UNDERGRADUATE CURRICULUM COMMITTEE
223 SECOND-YEAR WRITING SEMINAR COURSE PROPOSAL FORM
1.
List the full title of this course (e.g. HIST 223 Second-Year Writing Seminar 3-3-0):
MLAN 223 Second-Year Writing Seminar 3-3-0:
From Beethoven to Brecht: Interplays between Words and Music
2.
Provide the Catalogue Description to be used for this course (you may use the description listed
in “FAQ about 223” as your department’s description or you may adapt it to fit your
department’s needs):
MLAN 223 invites students to create and participate in a collaborative research community
formed around a stimulating course topic drawn from the professor's area of cultural expertise
(in translation). A sample MLAN 223 course is “From Beethoven to Brecht: Interplays in
Words and Music.” The seminar encourages students to continue practicing and reflecting upon
the conventions of reading and writing appropriate for liberal arts learning, in particular the
ability to evaluate, synthesize, and present primary and secondary sources in a research project.
As it introduces students to the conventions of academic research and its presentation in both
oral and written forms, the course's focal point is the creation of a 10-15 page formal research
paper.
[Course description revised 12/05 per UCC recommendation.]
3.
Briefly (one paragraph), how will the curriculum benefit from this particular offering of 223?
Because of its interdisciplinary focus, this course will appeal to a broad cross-section of
students. For example, the class should prove particularly attractive to the increasing number
of music students at Christopher Newport. However, course subject matter will be treated so
that it will also be accessible to those with no musical training. As evidenced by the musical
and literary readings on the attached syllabus, the relationship between these two art forms is
multifaceted, and analyzing the numerous forms this interaction may take will both intrigue and
challenge students, as well as offering a rich variety of sources and research possibilities for
their papers.
4.
A concise explanation (one to two single-spaced pages) of how the proposed course will fulfill
each of the following criteria (“FAQ about 223” features sample course designs for 223):
(1) Writing Assignment Design
Students in the course will have the opportunity to engage in a variety of writing assignments.
Informal writing assignments will consist primarily of journal entries, in which students will
respond to and interact with both texts and music encountered in the course. Such entries will
encourage not only close readings and analysis of sources (see sample writing assignment A)
but also more creative interactions with readings and music (see sample writing assignment B).
In addition to several quizzes over course materials, semi-formal writing assignments in the
course will include preparatory assignments for the research paper, such as identifying a thesis
and writing a prospectus and annotated bibliography (see sample writing assignment C). The
formal writing component in MLAN 223 will, of course, be the final 10-15 page research
paper. Because of the emphasis on writing-as-process and drafts in the course, students will be
encouraged to revise and resubmit drafts of the “final version” of their paper.
MLAN 223: FROM BEETHOVEN TO BRECHT 2
(2) Treatment of Writing as a Developmental Process
As illustrated above, the focus of MLAN 223 is on variety of writing experiences and on
writing-as-process. In addition to fostering creativity and critical thinking, journal
assignments are designed to guide students in identifying their research topic. The writing of
the research paper is also split into five stages, including preparatory stages and drafts that are
incorporated into the final paper (please see attached syllabus under “Course Requirements and
Assignments”).
(3) Written Feedback from the Instructor
Each written assignment in the course will be clearly explained, including information on
expectations, format, and criteria for evaluation. Students will receive more informal written
responses to their journal entries, including suggestions for developing their ideas as potential
research topics. Instructor feedback on semi-formal and formal writing assignments will guide
students in improving content, style and mechanics in subsequent drafts. A visit from a Writing
Center representative will be scheduled in the early stages of the final project, and students are
strongly encouraged to visit the Writing Center individually. For specific stages of the final
project, students will engage in peer review of each others’ work, as well as meeting
individually with the instructor to assess paper progress and discuss improvements.
(4) Evaluation of Writing
Evaluation will depend upon the type of writing being assessed. For quizzes on course material
and content, “right” and “wrong” answers tend to be less subjective, and grading thus more
clear cut. Informal writing assignments, such as journal entries, will be assessed based on the
student’s fulfillment of the assignment criteria, the time spent on the assignment, and the level
of engagement. (For these assignments the instructor will employ a minus/check/plus system,
such as that detailed in John C. Bean’s Engaging Ideas, p. 116). Formal writing assignments
will be assessed according to categories such as organization, development of ideas, integration
of sources, and grammar, using a rubric incorporating these criteria. For all types of writing
assignments, instructor will provide students with clear explanation of expectations and
methods of evaluation. For grade distribution of individual writing assignments and class
participation, please see the attached proposed syllabus. Writing (including quizzes), will
account for 90% of the course grade. There will be approximately 50 pages of assessed writing
in the course.
(5) Oral Presentation
The class will follow a discussion format, and public speaking therefore plays an integral part
in students’ understanding and analysis of the course materials. course. Students will engage
in class and smaller group discussions, including brainstorming sessions for research topics and
peer assessments of works in progress. Students will also give individual oral presentations of
stage 2 of their research papers (the prospectus), enabling them to gather feedback from
classmates and to use this feedback to hone their topics.
5.
Please append a proposed syllabus centered on a particular topic, which should include a statement of course
objectives, a sequence of class activities, references to writing assignments, and weight of writing assignments in
relation to the final course grade.
Please see attached.
6.
Please append at least three writing assignments planned for use in this course.
MLAN 223: FROM BEETHOVEN TO BRECHT 3
Please see attached.
7.
Given that the course is capped at 19 students, what is the anticipated enrollment per offering
for the next three years?
19-38
During which term will this course first be offered?
Fall 20___
Spring 2006
Summer 20___
During which semesters will this course regularly be offered?
Not yet known – potentially every other Spring
Fall 20___
8.
Spring 20___
Summer 20___
Which W-I certified full-time faculty members will staff this course? (for certification
requirements, please see “Writing Intensive Certification” at
http://www.cnu.edu/admin/provost/forms.html)
I, Alicia Carter, will staff the course. I am currently teaching and ENG 223 course (Fairy
Tales: The Grim(m) Truth), and will be W-I certified as of September 17, 2005.
9.
Does the course involve a particular classroom, special equipment, or costs beyond those
usually associated with a course at CNU? If so, please explain.
The only special equipment necessary for the course would be access to audio equipment,
namely a CD player and cassette recorder.
10.
In addition to counting toward the general education requirement, will this particular course
(e.g. HIST 223) be required for the major? If so, why?
No
MLAN 223: FROM BEETHOVEN TO BRECHT 4
This course was approved by:
(Liberal learning courses must be reviewed by BOTH academic Deans
Concur
Do Not
and Curriculum Committees)
Concur**
Department(s): (1)
Date: ________
(2)
Date: ________
College Curriculum
Committee:
Date: ________
Dean:
Date: ________
Dean:
Date: ________
Undergraduate Curriculum
Committee:
Date: ________
Changes to the General Education requirements must be reviewed by the Faculty Senate.
Faculty Senate President:
Date: ________
Provost
Date: ________
Distribution by Provost Office following approval:
Department Chair(s), UCC Chair, Deans, Registrar
** If “Do Not Concur” is checked, please attach a statement of explanation.
MLAN 223: FROM BEETHOVEN TO BRECHT 5
MLAN 223
SECOND-YEAR WRITING SEMINAR
FROM BEETHOVEN TO BRECHT:
INTERPLAYS BETWEEN WORDS AND MUSIC
CHRISTOPHER NEWPORT UNIVERSITY
SPRING 2006
Instructor:
Dr. Alicia Carter
Office:
Commonwealth Hall, Room 13
594-7327
alicia.carter@cnu.edu
Required Texts:
Materials
will be available on WebCT or will
be handed out in class
COURSE DESCRIPTION AND GOALS:
Since Plato’s first musings on the relationship of words to music in
The Republic, the interplay between these “sister arts” has been a
source of fascination for scholars and artists. In this course we will
focus primarily on Germany from the late eighteenth to the early twentieth centuries, a period when the
debate surrounding the two art forms led to an “embarrassment of riches,” both literary and musical.
Referring to examples from criticism, literature, music, and the arts, we will examine prominent trends,
styles and structures from the time period in question, among them the “melomaniacal” musings of the
early Romantics, the art songs of Schubert and Schumann, and the Wagner cult. We will also broaden
our area of inquiry by bringing in works of music and literature from countries other than Germany.
Our readings and discussions will provide critical, historical, and theoretical perspectives to encourage
each of you to develop an individual research focus. Through engagement with musical works and a
variety of primary and secondary literary texts, as well as through the production of varied types of
writing (informal, semi-formal, and formal), you will identify and refine an original thesis. Your thesis
will form the basis of the centerpiece of our course, a polished 10-15 page research paper incorporating
multiple sources.
LEARNING OBJECTIVES:
At the end of the course, students will be able to
1. Examine and discuss a wide range of forms that the interplay of literature and music may
take. This will be accomplished through reading and listening by the individual and within
class and group discussions.
2. Analyze the interaction between literary texts and music, employing terms from music and
literary criticism. Students will demonstrate this ability through the writing of journals,
reaction and evaluative assignments, and the final research paper.
3. Pursue an individual research focus related to the course topic, conduct research, both
individually and with the assistance of classmates and the instructor, and work through
multiple writing stages to create a final research paper.
MLAN 223: FROM BEETHOVEN TO BRECHT 6
MLAN 223: FROM BEETHOVEN TO BRECHT 7
COURSE REQUIREMENTS AND ASSIGNMENTS:
10%
20%
10%
8%
7%
10%
15%
20%
Daily attendance, including thorough preparation for and participation in class and group
discussions and activities.
Four quizzes, covering material from class. These will be a mix of short answer, identification
and essay questions.
A journal, consisting of approximately 15 short informal and semi-formal writing assignments,
including your responses to texts, music, class discussions, etc. Although I will not collect
these daily, always bring them to class, and be prepared to turn them in at any time. Details of
individual assignments will be provided the class before they are due.
Stage 1: A short paper (1-2 pages – semi-formal writing) including (1) a proposed topic for
your paper, including a tentative title, and (2) an annotated bibliography of sources you have
identified as useful for your paper; we will use MLA format for bibliographical entries (more
details to follow). NOTE: All stages of your writing project must be typed and double-spaced.
Margins may not be greater than 1.25 inches, and font size should not exceed 12 points).
Stage 2: A short prospectus (1-2 pages) for your research project. You will also make an
informal presentation of your prospectus to the class.
Stage 3: A short paper (about 6 pages—semi-formal writing), in which you revise or develop
your thesis, integrating it into an effective introductory paragraph. You will also provide a
working outline for your paper, articulating how you plan to incorporate bibliographical
sources. This stage of your paper will undergo group peer review.
Stage 4: A longer paper (about 10 pages—semi-formal writing), a revision and expansion of
your Stage 3 paper. In Stage 4 you will further refine your thesis and introduction, and, using
your outline as a guide, begin to flesh out your paper, effectively incorporating an appropriate
number of sources. This week you will meet with me individually to discuss your paper
progress.
Stage 5: Your final research paper (10-15 pages – formal writing), an expansion of Stages 3 and
4, including sources and bibliography. You will also present your research findings before the
class.
TENTATIVE SCHEDULE (Writing/ writing-related assignments indicated by bullet points):
Week 1: Introduction of course goals and requirements; Examples of effective word-music
combinations and their effects: (i.e., “The Marseillaise,” “Battle Hymn of the Republic,”
“Deutschland, Deutschland über Alles”; “Signore, ascolta” from Giacomo Puccini’s Turandot; “Glitter
and be gay” from Leonard Bernstein’s Candide, etc.); Steven Paul Scher, “Literature and Music,”
Interrelations of Literature, ed. Jean-Pierre Barricelli and Joseph Geibalde (New York: MLA, 1982)
225-50; Aaron Copland, “How We Listen,” What to Listen for in Music (New York: Signet, 2002)
7-15.
 Journal Entries
Week 2 and 3: MELOMANIA: THE ROMANTICS. Wilhelm Heinrich Wackenroder, “The Marvels of the
Musical Art”; E.T.A. Hoffmann, “Beethoven’s Instrumental Music”; Bettina von Arnim, “Beethoven,”
excerpts from Correspondence with a Child; Clemens Brentano, “Nachklänge Beethovenscher
Musik”; excerpts from Ludwig van Beethoven, Symphony 5 in C Minor, Opus 67 and “Wellington’s
Victory,” Opus 91.
 Journal Entries
 Quiz 1 (Week 3)
MLAN 223: FROM BEETHOVEN TO BRECHT 8
Weeks 4 and 5: ABSOLUTE MUSIC, PROGRAM MUSIC AND MUSICAL EKPHRASIS. Carl Dalhaus,
“Absolute Music as an Aesthetic Paradigm,” German Essays on Music, ed. Jost Hermand and Michael
Gilbert (New York: Continuum, 1994) 252-66; examples of “absolute music” (Bach’s Art of the
Fugue, Mozart Piano Concerto 23, KV 488); Siglind Bruhn, Musical Ekphrasis: Composers
Responding to Poetry and Painting (Hillsdale: Pendragon, 2000) 27-34; Ferde Grofé, “On the Trail,”
from Grand Canyon Suite; Camille Saint-Saëns, Carnival of the Animals; C.S. Brown, “Program
Music: a Short Guide to the Battlefield,” Music and Literature: A Comparison of the Arts (Hanover:
UP of New England, 1987) 229-244; Modest Mussorgsky, Pictures at an Exhibition; Richard Strauss,
Also sprach Zarathustra; Johann Wolfgang von Goethe, “The Sorcerer’s Apprentice”; Paul Dukas, The
Sorcerer’s Apprentice. “The Sorcerer’s Apprentice,” scene from Disney’s Fantasia.
 Journal Entries
 Visit from Research Librarian
 Stage 1 of Writing Project due (Week 5)
Week 6 and 7: MUSIC AS A DIVINE OR DEMONIC FORCE IN LITERATURE E.T.A. Hoffmann,
“Councillor Krespel”; Heinrich Kleist, “St. Cecilia or The Power of Music”; Leo Tolstoi, Kreutzer
Sonata (excerpts); Beethoven, “Kreutzer” Sonata, op. 47.
 Journal Entries
 Quiz 2 (Week 6)
 Stage 2 of Writing Project due (Week 7)
 Class Presentations of Prospectus
Week 8: WORDS AND MUSIC: THE ART SONG. Franz Schubert/Goethe, “Gretchen am Spinnrad,” “Der
Erlkönig”; C.S. Brown, excerpts from “The Dramatic Setting of Vocal Music,” Music and Literature,
62-80. Robert Schumann/Joseph von Eichendorff, Liederkreis, Op. 39; Gustav Mahler/ Friedrich
Rückert, Kindertotenlieder.
 Journal Entries
 Visit from Writing Center Representative
Weeks 9 and 10. FAUST IN MUSIC AND LITERATURE. Goethe, Faust I; Selections from Charles
Gounod’s Faust, Hector Berlioz’ La damnation de Faust, and Arrigo Boito’s Mephistopheles;
excerpts, Thomas Mann, Doktor Faustus; Patrick Carnegy, “Dialogue with the Devil,” Faust as
Musician: A Study of Thomas Mann’s Novel Dr. Faustus (London: Chatto and Windus, 1973) 79-103.
 Journal Entries
 Quiz 3 (Week 10)
 Stage 3 of Writing Project due (Week 10)
 In-class Peer Reviews of Stage 3
Week 11 and 12. LITERATURE AND ART IMITATING MUSIC. Theodor Storm, “The Nightingale”;
Friedrich Nietzsche, “Autumn”; Walt Whitman, “When Lilacs last in the Courtyard Bloomed”; Paul
Hindemith, “When Lilacs last in the Courtyard Bloomed” (1st Movement); Copland, “Fundamental
Forms III – Fugal Forms,” What to Listen for in Music, 131-142. Paul Celan, “Todesfuge”; Wasily
Kandinsky, Compositions.
 Journal Entries
 Stage 4 of Writing Project due (Week 12)
 Individual student meetings scheduled during and outside of class time to discuss Stage 4
and paper progress.
MLAN 223: FROM BEETHOVEN TO BRECHT 9
Weeks 13 and 14. THE CULT OF WAGNER. Excerpts from Richard Wagner, Tristan and Isolde
(particularly “Liebestod”); excerpts from Friedrich Nietzsche, The Birth of Tragedy and The Case of
Wagner, Thomas Mann, “Coming to Terms with Richard Wagner”; Thomas Mann, “Tristan”; Scenes
from Der Ring des Nibelungen, the Metropolitan Opera, Cond. James Levine, 1990; Arthur Rackham’s
illustrations to Ring of the Nibelung; Anna Russell, “The Ring of the Nibelungs (an Analysis).”
 Quiz 4 (Week 13)
 Stage 5 of Writing Project due (Week 14)
Week 15. MUSIC AS SOCIAL CRITICISM. Discussion of the concept of Epic Theater; Bertolt Brecht,
“On the Use of Music in an Epic Theater”; Bertolt Brecht/ Kurt Weill, excerpts from Mahagonny and
The Three Penny Opera (including scenes from film version of latter).
 Class Presentations of Research Papers.
STATEMENT ON PLAGIARISM:
Plagiarism is the stealing or passing off as your own the writing or ideas of someone else. Examples of
plagiarism include, but are not limited to:




quoting, summarizing, or paraphrasing ideas without giving credit to their source;
submitting as your own work that has been copied or purchased from another student or other
source;
permitting someone else to revise or edit a paper to the extent that it is no longer your own
work;
lifting off the Internet wording or ideas that are not your own without crediting the Internet
source.
Plagiarism is a very serious violation of the CNU Honor Code and may result in penalties that can
include, at the discretion of the instructor, rewriting the entire assignment, having to complete an
alternative assignment, getting a zero on the plagiarized assignment, or getting an “F” for the course.
In addition to these penalties, the instructor has the right to place a note in the student’s university file,
which could result in an honors council sanction such as suspension or expulsion from CNU. I expect
that you will uphold the Honor Code in all work submitted for this course.
STATEMENT ON DISABILITIES:
Students with documented disabilities are required to notify the instructor on the first day of class and
in private if accommodation is needed. The instructor will provide students with disabilities with all
reasonable accommodations, but they are not exempted from fulfilling the normal requirements for the
course. Work completed before the student notifies the instructor of his/her disability may be counted
toward the final grade at the sole discretion of the instructor.
*******
We want you to succeed at CNU; therefore I may notify the Academic Advising Center if you seem to
be having problems with this course. Someone may contact you to help you determine what help you
need to succeed. You will be sent a copy of the referral from. I invite you to see me at any time that I
can be of assistance in helping you with the course materials.
MLAN 223: FROM BEETHOVEN TO BRECHT 10
MLAN 223
FROM BEETHOVEN TO BRECHT: INTERPLAYS BETWEEN WORDS AND MUSIC
SAMPLE WRITING ASSIGNMENT A
JOURNAL ENTRY: SUMMARY/RESPONSE
1) Read C.S. Brown’s chapter on “Program Music: a Short Guide to the Battlefield” from Music and
Literature: A Comparison of the Arts, available on WebCT.
2) In your journal, write at least two pages. On the first, restate Brown’s main argument in your own
words. You may either write a summary, make an outline, or take detailed notes. For the second page,
please listen to one of the following examples of program music, and explain how Brown’s concepts
may be applied to better understand, interpret and/or appreciate the piece.



Modest Mussorgsky, Pictures at an Exhibition
Richard Strauss, Also sprach Zarathustra
Paul Dukas, The Sorcerer’s Apprentice
Your assignment will be assessed based upon your fulfillment of the above criteria, effort displayed,
and the quality of your response (including critical engagement with the material and level of
creativity).
SAMPLE WRITING ASSIGNMENT B
JOURNAL ENTRY
This week we read and discussed the following reactions of nineteenth-century German Romantics to
the music of Beethoven:



Wilhelm Heinrich Wackenroder, “The Marvels of the Musical Art”
E.T.A. Hoffmann, “Beethoven’s Instrumental Music”
Bettina von Arnim, “Beethoven,” excerpts from Correspondence with a Child
Choose a piece of music with which you are familiar, from any genre (classical music, rock, blues,
rap). Listen to the piece of music several times, noting your own physical, emotional and intellectual
responses. Now adopt the persona of one of the above writers, and write his/her reaction to the piece
of music you have chosen. Attempt as much as possible to emulate the writer’s style. Your essay
should be between 1 ½ and 2 pages long.
Your assignment will be assessed based upon your fulfillment of the above criteria, effort displayed,
and the quality of your response (including critical engagement with the material and level of
creativity).
SAMPLE WRITING ASSIGNMENT C
WRITING PROJECT – STAGE 1
MLAN 223: FROM BEETHOVEN TO BRECHT 11
This writing assignment is the first stage in the writing of your research paper in the class, and should
include the following.
1. A tentative title for your paper. On page 209 of his book Engaging Ideas, John C. Bean
offers the following guidelines for creating an academic title.
a. “Question. Some academic titles simple state the question that the body of the paper
will discuss.”
EXAMPLE: “Is Gustav Mahler’s Third Symphony Really Program Music?”
b. “Summary of thesis or purpose. Some academic titles summarize the paper’s thesis or
purpose.”
EXAMPLE: “The Impossibility of Applying Copland’s Listening Categories to
the Music of P. Diddy”
c. “Two-part title with a colon. Academic titles are frequently split into two parts,
separated by a colon. The most common approach is to present key words from the
issue to the left of the colon and key words from the thesis to the right. . . . Another
common pattern is to start with an interest-arousing ‘mystery phrase’ that does not
become clear until the reader reads the article. Following the colon, the writer usually
summarizes the articles key issues or thesis.”
EXAMPLE: “Demonic Dissonances: Schubert’s Failure to Transpose Goethe’s
‘Erlkönig’
2. A paragraph in which you briefly explain the proposed topic of your paper, including at least
two possible questions you hope to answer in the course of your research.
3. An annotated bibliography of between seven and ten sources – books, articles, and
documents – you have identified as being useful for your paper. All sources should be notated
according to the MLA format we discussed in class (see handout). You may have no more than
4 (four) internet sources.
Each citation in your bibliography should be followed by a brief annotation, or descriptive
paragraph (@100-150 words), explaining the source’s usefulness for your project. In addition
to referencing content, you will also want to make note of the source’s quality and accuracy.
(Where did it come from? Did the writer document his/her sources?) Please refer to the
following website for examples of annotated bibliography entries.
http://www.library.cornell.edu/olinuris/ref/research/skill28.htm.
NOTE: All stages of your writing project must be typed and double-spaced. Margins may not be
greater than 1.25 inches, and font size should not exceed 12 points).
MLAN 223: FROM BEETHOVEN TO BRECHT 12