation.
Eachassignedmusicalpieceisidentifiedwithseveralkindsofinformation.Firstcomesthefullname
oftheCOMPOSERandhisorherdates(asbestknown).BelowthecomposerisgiventhepreciseTitleof
thepiece,withabriefsummaryofthegenre,aswellassomeindicationsoftheperformingforcesand
oftenthemusicalform,Allofthisinformationiscontainedinourtext,butitisusefultohaveitlinedup
weekbyweekinthisway,sothatyoucangaugetherangeofeachassignment.
Underneatheachassignedpieceyouwillseelistedthepagewhereyoucanfinditslisteningguidein
F&M,andthelocationofthemusiconthesetofCDs.Forexample,LG86/CD1810meansthata
listeningguideforthatpieceisonpage86,andtherecordingisoncompactdiscnumber1,tracks810.

I.Sep4

Introduction:TheElements,Materials,andRangeofWesternMusic

Read[and/orskim]F&MPartI,MaterialsofMusic,pp.175
NOTE:Unliketherestofthebook,PartIisstructuredasaseriesofshortchaptersaboutallthetechnical
elementsofmusicthatis,aboutmusicassound,notmusicalnotation.(ThatiscoveredinAppendixIat
thebackofthebook.)
Eventhoseofyouwhoarehighlyexperiencedinlisteningtomusicwillfindthisunittoodenseto
takeinallatonceandinanycase,itisnotessentialtounderstandallthematerialrightaway.For
example,thereisnoneedtobeginbylearningabouteverykindofinstrumentinanorchestralensemble
(asexplainedonpages4567),becausewedonottakeuporchestralmusicuntilmanyweeksdownthe
road.Butmasteringbasicmusicalvocabularyisanessentialtaskforgettingthemostoutofthisclass.So
dolookoverthewholeunittoseewhatistherethatyoucanreferbacktolaterasneeded,andthenread
thefollowingchaptersmorecarefully.
2:Melody:MusicalLine(1216)
3:RhythmandMeter:MusicalTime(1720)
5:MusicalTexture(3235)
6:MusicalForm(3640)
7:MusicalExpression(4144)

AssignedListening

BENJAMINBRITTEN(19121976)
TheYoungPersonsGuidetotheOrchestra:VariationsandFugueonaThemeof
Purcell(1946)
LG66/CD1,tr17
Asyoucansee,onlyonepiece(whichlastsaboutfifteenminutes)isassignedforthisunit.Sinceitis
designedasaguidetoorchestralinstruments,itis,asnotedabove,outofphasewiththehistoricalsurvey
uponwhichweareabouttoembark.Nevertheless,itissuchafineandfunpieceinitsownright,thatwe
doaskyoutolistentoitnow.Itraisesimportantquestionsabouttherelativerolesofmelody,rhythm,
texture,andtimbre,anditprovidesaclearexampleofhowWesterncomposersconstantlyfindnewways

21M.011SyllabusFall2013page8
oftreatingbasicprinciplesofmusicalform.Wewillcomebacktothepiecelaterintheterm,anditwill
probablybecomemoremeaningfultoyouatthattime.

II.Sep11 SacredandSecularTraditionsintheMiddleAgesandtheRenaissance
Read,asaleadin,F&M,pp.7075(thelastchapterofUnitI,StyleandFunctionofMusicin
Society);then76119(PartII,MedievalandRenaissanceMusic)
th
th
AssignedListening,PartOne:Sixshortpiecesspanningthe10to14

centuries

1.ANONYMOUS(10thc.)
Kyrie:MassOrdinaryChant(monophonic)
LG86/CD1810

2.HILDEGARDOFBINGEN(10981179)
Alleluia,Ovirgamediatrix:MassProperChant(monophonic)
LG88,CD11113
3.ANONYMOUSCOMPOSERFROMTHENOTREDAMESCHOOL(early13thc.)
GaudeMariavirgo:Organumfor3voices
LG90/CD11415
4.RAIMBAUTDEVAQUEIRAS(late12thc.)
Kalendamaya:Estampie(MonophonicTroubadourdancesong)
LG94/CD11620
5.ANONYMOUSENGLISHCOMPOSER(c.1250)
Sumerisicumenin:English(andLatin)Round(inthestyleofaMedievalMotet)forupto6
voiceparts
LG97/CD12123
6.GUILLAUMEDEMACHAUT(13001377)
Puisquenoubli:PolyphonicChansonfor3voices,inRondeauform
LG99,CD12428
th
th
AssignedListening,PartTwo:Sixpiecesspanningthe15and16

centuries

7.GUILLAUMEDUFAY(c.14001474)
LhommearmMassKyrie:MovementoneofDufaysMass,forfourpartchoir,usingthe
Lhommearmtuneasacantusfirmus
LG105/CD129(Fortheoriginaltune)and3032(forDufaysKyrie)

8.JOSQUINDESPREZ(c.14501521)
AveMariavirgoserena:LatinMotetforfourpartchoir
LG107/CD13339
9.GIOVANNIPALESTRINA(c.15251594)
PopeMarcellusMassGloria:MovementtwoofPalestrinasMass,forsixpartchoir,with
nopreexistingmusicasabasis

21M.011SyllabusFall2013page9
LG109/CD14041

10.JOSQUINDESPREZ
Milleregretz:FrenchChanson,forfourvoiceparts
LG113/CD14243

21M.011SyllabusFall2013page10
11.JACQUESARCADELT(15071568)
Ilbiancoedolcecigno:ItalianMadrigal,forfourvoiceparts
LG115/CD14445
12.JOHNFARMER(15701603)
FairPhyllis:EnglishMadrigal,forfourvoiceparts
LG117/CD14647

III.Sep18 BaroqueMusicinthe17thCentury:CONTRASTandDRAMA!
Read,asaleadin,F&M,pp.118124(thelastpartofCh.15,onInstrumentalDanceMusic,
etc.);then128145(Prelude3,TheBaroqueSpirit,andCh.16,onBaroqueopera)
AssignedListening,PartOne:LateRenaissanceInstrumentalMusic
1.TIELMANSUSATO(c.15101570)
ThreeDances:AmedleyofRondes(Rounddances)
LG120/CD14851

2.GIOVANNIGABRIELI(c.15571612)
Canzonaseptimitoni:Instrumentalmusicfortwofourpartchoirs
LG122/CD15255
th
AssignedListening,PartTwo:17CenturyDramaticVocalMusic

3.CLAUDIOMONTEVERDI(15671643)
TheCoronationofPoppeaActIII,Scene7:ItalianOperascenewithvarioustypes
ofmusic,culminatingintheDuetPurtimiro,overagroundbass
LG138/CD15660
4.HENRYPURCELL(16591695)
DidoandAeneasActIII,excerpts:EnglishOperawithvarioustypesofmusic,culminating
intheAriaWhenIamlaidinearth(DidosLament),overagroundbass
LG142/CD16166
5.BARBARASTROZZI(16191677)
Amordormiglione:ItalianDaCapoAria
LG145/CD16769

IV.Sep25 BachandHandel:LateBaroqueVocalMusic
ReadF&M,pp.146161(Chapter17,TheBaroqueCantataandOratorio)
1.JOHANNSEBASTIANBACH(16851750),
CantataNo.140,Wachetauf:ChurchCantata,forsoloists,chorus,andBaroqueorchestral
ensembleExcerpts:Movements14&7
LG152/CD2116
2.GEORGEFRIDERICHANDEL(16851759)
Messiah:Oratorio,forsoloists,chorus,andBaroqueorchestralensembleExcerpts:Nos.1,
1418,&44

21M.011SyllabusFall2013page11
LG158/CD21728

21M.011SyllabusFall2013page12

V.Oct2

Handel,Bach,andOthers:LateBaroqueInstrumentalMusic

ReadF&M,pp.162185(Chapters18,19,andmostof20)
1.G.F.HANDEL
WaterMusic:SuiteinDmajorMovements1and2:AllegroandAllaHornpipe
LG166/CD22934
2.JEANJOSEPHMOURET(16821738)
Rondeau:Openingmovement,inDMajor,fromthe[First]Suitedesymphonies
LG169/CD23537
3.ANTONIOVIVALdi(16781741)
Spring[Laprimavera]fromTheFourSeasons[Lequattrostagioni]:Concertoforsoloviolin,
Op.8,No.1,inEMajor,inthreemovements
LG172/CD23845
4.J.S.BACH
BrandenburgConcertoNo.2,inFMajorMovement1(Allegro):ExampleoftheBachstyle
ofaconcertogrossomovementinritornelloform
LG176/CD24650
5.ARCANGELOCORELLI(16531713)
TrioSonatainDmajor,Op.3,No.2Movements3(Adagio)and4(Allegro)
LG179/CD25153
6.DOMENICOSCARLATTI(16851757)
SonatainCmajor(TheHunt)aonemovementkeyboard(harpsichord)sonata
LG182CD25455
7.BACH
ContrapunctusI:theopeningpieceinBachsencyclopedicfinalcollection,TheArtofthe
Fugue
LG186/CD25659

VI.Oct9

HaydnandMozart:ClassicalInstrumentalGenres

ReviewF&M2530,onkeys,and3640,onmusicalforms.
ReadF&M192220&228243(Prelude4,Chs.21,22,firsthalfof23,24,&firsthalfof25)
1.JOSEPHHAYDN(17321809)
StringQuartetOp.76,No.3(Emperor)Mvt.2,themeandvariations
LG208/CD26064
2.HAYDN
SymphonyNo.100,inGMajorMvt.2,internary(ABA)form
LG219/CD32630
3.WOLFGANGAMADEUSMOZART(17561791)

21M.011SyllabusFall2013page13
PianoSonatainAmajor(K.331)Mvt.3,inrondoform
LG238/CD42531
4.MOZART
EineKleineNachtmusik(K.525):Serenadeforstrings4movements,variousforms
LG211/CD3120
5.MOZART
SymphonyNo.40,inGminor(K.550)Mvt.1,insonataallegroform
LG217/CD32125
6.MOZART
PianoConcerto[No.17]inGmajor,K.4533movements,variousforms
LG211/CD4124
7.HAYDN
TrumpetConcertoinEflatmajorMvt.3,insonatarondoform
LG235/CD35661

VII.Oct16 Mozart,Haydn,andBEETHOVEN:FiveMonumentalLandmarks
GobackandreadF&Mpp.185188;then244258(Ch.26,ClassicalChoralMusicandOpera),and
220227&240243(sectionsofChs.24&25onBeethoven)
1.MOZART
DonGiovanni:Operabuffa(withOperaseriaportions)Act1,Scene2,which
containsariasfortwocharacters,DonnaElviraandLeporello
LG254CD45764
2.MOZART
Requiem:MusicalsettingoftheMassfortheDead(unfinished)DiesIrae,which
containsbothchoralsectionsandsolos
LG246CD44653
3.HAYDN
TheCreation:OratorioTheclosingportionofPartI(Nos.1214),whichhasboth
seccoandaccompaniedrecitativeandendswithagrandchorus
LG249/CD45456
4.LUDWIGVANBEETHOVEN(17701827)
SymphonyNo.5inCminor,Op.67Fourmovements,variousforms
LG222/CD33155
5.BEETHOVEN
PianoSonatainCsharpMinor,Op.27,No.2(Moonlight)Threemovements,various
forms
LG241/CD43245

21M.011SyllabusFall2013page14

21M.011SyllabusFall2013page15

VIII.Oct23RomanticSongsandPianoMiniatures,ca.18151850
ReadF&M258260(FromClassicismtoRomanticism);264299(Prelude5,TheSpiritof
Romanticism)andChapters2729,onsongs,pianomusic,andmusicin19thcenturyAmerica
1.FRANZSCHUBERT(17971828)
Erlknig(TheErlKing):Liedforsolovoiceandpiano
LG275/CD518
2.ROBERTSCHUMANN(18101856)
ImwunderschnenMonatMai(IntheLovelyMonthofMay):LiedNo.1,fromthesong
cycleDichterliebe(PoetsLove)
LG278/CD5910
3.FRDRICCHOPIN(18101849)
MazurkainBflatminor,Op.24,No.4,forpiano
LG283/CD51116
4.FRANZLISZT(18111886)
Lacampenella(TheLittleBell):tudeNo.3,fromTranscendentalEtudesafterPaganini
LG288/CD51726
5.FANNYMENDELSSOHN[Hensel](18051847)
September:AttheRiver:Characterpieceforpiano,No.9fromaprogrammaticcycleof12,
DasJahr(TheYear)
LG291/CD52731
6.STEPHENFOSTER(18261864)
JeaniewiththeLightBrownHair:Balladforvoicesandpiano
LG295/CD53233
7.LOUISMOREAUGOTTSCHALK(18291869)
TheBanjo(Lebanjo:Fantasiegrotesque):Fantasyforpiano
LG298/CD53440

IX.Oct30 ProgramMusic,AbsoluteMusic,andNationalism,ca.18301890
ReviewF&M4967,onmusicalinstrumentsandensembles
ReadF&M300333(Chs.3031)
1.HECTORBERLIOZ(18031869)
Symphoniefantastique:ProgramSymphonyMvts.4(MarchtotheScaffold)and5
(DreamofaWitchesSabbath)
LG304/CD54153
2.BEDRICHSMETANA(18241884),
TheMoldau:SymphonicPoem,fromthecycleMvlast(Mycountry)

21M.011SyllabusFall2013page16
LG310/CD55461

3.EDVARDGRIEG(18431907)
PeerGynt,SuiteNo.1,Op.46:IncidentalmusictotheplaybyHenrikIbsenMvts.
1(MorningMood)and4(IntheHalloftheMountainKing)
LG313/CD56267
4.CLARASCHUMANN(18191896)
PianoTrioinGminorMvt.3:Andante(songwithoutwords)inGMajor
LG319/CD56871
5.FELIXMENDELSSOHN(18091847)
ViolinConcertoinEminorMvt.1,inafreeversionofsonataallegroform
LG323/CD57280
6.JOHANNESBRAHMS(18331897)
SymphonyNo.3inFmajorMvt.3,inCminorandABAform
LG329/CD613
7.ANTONINDVORAK(18411904)
SymphonyNo.9inEminor(FromtheNewWorld)Mvt.1,beginningwithaslow
introduction,followedbyafullmovementinsonataallegroform
LG331/CD6412

X.Nov6

RomanticOpera,ChoralMusic,andBallet,ca.18501890

ReadF&M335367(Ch.32andfirstpartofCh.33)
1.GIUSEPPEVERDI(18131901)
Rigoletto:ItalianTragicOperaExcerptfromthebeginningofActIII,featuringthe
Dukesaria(canzone),Ladonnamobile,andaquartet
LG329/CD61318
2.WAGNER(18131883)
DieWalkre:GermanMythicOpera(MusicDrama),thesecondinWagnerscycleof
4operas,TheRingoftheNibelungTheopeningandclosingmusicofActIII,containing
TheRideoftheValkyriesandtheMagicFiremusic

LG347/CD61929
3.GEORGESBIZET(18371875)
Carmen:FrenchNaturalisticOperaActI,scenes4and5,containingmusicfor
chorus,followedbyCarmensaria(Habanera)
LG354/CD63036
4.VERDI

21M.011SyllabusFall2013page17
RequiemMassfororchestra,chorusandseveralsoloistsexcerptfromthelastmovement,
Liberame,featuringoverwhelmingchoralmusicplusasopranosoloist
LG360/CD63739
5.PETERILYICHTCHAIKOVSKY(18401893)
TheNutcrackerBalletSuite,Op.71aThreeshortandverypopularCharacteristic
Dances:March,DanceoftheSugarPlumFairy,andRussianDance:Trepak
LG366CD64048

21M.011SyllabusFall2013page18

XI.Nov13 PostRomanticandModernistInnovators,ca.18901914
ReadF&M368378&382416ConclusionofCh.33,Prelude6,Chs.3435,&firstpartof36)
1. GIACOMOPUCCINI(18581924)
MadamaButterfly:ItalianOperaAriafromActII,Unbeld
LG370/CD64950
2.CLAUDEDEBUSSY(18621918)
PrludeLapresmididunFaune(PreludetoTheAfternoonofaFaun):Symphonicpoem
LG292/CD65559
3.MAURICERAVEL(18751937)
DonQuixotetoDulcinea:FrenchsongcycleforbaritonevoiceandorchestraNos.1,
ChansonRomanesque(RomanesqueSong)and3,Chansonboire(DrinkingSong)
LG396/CD716
4.IGORSTRAVINSKY(18821971)
Lesacreduprintemps/TheRiteofSpring:Balletandsubsequentlyaconcertworkfor
largeorchestraexcerptfromPartI,fromtheendoftheIntroduction(final30seconds
only),throughDanceoftheAdolescentsandGameofAbduction
LG410/CD7713
5.GUSTAVMAHLER(18601911)
DasLiedvonderErde(TheSongoftheEarth):SongCyclefortwosoloistsandlarge
orchestraMvt.3,VonderJugend(OfYouth)
LG376/CD65154
6.ARNOLDSCHOENBERG(18741951)
PierrotLunaire:SongCycleforsopranoandchamberensembleSongsNo.18,Der
Mondfleck(TheMoonfleck)and21,OalterDuft(OAncientScent)
LG415/CD71417

XII.Nov20 ModernistMusicinEuropebetweenTwoWorldWars
ReadF&M417439(Chs.36,conclusion,&37)
1.ALBANBERG(18851935)
Wozzeck:atonalGermanOperaActIII,fromScene4totheend
LG419/CD71821
2.ANTONWEBERN(18831945)
Symphony,Op.21:serialmusicforchamberorchestraMvt.2,themeandvariationsform
LG424/CD72224
3.BLABARTK(18811945)
ConcertoforOrchestraMvt.4,InteruptedIntermezzo,inrondolikeform
LG431/CD72531

21M.011SyllabusFall2013page19
4.SERGEIPROKOFIEV(18911953)
LieutenantKijSuite:orchestralmusicextractedfromafilmscoreMvt.4,Troika
LG435/CD73236
5.CARLORFF(18951962)
CarminaBurana:secularcantataforchorus,soloistsandlargeorchestraOpeningchorus,
OFortuna
LG438/CD73740

XIII.Dec4 AmericanModernismto1945inConcertHallsandBeyond
ReadF&M440501&513519(Chs.3841&firstpartof43)
1.CHARLESIVES(18741954)
CountryBandMarch
LG444/CD74147
2.RUTHCRAWFORD(Seeger)(19011953)
PianoPreludeNo.6
LG447/CD74850
3.WILLIAMGRANTSTILL(18951978)
SuiteforViolinandPianoMvt.3
LG451/CD75154
4.AARONCOPLAND(19001990)
AppalachianSpring:BalletsuitefororchestraSections1(Prelude)and7(Themeand
VariationsonSimpleGifts)
LG454/CD75562
5.SILVESTREREVUELTAS(18991940)
HomagetoFredericoGarciaLorca:SuiteforchamberorchestraMvt.3,Son(Mexican
dance),inrondoform
LG460/CD76368
6.SCOTTJOPLIN(18681917)
MapleLeafRag:Pianosheetmusic(1899)thatlaunchedtheragtimecraze
LG476/CD77478
7.BILLIEHOLIDAY(19151959)
BilliesBlues:Recordingof12barbluesbyHolidayandasixmanjazzband(1936)
LG480/CD77985
8.BILLYSTRAYHORN(19151967)andDUKEELLINGTON(18991974)
TaketheATrain:BigbandjazzrecordingbytheDukeEllingtonOrchestra,basedona32bar
popsongform(1941)
LG483/CD78690
9.DIZZIEGILLESPIE(19171993)andCHARLIEPARKER(19201955)

21M.011SyllabusFall2013page20
ANightinTunisia:Bebop/LatinJazzrecordingbytheCharlieParkerSeptet,basedona32
barpopsongform(1946)
10.GEORGEGERSHWIN(18981937)
Summertime:AriafromtheAmerican[folk]operaPorgyandBess
LG494/CD79798

XIV.Dec11FromthePostWWIIVanguardtotheNewMillenniumOld
Currents,NewCurrents,andCrossCurrents
ReadF&M495401(endofCh.41);Skim502526(Chs.4243)
Read530595(Part8:WorldWarTwoandBeyond)
ThreeMoreLeadersofAmericanMusicoutsidetheConcertHall

1.LEONARDBERNSTEIN(19181990)
WestSideStory:BroadwayMusicalTwoexcerptsfromActI,indifferentstyles:TheDance
attheGym(Mambo)andtheTonightQuintet(operaticensemble)
LG497/CD819
2.JOHNWILLIAMS(1932),andHERBSPENCER(orchestrator)
RaideroftheLostArk:FilmscoreRaidersMarch,inABAform
LG510/CD81017
3.BOBDYLAN(1941)
Mr.TambourineMan:Artsong(ballad)infolkstyle
LG518/CD81823

ElevenComposersofInternationalStatureintheWorldofClassicalMusicToday
Note:Thefollowingarelistedinabbreviatedform.

1.OLIVIERMESSIAEN(19081992),QuartetfortheEndofTimeII.Vocalise;LG538
2.PIERREBOULEZ(1925),NotationsIV,fororchestra;LG542
3.GEORGECRUMB(1929),CaballitoNegro,songforsop&chamberens;LG544
4.JOHNCAGE(19121992),SonataVforPreparedPiano;LG549
5.GYRGYLIGETI(19232006),Disorder:PianoEtude,BookI,No.I;LG556838
6.BRIGHTSHENG(1955),ChinaDreams:SymphonicSuitePrelude;LG561
7.TODMACHOVER(1953),HyperstringTrilogy:BeginAgainAgain:Chambermusic(?)for
solocelloandcomputer(excerpts);LG573
8.JENNIFERHIGDON(1962),bluecathedral:Orchestraltonepoem(excerpt);LG578
9.JOHNCORIGLIANO(1938),Mr.TambourineMan:SongcyclePrelude;LG581

21M.011SyllabusFall2013page21

10.ARVOPRT(1935),CantateDominocanticumnovum:PsalmMotetforchorus&organ;LG
586
11.JOHNADAMS(1947),DoctorAtomic:AmericanOpera(twoexcerpts);LG591

21M.011SyllabusFall2013page22

Concerts: Reflective Write-ups

21M011requiresthatyouattendthreeconcertsduringtheterm.Spacethemout,ideallywithtwo
ormoreweeksbetweeneachconcert.Theconcertsshouldreflectvarietiesofmusicwhicharepartof
thiscurriculum.Rockandpopmusic,aswellasworldmusic,musicals,andfilms,areoutsidethe
purviewoftheclass.Atleasttwoconcertsshouldbebyprofessionalperformers.(Wewillgiveyou
advancenoticeofconcertswerecommend.)Youmustwriteupeachconcertseparately,andhandthe
writeupinnolaterthanoneweekafterthedateoftheconcert.
Thewrite=upsshouldbeshort500600wordseachandcanbequitepersonal(unlikethe
essays,inwhichformalwritingisexpected).Thefirstpersoncanbeusedtoexpressyourimpressions,
andyouneednottrytobetooanalytical.Butbeobservant.Atthestart,conciselystatetheobvious:who
performed,whatwasperformed,where,when,inwhatkindofenvironment,towhataudience.
Summarizetheoverallorganizationoftheprogram.Beyondthat,yourpersonalimpressionslouder
thanyoulike,exciting,emotional,dancelike,waytoolong,incomprehensible,delightful,culturally
specific,excessivelyformal,etc.areimportanttowritingasuccessfulconcertreport.(Itistobea
personalwriteup,notareviewsuchasamusiccriticwouldattempttowrite.
Ifyouhaveencounteredmusicofthesametypeinourclassbeforegoingtotheconcert,wewill
prizeanyattemptsyoumaketocomparethemusicoftheconcerttowhatwehavestudied.Forexample,
ifyougototheBSOandtheyplayBeethovens5thSymphony,wastheperformanceliketheoneonour
CDs?Wereyousurprisedbyanyelementsoftheperformancebecausethemusicdidn'tsoundtheway
youexpected?Or,foranotherexample:IftheyplayadifferentBeethovensymphony(oneyoudonot
know),diditmeetyourexpectationsaccordingtothemodeloftheFifth?Orwasitsurprisingly
different?Similarsortsofquestionscouldbeappliedtoothergenresorcomposersstudiedintheclass.
Ifyouhappentoattendmorethanthreeconcerts,andwishtomakeoneofthewriteupsa
comparisonoftwothatyouattendedinashortspaceoftime,youarewelcometodoso.Butthisisonly
optional,notarequirement.
NOTE:Concertreportsaretobekeptandsubmittedinafolderwithpockets.Besuretoinclude
theparaphernaliaoftheconcert:yourticketstubandtheprogram.Writeyournameontheprogram,
insideoroutside.Keepalltheconcertstogetherinthefolder(rehandedineachtime),sotheinstructor
canseethevarietyofconcertsyouattended.Yourinstructorwillremindyouofthesepoints.

Formal Writing
Formalwritingisassumesyoudonotknowthereader:inyourmind,heorsheisnota
fellowstudent,yourteacher,oryourfriendorrelative.Sheorheisanidealizedreader,eagerfor
imaginative,colorful,andclearwriting.Itcanshowpersonality,butbecarefulnottoburyyour
analysesinfloweryprose.Useofthefirstpersonshouldbelimited,contractionsaretobe
avoided(i.e.,usehavenotinsteadofhavent),andnumeralslessthan100arespelledout
(sixtysixinsteadof66).Aboveall,logicalorganizationofyourargumentisnoless
importantthanaclearexpositorystyle.
Pleasebesuretolookoveryouressaysinprintedoutcopiesbeforeyouhandthemin,
andproofreadcarefully.Ifyoureadthemaloud,youwillbemorelikelytocatchmistakesor
inconsistenciesyoudidntknowwerethere.

21M.011SyllabusFall2013page23

Wehopeyouwilltrytoavoidpretentiouslanguage,jargon,clichs.Hearareafew
nearrandomexamples.(1)Bewareimpressivesoundingbutinflatedverbssuchasutilizeand
showcase.(Almostalways,theverbuseisabetterchoicefortheformer;inpreciseprose,
showcasewasandstillisanounnotaverb.)(2)Whenareadverbs(like)reallyreallyreallya
goodidea?PersonallyIbelievethatadverbsareactuallybetteravoided.Astheprevious
sentencessuggest,adverbsmightsoundeffectiveorcomeinhandyasplacemarkerswhen
talkingtosomeone,buttheyoftenaddnovitalmeaningandcandeadenyourprose.

Essay #1: Concerning Form and Style in Early Music

Usethefollowingtwopassagesfromourtextaspointsofdeparture.
(1)Musicofallculturesmirrorslifeinitsbasicstructuralelementsofrepetitionandcontrastthe
familiarandthenew.Repetitionfixesthematerialinourmindsandsatisfiesourneedforthe
familiar,whilecontraststimulatesourinterestandfeedsourdesireforchange.(Forney&
Machlis,TheEnjoymentofMusic,p.36)
(2)Thedistinctivefeaturesofanyartworkmakeupitsstyle.Amusicalstyleiscreatedthrough
individualtreatmentoftheelements(melody,rhythm,harmony,texture,form,dynamics,tempo).
(F&M,bulletpointonp.70)
Withthesestatementsasabackdrop,orthesisgenerator,exploreandcomparethreeorfourofthe
followingpieces,fromtheassignmentsforweeksIIandIII.Besuretopickatleastonepiecefromeach
ofthesethreegroups.
Group1:MedievalMusic
Anonymous,KyrieChant(10thcentury)
RaimbautdeVacqueiras,Kalendamaya(late12thcentury)
Anonymous,Sumerisicumenin(ca.1250)
Group2:RenaissanceMusic
Dufay[orDuFay],LhommearmMass:KyrieMovement(1460s)
Josquin,AveMaria(1480s?)
Palestrina,PopeMarcellusMass:GloriaMovement(published1567)
Group3:BaroqueMusic
Strozzi,Amordormiglione(published1651)
Purcell,WhenIamlaidinearth(DidosLament,fromDidoandAeneas,1689)
Howdothepiecesyouhavechoseneitherresembleoneanotherordiffer,intermsofsomefundamental
elementsofformandstyle?Whenyoulistentoeachpieceindividually,whichstylisticelementsand
formalprinciplesseemmostimportantforshapingonescomprehensionandresponse?Isitpossibleto
connectorappreciatethesepiecesequallyintermsoflisteningvalue,despitetheirremotenessfrom
thepresentandtheirtemporaldistancefromoneanother?Whyorwhynot?

21M.011SyllabusFall2013page24

Theessayshouldrunfrom1250to1500words.Handinahardcopytoyourrecitationinstructor
by5pmonMonday,September23.

Essays #2 and 3
The second and third essays will ask you to compare pieces from the
eighteenth-, nineteenth- and twentieth-century repertoires. You will receive
separate instructions describing the particular requirements for each assignment,
including the revision of essay 2.

The Writing Center

The Writing and Communication Center (12-132) offers you free
professional advice from published writers about oral presentations and
about all types of academic, creative, and professional writing. To schedule
an appointment, go to http://web.mit.edu/writing and click on the yellow
sunburst. If you cannot find an open appointment slot, do not despair. There
are always cancellations on the day of the appointment (sometimes as many
as fifteen cancellations in one day). Click on the Wait List (the blue strip that
says, Is the time that you want already reserved?). Whenever a
cancellation occurs on that day, you will be automatically notified by email.
Because several people might receive that same message, go online ASAP to
schedule that open spot; 96% of clients who want an appointment end up
with one if they use the Wait List. If you cannot find an appointment, you try
dropping in or try the Online Tutor at
http://web.mit.edu/writing/Center/onlinetutor.html . The Centers hours are
Monday-Thursday, 9:00 a.m.-9:00 p.m.; Friday 9:00 a.m.-6:00 p.m.; and
Sundays, 5:00-9:00 p.m.

21M.011SyllabusFall2013page25

Ima Musiclover
MIT 21M011 Essay 1
September 4, 2013 [or, 4
September 2013]

Formatting Your Papers

1) Note the position and format of the name-class assignment-date block in
the upper right-hand corner. It is right-justified, single-spaced, and in 12point type.
2) Note the 14-pt. size, bold typeface, centered, for an appropriate title.
This is in a sans-serif type face called Helvetica, which is suitable for titles
but not for text.
3) Text should be set in a serif type face such as this one (Baskerville), Times,
or Bookman, etc. Do not use justified margins on both sides. Simply
justify the left margin. The text should be in twelve-point type with double
spacing between lines. The text should be in twelve-point type with double
spacing between lines. The text should be in twelve-point in twelve-point
type with double spacing between lines. All work and no play makes Jack a
dull boy.
4) A paper of six or fewer pages needs no extra title page or added blank
pages. Staple pages together in the upper left corner.
5) Be sure to put a header or footer in smaller size that has your last name
and the page number on all pages after the first. It should be positioned
either in the upper right hand corner or centered at the bottom. This is a
necessary requirement for all written work.
6) Quotation marks come after commas and periods: i.e., music, or
music? Please learn the use of the em-dash on your computerthat is,
avoid using a hyphen or two hyphens in place of an em-dash. There
are no spaces before or after an em-dash.
7) When using quotations or citations the following formats should be used
(note the placement of the punctuation):

21M.011SyllabusFall2013page26

Haydns Symphony No. 100, the Military, was first presented in 1794
during his second London visit (F&M 218).
or,
The Military Symphony was presented in London in 1794 (F&M 218).
or,
According to Forney and Machlis, in 1794 Haydn presented his
Symphony No. 100 in London (218).
Then, having used these citations in the text, include the book (or other
reference materials) in a bibliographical citation in the following format at
the end of your essay:
Kristine Forney and Joseph Machlis. The Enjoyment of Music. Eleventh
edition. New York: Norton, 2011.
The formatting above is a standard one for end bibliographies. Footnotes
usually have a different style, but you shouldnt be using them for the papers
you write for 21M011. The papers are too short to warrant them.
8) If you happen to quote a source from the Internet, use the title of the
entry and include the authors name (often at the very end). You must both
cite the authors name and address of the Internet source. Sources in which
no controlling author is named may not be used.
Michael Norriah. Beethoven, under Biographies of classical composers.
http://www.cl.cam.ac.uk/users/mn200/music/composers.html
9) Use italics for all non-generic titles of pieces.
Ave Maria, a motet by Josquin Desprez (1480s?)
Bartks Concerto for Orchestra
Mozarts Piano Concerto No. 17 in G Major, Movement 1
Beethovens Symphony no. 3 in E-flat major (Eroica)
Mozarts opera buffa, Cosi fan Tutte
Erlknig by Franz Schubert, is a masterful song, written when he was
17! It is based on the poem Der Erlknig, a ballad by Goethe published
many years earlier.
10) Use italics for all foreign words or phrases:
She sang alleluia out of tune, over and over again, ad nauseam.
In the correction of your paper, an underlined word with a T means use a
thesaurus, or simply that the word seems ill-chosen for your intended
meaning; S means spacing; Sp means spelling; P means punctuation; LC

21M.011SyllabusFall2013page27

means lower case; UC means upper case (capital letters); and means that
a new paragraph should begin at that point.