Music 30-004 1000 Years Years of Musical Listening University of Pennsylvania, Spring 2014
Instructor: Daniel Villegas Vélez PhD Candidate, Musicology
[email protected] Office Hours: M 2-4 and by appointment
Music Building, Room 103
Hardly a day goes by without us listening to music. It is engrained in our rituals, public and private, and through it we connect to people across the world, and across the vast community of history. We We listen to it because it has an effect: it can move, distract, excite, delight, and comfor t us. Music 30 takes on those issues. issues. It aims to introduce you to a variety of music, and a range of ways of thinking, talking and writing about music. The majority of music dealt with will be drawn from the so-called “Classical” repertor y, from the medieval period to the present day, day, including some of the “greats” such as Beethoven’s 5th but also introducing you to music you will most likely never have encountered before. Our class will explore the technical workings of music, and together we will build a vocabulary for analyzing music and articulating a response to it; we will also explore music as a cultural phenomenon, considering what music has meant for different people, from different societies across the ages and across geographical boundaries. In other words, as well as learning to listen ourselves, we we will also engage with a history of listening. By the end of the course, you will be
equipped with the skills and the historical background to enable you to embark on a lifetime of informed listening. Required Text & Recording Joseph Kerman and Gary Tomlinson, Listen , Seventh Edition (Boston and New York: Bedford/St. Martins, 2011) ISBN: 978-0-312-59347-6
6-CD set to accompany Listen (It is possible, though not recommended, to buy an online streaming access pass. Not all music is included, and because it is flash-based, it cannot work on many mobile devices). The course book and CDs are available in the Penn Book Center on 34th & Sansom St. The CDs will also be on reser ve in the Ormandy Listening Center in Van Pelt Library, though I highly recommend that you purchase the CDs. Canvas Additional listening and reading assignments will be posted on the Canvas website. Opera Screenings At several points during the semester, I will ask you to watch some or all of a production of an opera (Monteverdi’s Orfeo, Mozart’s Don Giovanni , Verdi’s Rigoletto, Wagner’s Die Walküre , Berg’s Wozzeck ).
We will arrange for screenings of most of these operas so that you can all watch as a group. While attendance for these screenings is not required, we heartily encourage you to come—opera is a social genre! If you can’t make it, these operas will also be on reserve in the Music library in Van Pelt, and can viewed either in the music library viewing rooms, or else in the group study rooms in Weigle Commons.
ADDITIONAL RESOURCES The Music Library Penn has a specially designated Music Library, the Otto E. Albrecht Library, based on the 4th Floor of Van Pelt. This is a fantastic resource and I strongly encourage you to go and look around. As well as its extensive collection of books, journals and scores, it has a large collection of CDs, videos, DVDs, and is fully equipped with listening and viewing rooms (in the Ormandy Listening Center). The staff working there are extremely helpful and knowledgeable, and always happy to help you navigate your way through the materials if the library is new to you. To find out more, go to the website at http://www.library.upenn.edu/music/
Music online Penn is also signed up to two exciting online music databases. This is a great way to get into the habit of listening around the main repertoire we study in this course. You can search for music by genre, composer or period. At the very least log on and browse some music you’ve never heard before! You can access the Classical Music Library and the Naxos Music Library by proxy through the library website. Go to the “database” section of “e-resources” on the library home page. New Grove Music Online A fantastic online dictionary to which I will refer you occasionally throu ghout the semester, available through the Penn portal. I also encourage you to browse and explore this on your own!
COURSE REQUIREMENTS Breakdown of grades: 10% = Attendance and Classroom Participation 20% = Listening Journal 10% = 2 Writing Assignments 10% = Concert Review 15% = Midterm Exam 15%= 3 Listening Quizzes 20% = Final Exam
Absences Any absences should be reported through the Course Absence Report system. Students are permitted two absences for any reason, after which their gr ade will be dropped one half grade for each additional absence (i.e. on the third absence your grade would be moved from a B + to a B, after the fourth from a B to B-). There are no “excused absences” – if you miss class, you are responsible for making up any work and for knowing the material covered.
The purpose of the Course Absence Report system is to facilitate communication between instructors and students when a student misses class. The system allows students to inform instructors about absences of five days or less. If the absence is more than five days, you should contact your home school advising office for assistance and to discuss the academic implications of a longer absence. You can submit a Course Absence Report by logging on to Penn InTouch and choosing the “Course Absence Report” option from the menu on the left. Listening Journal (20% total) Every two weeks you will be asked to submit an entry for a listening journal in Canvas (each entry covers the previous four classes, 6 entries total). T hese will be 250 to 400 words. They will collect your reactions to the the musical examples discussed in class and expand on the issues covered in
class. Here you will have both an opportunity to practice translating your musical experiences into written prose and a chance to engage creatively with the music we’ve been studying. You can draw connections between pieces, describe aspects you found particularly interesting, express critically your love or hate for a work etc. For some of these you will have specific topics that will need to be addressed, others will be open. Journals will be posted in Canvas as discussions and will be available for everyone to read, so you will have to make an effort to communicate your ideas clearly for everyone. Also, keep in mind that we can address the entries in class to expand on the issues you bring up. Writing assignments (2, worth 10% total) Writing assignments are longer pieces than journal entries (roughly 750 to 1000 words). As well as encouraging you to make live music part of your musical experience, this course is also geared towards teaching you the critical skills for appreciating what you hear and the tools for articulating your experience in words. These assignments will give you an opportunity to do some research and engage with the music in creatively different forms. Directions for these assignments will be distributed throughout the semester. Concert review (10%) For the concert review, you are expected to choose a musical event from the lively Philadelphia musical scene to attend and write a 1200 word review that reflects your experience and critical engagement with the music in the event. You should to do some preparatory work for the performance. Philadelphia has many musical institutions and you will be spoiled for choice when it comes to picking concerts to review. There is the Philadelphia Orchestra, which offers a wonderful program for discounted tickets called EZSeatU. If you are a chamber music fan, you should look at the programs offered by the Philadelphia Chamber Music Society. Their concerts take place at different venues around the city. Curtis also offers many concerts, and of course, there are countless performances here at Penn, most of which are free. There is a a calendar of concerts on Canvas to help you with the many possibilities.
These pieces should be double-spaced, with nor mal margins and a 12-point font. Please staple your paper and, for your concert review, please turn in your ticket stub and program. Your review can be longer than 1200 words, but please keep it under 2000 words. Listening Quizzes (3, worth 15% total) During the semester, there will be three 10-minute quizzes, which will occur at the beginning of lecture. You will hear four 45-60 second excerpts drawn from the works we’ve studied in class (either from the CDs that accompany Listen , or else from the examples on Canvas). For each work, you are expected to provide the Composer, Title, Date, Performance Forces, and Genre for each example. We will discuss strategies for preparing for these quizzes in more depth in class; you can also find a guide on Canvas.
Listening Quiz Dates: Quiz #1: Thursday 6 February; Quiz #2: Tuesday, 25 March; Thursday, 17 April. Midterm Exam (15%) We will have one midterm exam, on 5 March. This exam will begin with a listening identification section, like the listening quizzes, and then have three more sections: one in which you will answer questions about new pieces that we have not studied in class, one that will consist of short answer questions, and a final section with one longer essay question. Final exam (20%) The final exam is tentatively scheduled for Wednesday May 7 12:00 p.m. - 2:00 p.m. and will take the same format as the midterm exam. Office Hours & Emailing My office is in Room 103 in the Music Building. I hope you take advantage of office hours to ask questions or just chat about music—you don’t have to have an academic issue to come to office hours, and I enjoy getting to know my students better. I recommend that you plan to come to office hours at least once during the semester.
All students are also welcome to email me with questions. Two things to consider before emailing: is it possible the answer to your question is on this syllabus o r on Canvas? If it is a question about a deadline, where my office is, etc. the chances are high that you will find your answer in one of these places. Second, a good rule of thumb is: use email for short questions where it will take roughly as long for us to write a reply as it did for you to compose the message. Please give me 24 hours to respond to emails. I will often try to answer faster, but keep in mind that I occasionally get inundated with emails, especially around quiz and midterm-time.
SCHEDULE OF CLASSES
Note: Please do the assigned listening at least once and the reading before lecture. I do my best to allow plenty of time for close listening in class, but with many works, we cannot possibly listen to every aspect of the work. You will get far more out of lectures if you come having listened to the assigned works already. I want students to come to lecture with questions, comments, and thoughts about the readings we’re covering.
Thursday January 16
Reading : Chapters 1, 2, 3, 4, 5 and Interludes A & B MEDIEVAL AND RENAISSANCE
Tuesday January 21
Listening Puer natus est nobis, Introit for Christmas Day [Canvas] Alleluia: Pascha nostrum, Alleluia for Easter [Canvas] Gregorian antiphon, “In paradisum” [I/1] Hildegard of Bingen, Plainchant sequence, “Columba aspexit” [I/2] Viderunt omnes, Gradual for Christmas Day [Canvas] Pérotin, Viderunt omnes (1198) [Canvas] Reading Chapter 6, §1-3 Yudkin, “Chant and Liturgy” [Canvas] Augustine, “Jubilus” [Canvas]
Thursday January 23
Listening Bernart de Ventadorn, “Can vei la lauzet mover” [Canvas] Anonymous 13th-century motet, Trois serors/Trois serors/Trois serors/ Perlustravit [Canvas] Guillaume de Machaut, Chanson: “Dame, de qui toute ma joie vient” [I/6] Reading Chapter 6, §4 Yudkin, “Machaut” & “Troubadour Song” [Canvas] Huot, “Allegorical Play in the Old French Motet” [Canvas] Vida of Bernart de Ventadorn [Canvas]
Tuesday January 28
Listening Josquin Desprez, Pange lingua Mass: Kyrie, Qui tollis (c. 1510) [I/8-9] Palestrina, Pope Marcellus Mass, from the Gloria (1557) [I/11] Weelkes, “As Vesta was from Latmos Hill Descending” (1601) [I/12] Gesualdo,“‘Io parto’ e non piu dissi" from Madrigali a Cinque Voci Libro VI (1611) [ Reading Chapter 7, §1-4 The Life of the Church Musician [Canvas] BAROQUE
Thursday January 30
Listening Giovanni Gabrieli Motet, O magnum mysterium, [1/15] Frescobaldi Suite (1627–1637) [I/20-23] Giulio Caccini, “Amarilli, mia bella,” from Le Nuove Musiche (1602) [Canvas] Claudio Monteverdi, L’Orfeo (1607) [Canvas] Prologue: La musica: “Al mio permesso” Act I: Orfeo: “Vi ricorda o boschi ombrosi” Act III: Orfeo: “Possente spirto” Reading Caccini, Euridice dedication [1600] [Canvas] Chapter 8 §1-4 Excerpts from Thomas Kelly, First Nights [Canvas]
Tuesday February 4
Listening
Monteverdi, The Coronation of Poppea, Act I (1642) [II/16-17] Lully, Phaeto (1683) [Canvas] Handel, “La Giustizia” from Giulio Cesare in Egitto (1724) [II/11] Rameau Les Indes Galantes (1735) [Canvas] Reading Chapters 9 §1-4, 11 §1
Thursday February 6
LISTENING QUIZ
Thursday February 6
Listening Handel, Minuet from Royal Fireworks Music [II/9] Rameau, Minuet and Tambourin from Castor et Pollux [II/8] Bach, Gigue from Cello Suite No. 2 in D minor [II/10] Vivaldi,Violin Concerto in G Major [I/24-26] Bach, Brandenburg Concerto No. 5, 1 [II/1-5] Reading Chapter 10, §1,3 Rousseau Extracts from On the origin of language [Canvas]
Tuesday February 11
Writing Assignment #1
Tuesday February 11
Listening Bach, Well-Tempered Clavier , Book I, Prelude & Fugue No. 1 in C Major [II/6-7] Handel, Messiah, “There were shepherds” [II/12] Handel, Messiah, Hallelujah chorus [II/13] Bach: Cantata No. 4, “Christ lag im Todesbanden” [II/14-16] Reading Chapter 10, §2; Chapter 11 ENLIGHTENMENT
Thursday February 13 Listening Mozart, Symphony No. 40 in G Minor, K. 550 [II/17-22] Haydn, Symphony No. 95 in C Minor, Mvt IV [II/34-37] Mozart, String Quartet in G major, K. 387, Mvt III (1782) [Canvas] Reading Chapters 12 and 13 The Cult of the Natural [Canvas]
Tuesday February 18
Guest Lecture: Lily Kass on Mozart’s operas. Reading Chapter 14, §4 Viewing Mozart, Don Giovanni DVD 426
Thursday February 20 Listening Haydn, String Quartet No. 40 [Canvas] Mozart, Piano Concerto No. 23 in A, K. 488 [III/1-5] Beethoven, Sonata No. 25 Op. 81a “Das Lebewohl” Mvt. I [Canvas] Reading Chapter 14 §1-2 ROMANTICISM
Tuesday February 25
Listening Beethoven: Symphony No. 5 in C Minor, op. 67 [III/6-20] Beethoven: String Quartet in F Major, op. 135, II [III/21] Reading Chapter 15 E. T. A. Hoffmann, Review of Beethoven’s 5th Symphony (1810) [Canvas]
Thursday February 27 MIDTERM Tuesday March 4
Listening Schubert: “Erlkönig” [III/22] R. Schumann: Carnaval : “Eusebius” [IV/1] “Florestan” [IV/2] “Chiarina” [IV/3] C. Schumann, “Der Mond kommt still geganen” [III/25] R. Schumann, Dichterliebe: “Im wunderschönen Monat Mai” [III/23] “Die alten, bösen Lieder” [III/24] Reading Chapters 16, 17 § 1-2 Schubert Remembered by a Friend [Canvas] Schumann’s Marriage diary [Canvas]
Thursday March 6
Listening Paganini, Caprice for Solo Violin No. 24 in a minor [Canvas] Berlioz, Symphonie fantastique [IV/5-11] Reading Chapter 17 § 3 Paganini, the Spectacular Virtuoso [Canvas]
Tuesday March 11
SPRING BREAK
Thursday March 13
SPRING BREAK
Tuesday March 18
Guest Lecturer Vanessa Williams Listening Mendelssohn Symphony [Canvas] Schumann Symphony [Canvas] Tchaikovsky Symphony [Canvas] Reading The Symphony after Beethoven [Canvas]
Thursday March 20
Guest Lecturer Carlo Lanfossi on Italian Opera Listening Rossini, Il Barbiere di Siviglia (1816): Cavatina (Rosina): “Una voce poco fa” [Canvas] Verdi: Rigoletto, Act III, Scene i Aria (The Duke): “La donna è mobile” [IV/5-11] Quartet (Gilda, Maddalena, Duke, Rigoletto): Bella figlia dell’amore” [IV/12-14] Reading Chapter 18 §1 Viewing Rigoletto, Act III, Scene i only DVD 96
Tuesday March 25
LISTENING QUIZ
Tuesday March 25
Listening Wagner: Die Walküre, Act I, Scene i [IV/18-23] Wagner: Tristan and Isolde Prelude [Canvas] Reading Chapter 18 §2 Excerpts of Wagner’s writings on music [Canvas] Viewing Wagner, Die Walküre, Act I only, DVD 82
Wednesday March 26
Greg Faulkerson Violin Recital MODERNISM
Thursday March 27
Listening Mahler: Symphony No. 1, 3 (Funeral March) [V/5-12] Strauss: Salomé (1905) [Canvas] Schoenberg, Transfigured Night (1899) [Canvas] Reading Chapter 19 §1,3
Tuesday April 1
Guest Lecturer Delia Casadei Listening Schoenberg: Pierrot lunaire, No. 8, “Night” [V/26] No. 18,“The Moonfleck” [V/27] Berg: Wozzeck, Act III, Scenes 3 and 4 [V/28-32] Reading Chapter 20, 21 §3 Webern, “The Death of Tonality?” [Canvas]
Thursday April 3
Listening Bartók, Music for Strings, Percussion, and Celesta (1936) [VI/6-12] Sibelius, Finlandia [Canvas] Ives: Second Orchestral Set, “The Rockstrewn Hills Join in the People’s Outdoor Meeting” [V/33-34] Copland Appalachian Spring (1945) [VI/13-16] Reading Chapter 21, §4; 22, §1-4
Tuesday April 8
Mussorgsky, Pictures at an Exhibition [V/1-4] Stravinsky: Petrushka [Canvas] Stravinsky: The Rite of Spring , Part I (excerpt) [V/19-25] Reading Chapter 19, §2 21 §2 Excerpts from Thomas Kelly, First Nights [Canvas]
Thursday April 10
Debussy: Preludes [Canvas] Debussy: Clouds [V/13-18] Satie: Socrate [Canvas] Ravel: Bolero [Canvas] Chapter 21, §1 Debussy on modern music
Tuesday April 15
Writing assignment #2
Tuesday April 15
Listening Messiaen, Mode de Valeurs et d’intensités [Canvas] Boulez, Structures 1a [Canvas] Boulez, Marteau sans maître [Canvas] Ligeti Lux Aeterna [VI/18-21] Reading Boulez, “New Developments in Serialism” [Canvas] Boulez, “Schoenberg is dead” [Canvas]
Thursday April 17
LISTENING QUIZ
Thursday April 17
Listening Schaeffer and Henry, Symphonie pour un homme seul [Canvas] Edgard Varèse, Poème électronique (1958) [VI/22] Stockhausen, Gesange der Junglinge [Canvas] Reading Luigi Russolo, “The Art of Noises’ [Canvas] Edgard Varèse, “The Liberation of Sound” [Canvas] Pierre Schaeffer, “Acousmatics.” [Canvas]
Tuesday April 22
Listening Cage, Music for Prepared Piano [Canvas] Cage, Imaginary Landscape No. 4 [Canvas] Feldman, Three Voices for Joan La Barbara [Canvas] Feldman, Why Patterns? [Canvas] Reading John Cage, “The Future of Music: Credo.” [Canvas] John Cage, Extracts from Silence [Canvas] Chapter 23, §1-2
Thursday April 24
Listening Anton Webern Symphony op. 21 mvt. II. [Canvas] Terry Riley In C Steve Reich Come Out [Canvas] Steve Reich Music for 18 musicians [6/23-26] Tony Conrad Early Minimalism [Canvas] Reading Steve Reich, “Music as a Gradual Process” [Canvas]
Tuesday April 29
Listening George Crumb Black Angels [Canvas] Gerard Grisey, Partiels (1975) [Canvas] Arvo Pärt, Tabula Rasa (1977) [Canvas] Kaija Saariaho, From the Grammar of Dreams (1988) [VI/25-27]
Chapter 23, §3 Wednesday May 7 FINAL 12:00 p.m. - 2:00 p.m.
