AS.376.231.

21: Western Classical Music

MWF, 9:00-11:30 a.m., Summer II, 2016
Location TBA

Kip Wile, Ph.D.

E-mail (preferred): wile@peabody.jhu.edu
web site: http://www.peabody.jhu.edu/wile

Required Text
Joseph Kerman and Gary Tomlinson, Listen, Eighth Edition, New York:
Bedford/St. Martin's, 2015.

Recommended Recordings (also available on Blackboard and on reserve at the

Eisenhower Library)
Joseph Kerman and Gary Tomlinson, 6-CD set to accompany Listen, Eighth
Edition, New York: Bedford/St. Martin's, 2015.

For Further Reference

Randel, Don M. The New Harvard Dictionary of Music. (Cambridge: Harvard
University Press, 1986). (ML100 .A64 1986)
Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. 2nd
edition. 29 vols. (London: Macmillan Publishers; Washington, D.C.:
Grove's Dictionaries of Music, 2000). (ML100 .N48 2000)

Course Description
This course is an introduction to the rich tradition of Western "Classical" music.
We will examine this music from a variety of perspectives, including: 1) its
historical, intellectual, and cultural background; 2) the biographical background of
its composers; 3) its stylistic context; and 4) analysis of the music itself. We will
approach these perspectives through a variety of activities, such as lectures,
readings, writing, exams and in-class discussion.

Course Objectives
To gain a thorough understanding of the characteristics Western "Classical" music.
To gain sensitivity to the various styles of this music; to acquire fluency with
these styles and their procedures, as though learning a language.
To enhance your technical understanding of "Classical" music.
To develop your ability to express yourself about this knowledge.
To enrich your perspective of music and its relationship to history and culture.
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Attendance
Note: attendance is the single most important factor affecting your success
in this course. Regular and punctual attendance will be expected of you throughout
the semester. Excessive lateness and/or unexplained absence will adversely affect
your final grade. Students who are absent from class should make arrangements
with me to make up work that you miss.

Class Participation
Class participation requires that you:

1) be in class and on time;

2) prepare in advance to participate in discussions and activities involving assigned
readings and pieces; and
3) be generous about giving of yourself while in class.

Remember, this class is what we make it!!!

Required Listening
Because we want to have knowledge of these procedures in sound (and not just
on paper), you will be required to identify pieces and discuss aspects of them that
we have studied together. In general, assignments should be carefully listened to
a minimum of two times before class. In addition, you will want to reinforce what
we have learned with repeated listenings after class. Exams will begin with a
listening identification section in which you will be asked to identify one-minute
excerpts according to the composer (full name), title, date (where available), and
basic technical aspects of the composition.

Recordings: a copy of the 6-CD set accompanying the textbook has been placed
on reserve in the Eisenhower Library. In addition, the recordings for the class can
be accessed on Blackboard. To listen to a recording on Blackboard: 1) visit the
"my JHU" page at my.jh.edu and log in with your user name and password;
2) under "Education," select "Blackboard"; 3) select this course; 4) open the folder
called "Course Content."

Exams
Exams will be given at the end of each unit to test your knowledge of the concepts
and techniques we have studied and how they work in actual pieces. As already
noted (see "Required Listening"), exams will begin with a listening identification
section in which you will be asked to identify one-minute excerpts according to the
composer (full name), title, date (where available), and basic technical aspects of
the composition. If you have a legitimate absence on an exam date, you will be
allowed a make-up exam, provided that you notify me before the regular exam
takes place.
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Course Paper
As a culmination of our studies, students will write a short paper on a topic of their
choice.

Grading
Your final grade will be based on an average of the following percentages:

Attendance and class participation: 20%

Unit Exams (4): 60%
Course paper: 20%

However, other intangibles will also be taken into account, such as effort and
positive attitude, recent or long-term improvement, etc.

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COURSE SCHEDULE

Note: assignments are due on the day under which they are listed in the course
schedule.

Unless otherwise noted, readings are from the Kerman/Tomlinson textbook.

Recordings of assigned listening are found in the 6-CD set accompanying the
Kerman/Tomlinson text (available on Blackboard and on reserve at the Eisenhower
Library). Each piece is listed below, followed by brackets containing the page number of
its listening guide in the Kerman/Tomlinson text.

UNIT I: MEDIEVAL AND RENAISSANCE MUSIC

Week 1

Monday, June 27 - Medieval Music

Reading: pp. 42-56

Listening: Anonymous: Plainchant antiphon, "In paradisum" [47-8]
Hildegard of Bingen: "Columba aspexit" [48-9]
Bernart de Ventadorn: Troubadour song, "La dousa votz" [50-51]
Anonymous: Round, "Sumer is Icumen In" [54-5]
Guillaume de Machaut: Ballade, "Dame, de qui toute ma joie vient"
[55-6]
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Wednesday, June 29 - Renaissance Music

Reading: pp. 60-76

Listening: Guillaume Dufay: Harmonized hymn, "Ave maris stella" [61-2]
Josquin Desprez: Pange lingua Mass, Kyrie [65-6]
Giovanni Pierluigi da Palestrina: Pope Marcellus Mass, Gloria [70-71]
Thomas Weelkes: Madrigal, "As Vesta Was from Latmos Hill
Descending" (1601) [73-4]
Anonymous: Galliard, "Daphne" [75]

Friday, July 1 - Exam #1 on Medieval and Renaissance Music; Baroque Music I:

The Early Baroque Period
Reading: pp. 79-93
Listening: Giovanni Gabrieli: Motet, "O magnum mysterium" (published 1615)
[81-2]
Claudio Monteverdi: The Coronation of Poppea (1642), from Act I
[86-7]
Henry Purcell: Dido and Aeneas (1689), Act III, "Thy hand, Belinda!"
and "When I am Laid" from the final scene [88-90]
Girolamo Frescobaldi: Canzona (1627) [92]

UNIT II: BAROQUE MUSIC

Week 2

Monday, July 4 - Independence Day holiday; no class.

Wednesday, July 6 - Baroque Music II: The Late Baroque Period I

Reading: pp. 96 -126 (up to "Fugue")

Listening: Antonio Vivaldi: Violin Concerto in G major, La stravaganza, Op. 4,
No. 12 (1712-13), first movement [117-8]
Johann Sebastian Bach: Brandenburg Concerto No. 5 (before 1721),
first movement [123-5]
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Friday, July 8 - Baroque Music III: The Late Baroque Period II

Reading: pp. 126-49

Listening: Johann Sebastian Bach: Prelude and Fugue in C major, from The Well-
Tempered Clavier, Book I [129-32]
Johann Sebastian Bach: Gigue from Cello Suite No. 2 in D minor [134]
George Frideric Handel: Messiah (1742), Recitative, "There were
shepherds" and Chorus, "Glory to God" [142-3]
Johann Sebastian Bach: Cantata No. 4, "Christ lag in Todesbanden"
(1707), Opening chorale (stanzas 3, 4 and 7) [147-9]

UNIT III: CLASSICAL MUSIC

Week 3

Monday, July 12 - Exam #2 on Baroque Music; Classical Music I: Symphony I

(note: class on this day will be held in Mattin 101)

Reading: pp. 150-173

Listening: Wolfgang Amadeus Mozart, Symphony No. 40 in G minor (1788), first
movement [165-7]
Franz Joseph Haydn, Symphony No. 94 in G major ("The Surprise";
1791), second movement [171-3]

Wednesday, July 13 - Classical Music II: Symphony II

Reading: pp. 173-80

Listening: Franz Joseph Haydn: Symphony No. 99 in Eb major (1793), third
movement [175-6]
Franz Joseph Haydn: Symphony No. 101 in D major ("The Clock";
1793-1794), fourth movement [178-9]

Friday, July 15 - Classical Music III: Piano Music; Chamber Music; Concerto; Opera

Reading: pp. 181-95

Listening: Wolfgang Amadeus Mozart: Piano Concerto in A major (1786), first
movement [184-6]
Wolfgang Amadeus Mozart: Don Giovanni (1787), Aria, "Ho capito,"
Recitative, "Alfin siam liberati" and Aria, "La ci darem la mano" [190-95]
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UNIT III: ROMANTIC MUSIC

Week 4

Monday, July 18 - Exam #3 on Classical Music; Beethoven

Reading: pp. 202-17
Listening: Ludwig van Beethoven: Symphony No. 5 in C minor (1808) (complete)
[209-15]

Wednesday, July 20 - Romantic Music I: Song and Piano Music

Reading: pp. 218-46

Listening: Franz Schubert: Lied, "Erlknig" (1915) [234-6]
Robert Schumann: Lied, "Im wunderschnen Monat Mai" (1840)
[238-40]
Frdric Chopin: Nocturne in F-sharp major (1831) [245-6]

Friday, July 22 - Romantic Music II: Symphony and Opera

Reading: pp. 247-276

Listening: Hector Berlioz: Fantastic Symphony (1830), fifth movement [249-54]
Giuseppe Verdi: Rigoletto (1851), Act III, Scene i [259-64]
Richard Wagner: The Valkyrie (1851-1856), Act I, Scene i [269-74]

Week 5

Monday, July 25 - Romantic Music III: Late Romantic Music

Reading: pp. 277-96

Listening: Pyotr Ilyich Tchaikovsky: Overture-Fantasy, Romeo and Juliet (1869,
revised 1880) [279-82]
Johannes Brahms: Violin Concerto in D major (1878), third movement
[289-91]
Gustav Mahler: Symphony No. 1 (1888), third movement, Funeral
March [293-6]
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UNIT III: TWENTIETH-CENTURY MUSIC

Wednesday, July 27 - Exam #4 on Romantic Music; Twentieth-Century Music I:

Debussy and Stravinsky; The Second Viennese School

Reading: pp. 300-30 (as far as "Expressionism")

Listening: Claude Debussy: Clouds (1899) [313-15]
Igor Stravinsky: The Rite of Spring (1913), from Part I [317-9]
Alban Berg: Wozzeck (1923), Act III, scenes iii and iv [324-30]

Friday, July 29 - Course Paper due; Twentieth-Century Music II: American

Experimentalism; Alternatives to Modernism

Reading: pp. 330-44; 358-72

Listening: Charles Ives: "The Rockstrewn Hills Join in the People's Outdoor
Meeting" (1909) [331-3]
Maurice Ravel: Piano Concerto in G (1931), first movement [337-8]
Bla Bartk: Music for Strings, Percussion and Celesta (1936), second
movement [341-3]
Edgard Varse: Pome lectronique (1958) [364-5]
Gyorgi Ligeti: Lux aeterna (1966) [366-7]
Steve Reich: Music for 18 Musicians (1974-1976), beginning [370-71]

Notice: If you have a disability (e.g. attention, health, hearing, learning, mobility, physical,
psychiatric, or vision) that may have some impact on your work in this class and for which you
may require accommodations, please let me know early in the semester so that your learning
needs may be appropriately met. Students with a disability must register with the Student
Disability Services for disability verification and for determination of reasonable academic
accommodations. You are responsible for initiating arrangements for accommodations for tests
and other assignments in collaboration with the SDS and the faculty. Student Disability Services
can be reached at 410-516-4720 in room 385 Garland Hall. They also have a website at
web.jhu.edu/disabilities