Writing Course Review Form (1/12)
I. General Education Review – Writing Course
Dept/Program
Music
Course # (i.e. ENEX MUSI 302
Subject
200)
Course Title
Music History II
II. Endorsement/Approvals
Complete the form and obtain signatures before submitting to Faculty Senate Office.
Please type / print name Signature
Date
Instructor
James Randall
Phone / Email
James.randall@umontana.
edu
Program Chair
Maxine Ramey
Dean
Stephen Kalm
III. Type of request
New
One-time Only
Change
Remove
Reason for new course, change or deletion
Request renewal of current lower-division
writing course designation
IV Overview of the Course Purpose/ Description: Provide an introduction to the subject matter and
course content.
*Please Note: Although MUSI 302 has an upper-division number, it has traditionally served as a lower-division
writing course within our music major. Music students this course in the spring semester of their sophomore year
Course Description
Music 302 is a survey of Western art music of the 18th through the late 20th century. In addition to
becoming familiar with the various genres, forms, and styles associated with these periods, students will
also be introduced to the many historical roles music has played in society: shaping, expressing, and
reflecting important social, economic, and political ideas critical to the development of Western
civilization.
Goals and Objectives:
1) To gain a practical knowledge of Western music history and its development, and to apply that
knowledge to individual performances, research projects, and creative endeavors.
2) To improve active listening skills, including the ability to recognize musical styles, genres, and forms
of various particular time periods and of specific composers.
3) To learn basic strategies for researching and writing about music, including how to use disciplinespecific resources available through the Mansfield Library
V Learning Outcomes: Explain how each of the following learning outcomes will be achieved.
Students write an 8-10 page research paper that
Student learning outcomes :
Use writing to learn and synthesize new concepts
develops an original thesis. Their papers synthesize
information from primary and secondary sources
along with their own independent analysis to argue
a coherent thesis throughout the paper.
Formulate and express written opinions and ideas These skills are discussed and practiced in weekly
that are developed, logical, and organized
writing labs. Links to online resources are posted
on Moodle (in particular, I use Purdue University’s
Online Writing Lab). The skills are assessed in
rough and final drafts of the students’ research
papers.
Compose written documents that are appropriate
Students are prompted to prepare a research paper
for a given audience, purpose and context
that would be suitable for presentation at a
conference for undergraduate research.
Revise written work based on constructive
comments from the instructor
Find, evaluate, and use information effectively
and ethically (see
http://www.lib.umt.edu/informationliteracy/)
Begin to use discipline-specific writing
conventions
Demonstrate appropriate English language usage
VI. Writing Course Requirements
Enrollment is capped at 25 students.
If not, list maximum course enrollment. Explain
how outcomes will be adequately met for this
number of students. Justify the request for
variance.
I provide feedback at several stages of the research
paper: 1) prospectus and bibliography; and 2)
rough draft
1) One of our texts, Richard Wingell’s Writing
about Music deals specifically with these basic
research questions: finding sources, using sources,
and citing them in proper and ethical fashion.
2) I introduce the class to resources available for
music research through the Mansfield library. We
usually spend at least one class session in the
library.
3) I include direct links to journal databases and
other resources on Moodle that assist students in
their research. In particular, I link to the Music
Subject guide through the Mansfield Library
Students learn to cite sources consistent with the
Turabian/Chicago Manual of Style (Humanities,
footnotes), which is the current standard for
musicology publications. Discipline-specific
writing conventions are also covered in assigned
readings from Richard Wingell’s Writing about
Music.
This is assessed in the rough draft and other
writing assignments. Students are given feedback
for improvement and revision.
Maximum enrollment is 50. I meet with the
students twice a week (80 min.) for lecture, and I
meet with students for an additional contact hour
once a week for a writing lab (2 sections, 25 max.
per each). Justification: the course counts as two
preps for my spring semester load.
Discussion in writing lab, and assigned readings
from our textbook.
What instructional methods will be used to teach
students to write for specific audiences, purposes,
and genres?
Which written assignments will include revision in The rough draft of the research paper.
response to instructor’s feedback?
VII. Writing Assignments: Please describe course assignments. Students should be required to
individually compose at least 16 pages of writing for assessment. At least 50% of the course grade
should be based on students’ performance on writing assignments. Clear expression, quality, and
accuracy of content are considered an integral part of the grade on any writing assignment.
Formal Graded Assignments
Prospectus and bibliography (2-3 pages)
Research Paper (8-10 pages—rough and final
draft). Together these comprise 50% of the course
grade.
Informal Ungraded Assignments
Weekly exercises in writing lab.
VIII. Syllabus: Paste syllabus below or attach and send digital copy with form. 
For assistance on syllabus preparation see: http://teaching.berkeley.edu/bgd/syllabus.html
The syllabus must include the following:
1. Writing outcomes
2. Information literacy expectations
3. Detailed requirements for all writing assignments or append writing assignment instructions
Paste syllabus here.
Music 302H.00-02
History of Music II
Lower-Division Writing Course: 3 Credits
Spring 2013
TR 11:10-12:30, Music 105
Instructor: Dr. James Randall
E-mail: james.randall@umontana.edu
Office/phone: 214 Music Bldg., ext. 6892
Office Hours: Wed. 10:00-12, or by appt.
___________________________________________________________________________________________________
Pre-requisites:
Completion of Music 301, or with permission of instructor
Required Texts:
Mark Evan Bonds, A History of Music in Western Culture. 3rd Edition (Upper Saddle River, NJ: Prentice Hall, 2009), plus the
accompanying Anthology of Scores (vol. II). The six accompanying CDs are optional (I’ll be offering Youtube playlists with
our required listening). Supplementary readings will be placed on Moodle.
*Most of you will already have the textbook from last semester, but you’ll still need to purchase the scores, and, if you
choose, the CDs. All are cheapest to buy online. For your convenience, I’ve placed links on Moodle for purchasing our
course materials through Amazon.com.
Course Description
Music 302 is a survey of Western art music of the 18th through the late 20th century. In addition to becoming familiar with
the various genres, forms, and styles associated with these periods, students will also be introduced to the many historical
roles music has played in society: shaping, expressing, and reflecting important social, economic, and political ideas
critical to the development of Western civilization.
Goals and Objectives:
1) To gain a practical knowledge of Western music history and its development, and to apply that knowledge to individual
performances, research projects, and creative endeavors.
2) To improve active listening skills, including the ability to recognize musical styles, genres, and forms of various
particular time periods and of specific composers.
3) To learn basic strategies for researching and writing about music, including how to use discipline-specific resources
available through the Mansfield Library
Evaluation:
Grades will be based on your performance on the following exams and assignments:
Exam I
Exam II
Exam III
Research Paper (see writing lab syllabus for details and due dates)
Quizzes/Participation/Attendance
15%
15%
15%
50%
5%
Make-up exams and paper extensions will only be permitted with a valid excuse: family illness, medical emergency, etc.
Students with special needs or disabilities should consult with the instructor for accommodations.
Grading Scale
A
93-100%
A-
90-92%
B+
B
BC+
C
88-89%
83-87%
80-82%
78-79%
73-77%
CD+
D
DF
70-72%
68-69%
63-67%
60-62%
59% and below
Academic Misconduct and the Student Conduct Code
All students must practice academic honesty. Academic misconduct is subject to an academic penalty by the course
instructor and/or disciplinary sanction by the University. All students need to be familiar with the Student Conduct
Code. The Code is available for review online at www.umt.edu/SA/VPSA/Index.cfm/page/1321.
MUSIC 302H—SYLLABUS (SPRING 2013)
SCHEDULE/ASSIGNMENTS
DATE
SUBJECT
SELECTED READING AND LISTENING
Week 1
T 1/29
Introduction/Syllabus
Th 1/31
Prelude: The Age of Enlightenment
Prelude to Part IV
Short examples referred to in text
Week 2
T 2/5
The Art of the Natural: Elements of Classical Style
Ch. 11
Scarlatti, Sonata in D Major
Stamitz, Symphony in D Major
C.P.E. Bach, Fantasia in C minor
Th 2/7
Instrumental Music of the Classical Period I
Ch. 12
Haydn, Piano Sonata in C minor
Haydn, String Quartet in C Major
Week 3
T 2/12
Instrumental Music of the Classic Period II
Th 2/14
Mozart Biography
Week 4
T 2/19
Vocal Music of the Classic Period I
Th 2/21
Vocal Music of the Classic Period II
Week 5
T 2/26
Exam 1
Th 2/28
Romanticism: The Age of the Tone Poet
Ch. 14
Week 6
T 3/05
Beethoven: Biography
Composer Profile
Haydn, Symphony No. 103
Mozart, Piano Concerto in E-flat Major
Ch. 13
Pergolesi, La serva padrona
Gluck, Alceste Act II
Mozart, Don Giovanni
Mozart, Requiem
Zelter, Kennst du das Land?
Billings, Wake Ev’ry Breath
Short examples referred to in text
Th 3/07
Beethoven: Musical Works
Ch. 15
Beethoven, Symphony no. 3 (Eroica)
Beethoven, Piano Concerto no. 4
Beethoven, String Quartet, op. 130
Due Thursday in Lecture (3/7): Prospectus and Bibliography
DATE
SUBJECT
READING
LISTENING
Week 7
T
3/12
The Program Symphony and other Genres
Ch. 15
Th
Romantic Song
Ch. 16
Berlioz, Symphonie fantastique
Mendelssohn, Overture to A Mid…
Schubert, Erlkönig
R. Schumann, Kennst du Das Land
Wolf, Kennst du Das Land?
C. Schumann, Liebst du um Schönheit
Week 8
T
3/19
Romantic Piano Music and rise of the Virtuoso
Ch. 16
Th
Italian Opera: Rossini to Verdi
Ch. 17
Week 9
T
3/26
German Opera: Weber to Wagner
Ch. 17
Wagner, Tristan und Isolde
Th
Orchestral Music, 1850-1900
Ch. 18
Brahms, Symphony no. 4
Mahler, Symphony no. 1
3/14
3/21
3/28
Chopin, Mazurka in A minor
Schumann, Carnaval, op. 9
Liszt, Nuages gris
Rossini, Il Barbiere di Siviglia
Verdi, Rigoletto
Due Thursday in Lecture Rough Draft for Peer Review (3/28)
Week 10
SPRING BREAK!!!
Week 11
T
4/9
Orchestral Music, Nationalism
Th
4/11
Exam 2
Week 12
T
4/16
20th-Century: Intro. and Overview
Ch. 18
Prelude; Ch. 19
Short examples referred to in text
Th
4/18
New Sounds I: Debussy and Ives
Ch. 20
Debussy, Prélude à l’Après-midi…
Debussy, Voiles
Ives, The Things Our Fathers Loved
Ives, The Unanswered Question
DATE
SUBJECT
READING
LISTENING
Week 13
T 4/23
New Sounds II: Stravinsky and Bartok
Ch. 20
Stravinsky, Le Sacre du printemps
Bartok, Music for Strings, Percussion…
Th 4/25
Beyond Tonality: Schoenberg and Expressionism
Ch. 21
Schoenberg, Pierrot lunaire
Webern, Five Pieces for String Quartet
Berg, Wozzeck
Week 14
T 4/30
The Tonal Tradition Continues
Ch. 22
Prokofiev, Classical Symphony
Copland, Appalachian Spring
Shostakovich, String Quartet no. 8
Th 5/02
After 1945
Ch. 23
Cage, 4’33’’
Barron and Barron, Forbidden Planet
Riley, IN C
Reich, It’s Gonna Rain
Week 15
T 5/7
After 1945 (Cont.)
Th 5/9
Review/Catch-up
Week 16
FINAL EXAM
TUESDAY, MAY 14
TBA
8:00-10:00
MUSIC 302—Writing Lab (Spring 2013)
PRELIMINARY SCHEDULE
Textbook: Wingell, Richard. Writing About Music: An Introductory Guide. 4th Edition. Available
online at Amazon and other vendors.
Week 1: First week of school: no lab meetings
Week 2: (beginning 2/4) schedule/syllabus; introduce research project
Week 3: (beg. 2/11) Researching Music at the Mansfield Library
Homework Due: 3 Research questions and Source List (read instructions on Moodle carefully)
Week 4: (beg. 2/18) President’s Day: No Class (No Writing Labs this Week)
Homework Due: Submission of paper topic/research question and initial bibliography of primary and
secondary sources.
Week 5: (beg. 2/25) Drafting an original thesis; Guidelines for Prospectus and Bibliography
Week 6 (3/4) Workshop on Prospectus and Bibliography (Bring drafts to class)
Due Thursday in Lecture (3/7): Prospectus and Bibliography Due
Week 7 (3/11) Pre-writing and Outlining strategies
Week 8 (3/18) Style guidelines for Musical Terms
Week 9 (3/25) Guidelines for Peer Review
Due Thursday in Lecture: Rough Draft for Peer Review (3/28)
Week 10 (4/1)
SPRING BREAK!!
Week 11 (4/8) Workshop: Strategies for Revising your Work
Due: Completed Peer Review
Week 12 (4/15) Workshop: Finishing Touches
Due: Revised Draft to Me
Week 13 (4/22) Appointments to discuss drafts and final revisions
Week 14 (4/29) Appointments to discuss drafts and final revisions
Week 15 (5/6) Presentations/TURN IN FINAL DRAFT
Finals Week (5/13): No writing Lab
Music 302
Research Paper
Research Paper Step by Step
Adapted from http://www.music.indiana.edu/som/courses/m401/M401how2.html
1. Pick a general topic (DUE TUESDAY, 2/12)
If inspiration (genius) is slow in coming, you might browse through your textbook and
anthology. Listen to the CDs that accompany the text, and choose something in which
you are genuinely interested, since that will make the project much easier to complete.
2. Quickly familiarize yourself with your subject area
Read the applicable chapters in your text and consult New Grove Dictionary of Music for
entries in your subject area. Look at a few general books that address your subject. Find
recordings and scores of music in your area to familiarize yourself with the repertory.
3. Start compiling a bibliography
Your textbook, as well as Grove Music Online, will provide helpful lists of sources for
your general subject area: books, as well as journal articles. Once you’ve identified
interesting sources, check the Mansfield Library to see what we have available. Don’t
forget that the library also has music journals available online. These can be searched
through JSTOR, as well as a other databases. If you start early, you might also have time
to request items through interlibrary loan.
4. Narrow your topic to something very specific
Some possible ways to limit, or narrow your topic:
• Period of time
• Genre or repertory
• Specific musical practice
• A specific philosophy, or artistic movement that influenced music
• Composer or group of composers
In the course of finding out more about your subject area, you will probably find many
topics that interest you. But you only need ONE. You may have many ideas that are
interesting, but lack sufficient sources to complete a decent paper. Choose a topic for
which you are able to find adequate source material.
*Write down the limits and scope of your paper. You should be able to describe your
paper in just a few sentences.
5. What to write about
There are two basic kinds of writing in music history. The first is more or less a report,
like an encyclopedia article, in which you summarize other people’s research. The second
type of writing first presents a thesis (argument), which you then support through
evidence throughout your paper. This assignment is of the second kind! Focus on one
argument and construct your paper around it.
6. Constructing a Thesis
After you figure out what your argument is, state it in a single complete topic sentence.
Everything in your paper should work toward supporting this statement. Don’t waste
precious time on background! It’s not necessary to say when Bach was born and how
many pets he had as a child, if these facts don’t pertain directly to your thesis.
7. Develop a plan of attack
Why do you believe your thesis? Gather your supporting evidence. Summarize it in a list.
At this point, it would be good to go back to sources you’ve gathered. If you don’t have
enough, go look for more stuff, or consider revising your thesis statement. Don’t be
afraid to consider contrary arguments. That’s part of the process. If you change your
mind, it’s ok to go back and change your thesis statement.
8. Hand in a prospectus with bibliography DUE Thursday 2/28 (10% )Your
prospectus should include your thesis statement and summarize in detail your supporting
evidence and the structure of your paper. Attach a bibliography of the primary and
secondary sources you will use.
9. Write the darn thing
Draft the First paragraph: paste your thesis statement into a fresh document. Your next
sentence should say something to the effect of “I will demonstrate this…” followed by
laundry list of the reasons you think the reader should believe your thesis. That’s all! No
background or introduction.
Draft the argument
Go through your arguments one by one, explaining them fully and why it is that they
support your thesis. Each argument will probably deserve at least one, if not several
paragraphs. After you have written out a rough draft of this, think about possible
counterarguments that might come up. You can address these in subsequent drafts.
Final Paragraph: Don’t summarize your argument!!!!!
You already did this at the beginning, so please don’t repeat yourself. What you should
do is to tell the reader why your findings are significant. Confront your inner demons to
answer the big questions: “Why is this topic important?” “Why should we care?”
10. Revision is good for the soul
Go back to your sources again, and look for bits to strengthen your argument, particularly
in areas that seem weak. It’s natural to find new things during the process of writing, so
just incorporate these into your paper as they develop.
11. Weeding your paper
As you revise, you’ll no doubt find quite a bit of extraneous information that doesn’t
really pertain to your central thesis. Get rid of it, even if it means leaving out otherwise
interesting stuff, or just a tidbit that makes you appear really intelligent. This extra
information only distracts the reader. Don’t, however, leave out obvious contradictions
to your argument: a good paper must address these.
12. FIRST DRAFT DUE: 3/20
13. FINAL DRAFT DUE: 4/17 (24%)
A Final Nugget of Wisdom:
Start writing sooner rather than later. As soon as you develop your thesis statement, you
should go looking for specific evidence to support it. You won’t have time to read
everything, so skip over the vast amount of information that doesn’t pertain directly to
your thesis. You’ll save lots of time and get more sleep. Happy writing!
************************************************************************
Assignment: Prospectus and Annotated Bibliography
DUE DATE: Monday, 2/28, 10:00, or Wed. 3/1, 1:00 (depending upon your writing
lab time)
Description
Assemble a preliminary bibliography containing primary and secondary sources for your
specific research question. After each bibliographic item, you’ll provide a short
paragraph detailing how the source will be useful to your project. It should be clear from
reading your annotation, that you’ve actually already consulted and partially read or
viewed the source.
Objectives
1) Gather useful sources for your research project
2) Learn proper bibliographic format for Turabian/Chicago Manual of Style for the
Humanities
Format
1) Place your research question at the top of your bibliography, as in the sample
below.
2) Your bibliography should have at least 10 entries, arranged alphabetically, and
consisting of both primary and secondary sources.
3) Use Turabian/Chicago Manual of Style guidelines for formatting your
bibliographic citations (see Ch. 5 of your writing lab textbook and handouts for
details). Your annotations and citation entries should be single-spaced. Leave an
extra space between each bibliographic entry, as seen in the sample below.
Sample
Research Question: How did Jerome Kern’s early musical style differ from his later
musical style?
Banfield, Steven. Jerome Kern. New Haven: Yale University Press, 2006.
This secondary source is a biography of Kern by a well-known and respected
musicologist. It provides an overview of Kern’s life and discusses stylistic
characteristics of his music for each phase of his career. I will compare Banfield’s
observations with my own analysis of Kern’s early and late songs.
Hamm, Charles. Irving Berlin: Early songs 1: 1907-1911; 2: 1911-1913; 3: 1913-1914.
Middleton, WI: A-R Editions for the AMS, 1994.
This primary source contains songs of Irving Berlin, who was a contemporary of
Kern’s. By looking at Berlin’s songs of this period, I hope to better understand and
separate the general popular style of songs for the period, versus what constituted
Kern’s individual style.
Kern, Jerome. The Collected Songs: For Voice and Piano. Boca Raton, Fla: Masters
Music Publications, 1992.
This primary source contains piano/vocal sheet music for all of Kern’s song published
prior to 1919. I’ll be analyzing selected songs from this collection to compile
characteristics of Kern’s early musical style.
Grading
This assignment is worth 5% of your semester grade and will be based on the following
criteria:
1) The focused nature of your research question
2) The strength of your sources to answer your research question
3) The inclusion of both primary and secondary sources
4) Your adherence to proper bibliographic format according to Turabian/Chicago
Manual of Style for Humanities
5) The accuracy of your annotations
Late assignments will be penalized.