Music 1005 KM24 – Principles of Music
Fall 2007
Some big questions:
How does music communicate emotions?
Is music a universal language?
What do we mean by “authenticity” in music?
Why do we love the music we love?
Goals of the Course
By the end of the semester students will be able to:
1. identify and describe the elements of music that appear in a given piece of
music;
2. indicate how these elements help to shape an emotional understanding of
the piece;
3. explain how musical styles are related to how the elements of music are
used;
4. list how the elements of music are generally used in music from the four
main style periods of Western concert music since ca. 1700;
5. identify in which style period the music they hear was composed and
express why they’ve reached that conclusion;
6. elucidate ways in which music from these style periods is related to ideas
and aesthetic ideals current at that time;
7. articulate and justify judgments based on the foregoing abilities; and
8. listen to music more attentively.
Prof. Dennis Slavin
135 E. 22nd St., Room 712
dennis_slavin@baruch.cuny.edu
646 660-6504 (office) 646 660-6501 (fax)
Slavin, Music 1005 KM24 Fall 2007
p. 2
Principles of Music
Music 1005 KM24
Fall 2007
What is this course about?
From my point of view, the most important goals for the course are that you learn to listen to music
more attentively, understand better what you feel when you hear music (and why), and learn to
communicate about those things more effectively. The eight goals listed on the previous page represent
my attempt to express that in more precise language and to set results that are somewhat easier to
measure. Most of what you’ll need to do to achieve all of these goals is to listen carefully to lots of
music, think about it, and write about it. The six recurring tasks summarized below will help. They are
described in greater detail in the pages that follow, and pp. 8-10 provide schedules that show the due
dates.
1. Weekly blogging assignments: According to the schedule on p. 10, most of you will be
responsible for posts to our course blog ( http://slavinmsc1005.blsci.org/ ) by 11:10am on the
day of the first class each week. These posts are described on p. 4. Each involves listening,
thinking, and writing. You will receive credit for doing them thoughtfully and on time; late
submissions will be read but will receive less credit.
2. Listening assignments: These will involve listening to specific pieces on a website and
answering questions in writing (on paper or by email) by 11:10am on the day they are due. Due
dates are included on p. 8; others might be assigned as we go along. The first five assignments
are described on p. 9. Same credit policy: thoughtful and on time = full credit.
3. Class project: Why do we love the music we love? As described on p. 5, this project will
involve an oral presentation and a written essay. You will present twice: towards the end of
October, and, after revisions based on feedback, in December. You’ll have three opportunities to
hand in the essay (p. 5).
4. Reading assignments: There won’t be many reading assignments per se, but there will be a fair
number of handouts that will summarize much of what I would like you to learn. You can read
about many of the topics we’re discussing in class—and sometimes hear recorded examples—at
the websites mentioned on pp. 5-6. Some sites include glossaries that might help you understand
the terms we are using better. Feel free to explore the internet to find sites that are even more
useful—I’d love to know about them.
5. Attending concerts: Hearing music live is a different experience, so, as a class, we will take
advantage of three opportunities, only one of them during class. The others are Monday evening,
November 12 and Thursday evening, November 15. Attendance is required, so please clear
away any conflicts (work or otherwise) long in advance.
6. Participating in class: Developing better communication skills is an important goal of this
course. Your speaking up in class helps you to build those skills and provides me with
information important to the feedback I give you on your progress.
Slavin, Music 1005 KM24 Fall 2007
Academic Honesty Policy and Assignment
In the belief that honesty and learning go hand in hand, I fully support Baruch College’s policy on
Academic Honesty, which states, in part:
“Academic dishonesty is unacceptable and will not be tolerated. Cheating, forgery, plagiarism
and collusion in dishonest acts undermine the college’s educational mission and the students’
personal and intellectual growth. Baruch students are expected to bear individual responsibility
for their work, to learn the rules and definitions that underlie the practice of academic integrity,
and to uphold its ideals. Ignorance of the rules is not an acceptable excuse for disobeying them.
Any student who attempts to compromise or devalue the academic process will be sanctioned.”
In this class, any plagiarism, however minute, will earn an F grade on the work in question and will
result in your being reported to the Office of the Dean of Students. If the infraction of academic honesty
is severe, you will be dropped from this class. For discussion of plagiarism and clarification of its
parameters, see Chapter 45 (pp. 629-38) of The Little, Brown Handbook by Fowler and Aaron, or see
the college’s plagiarism tutorial, available at
http://newman.baruch.cuny.edu/plagiarism/index.htm. If there are any dimensions of plagiarism that
you don’t understand, ask me about them. Here’s a basic definition: “presenting anyone else’s work as
your own.”
 MANDATORY ASSIGNMENT DUE BY 9:00AM ON TUESDAY, SEPTMEBER 4:
Send me an email ( dennis_slavin@baruch.cuny.edu ) truthfully stating that you have read the
paragraph on academic dishonesty quoted above, that you have understood it, and that you agree
to act according to the principles it expresses. You may not attend class on September 4 (or
thereafter) if I have not received this statement.
Our Learning Community
Our class is “linked” to your English class this semester, English 2100 JM13E. Prof. Hentzi and I have
discussed what we’ll be teaching and you’ll find that at least some of what we talk about sounds familiar
from the other class. He and I will occasionally visit each other’s class and we will all take part in
several activities outside our classes, including attending the concerts.
Describing the elements of music as specifically and objectively as possible
In the early weeks of the semester we’ll focus on the “elements of music.” This part of the course will be
similar to a beginning language course because we’ll spend most of our time learning the meanings of
words—the terminologies musicians use and exactly what they mean. For example, words like “rhythm”
or “harmony” have general meanings, but they also have specific ones in music. Knowledge of how to
use these terms correctly allows us to talk or write about music with greater specificity and objectivity.
How music affects us emotionally is incredibly important, but saying that a piece is “beautiful” or “sad”
tells us more about your reaction to the piece than about the piece itself. To make sure you understand
this terminology, most of our quizzes will ask you to write definitions of these terms. Definitions will be
given in class, will appear on many handouts, and may be found in online glossaries, such as the ones at:
http://www.essentialsofmusic.com or http://www.music.vt.edu/musicdictionary/
Style Periods of “Classical Music”
Some of the goals on the cover page (goals 4, 5, and 6) relate to the music usually referred to as
“Classical Music.” (We’ll call it “Western Concert Music.”) Most of what I’ll be talking about fits into
this category. It’s music that I particularly love and know much more about than popular or rock or jazz
or other styles. Moreover, whatever music you listen to (and I think we’ll find that there are many
p. 3
Slavin, Music 1005 KM24 Fall 2007
p. 4
different tastes in the class), most of you probably don’t listen to or know all that much about “Classical
Music.” Given that this music is “classical” in the sense that people have continued to listen to it for a
very long time, getting to know something about it and how to listen to it more closely and with greater
pleasure is a good thing. Although it’s been around for at least 800 years, we’ll be focusing on the four
“style periods” of the past 400 years—the music generally performed in concert halls today. Don’t
forget, throughout the semester you’ll also be listening to and writing about whatever music you and
your classmates like best.
ASSIGNMENTS
Here are more detailed descriptions of the six tasks/assignments outlined on p. 2. Each is associated with
one or more of the goals of learning to listen to music more attentively, understanding better what you
feel when you hear music (and why), and learning to communicate better about those things.
1. Weekly blogging assignments
Each week you will be responsible for either of two things: writing a short essay about a piece of music;
or responding in writing to at least two essays by other students. The schedule of assignments appears on
p. 10 of this syllabus. The essays and the responses must be posted to the class blog by the beginning of
the first class that week. Here’s how you gain access to the blog and post to it:
 Go to: http://slavinmsc1005.blsci.org/
 Your “User” ID is msc1005 and your “Password” is msc1005blog
 That just gets you in. When you click on “Write a Post” The User ID will be asked for your own,
unique User ID. The ID will be the first letter of your first name, followed by your last name – a
single word, with the first two letters in CAPS. For example, John Smith’s ID would be JSmith.
 The password remains msc1005blog.
We’ll all receive training in blogging, especially uploading music to the blog, from Luke Waltzer, and
if you have questions you can always email him for help: <Lucas_Waltzer@baruch.cuny.edu>
 If it’s your turn to write the essay (see p. 10 for the schedule), here’s what you do:
 Listen carefully (the more times the better) to whatever piece music you like (shorter
pieces might be easier).
 Write a brief essay about why you do or don’t like the piece and why – trying to convey
in words what the piece sounds like.
 Post a sound file of the piece to the blog.
Note: There is no minimum or maximum number of words, but to learn a lot from this you’ll
need to spend time listening and thinking about what you’ll write.
 If it’s your turn to respond to others’ essays (see p. 10 for the schedule), here’s what you do:
 Without reading what the students has written about his/her piece, listen to the piece
posted by the person whose essay you’ve been assigned and one other (if it’s your free
response week, you choose both).
 Write down your own thoughts about the pieces. Don’t post this yet; first…
 read the essays and think about them, comparing them to your impressions.
 Write a response addressing questions like: Does the essay describe the piece well? Why
or why not? Are your impressions similar or different? What do you think of the piece?
Slavin, Music 1005 KM24 Fall 2007
Note: Be honest but empathetic and constructive in your responses – few of us enjoy criticism of
our work! Again, no minimum or maximum word count, but if you don’t spend significant time
listening and thinking about the piece and about what your classmate wrote, you’re not likely to
learn much.
The blogging schedule on p. 10 represents a minimum: everyone is welcome and encouraged to read
everyone else’s short essays and to post additional comments on the blog. Please note that posting late
means that those assigned to respond will have less time to do so.
2. Listening assignments
Often during the semester you will have assignments in addition to the weekly blogging assignments.
Most will ask you listen to specific pieces of music online and answer questions about them.

The online website for listening to music is http://baruch.naxosmusiclibrary.com

Go to the site and click on “Playlist” at the top of the page. The menu of playlists that I’ve
put together is on the left.

Some of these assignments appear on the schedule on p. 10. Others will be announced
through the blog and by email.

You can do these assignments on paper or send them by email to me at
dennis_slavin@baruch.cuny.edu

Assignments are due by the beginning of the class (11:10 am) on the day they are due.

Late assignments are gratefully accepted and read but will lose credit.
3. Class Project: Why do we love the music we love?
During our classes on October 23 and 25, each of you will speak for five minutes about a piece of music
you love. (The five minutes includes playing an excerpt of no more than two minutes from the piece.)
Your presentations will be videotaped and made available to you online. You will also hand in a written
version of your presentation—a one- or two-page essay. The presentation should not involve reading the
essay, though you may use notes. You may not use PowerPoint. The topic is why you love a particular
piece of music. Your presentation and essay will focus on that—and not on the performer/composer or
the historical context of the piece, although these may be mentioned.

I will provide feedback in writing about the October presentation and the essay. During our
classes on December 4 and 6 you will present again about the same piece and hand in a
revise essay. The reason for two opportunities is simply to improve, to learn from the
feedback you’ve received and from your own viewing of the tape, to be able to convey why
you love the music you are talking/writing about more clearly and more forcefully. This
presentation also will be videotaped so that you can compare the two.

The order of presentations on October 23 and 25 is up for grabs (I’ll provide a sign-up sheet)
but it will be reversed for December 4 and 6.

I will again provide feedback on the essay. The final version will be due Wednesday,
December 20. If the essays are really good we’ll compile them on a website and perhaps
print and bind them.
p. 5
Slavin, Music 1005 KM24 Fall 2007
p. 6
4. Reading assignments
There is no textbook. I’ll often provide handouts and sometimes ask you read something on the internet,
either by directing you to a specific site, such as the ones below, or asking you to find something
yourself. We might discuss readings from your ENG 2100 class as well.
http://www.essentialsofmusic.com
Created by the publishers W.W. Norton and Sony Classical, this site contains information on
style periods (with brief audio examples), composer biographies (with musical examples), and a
decent glossary (with some audio examples).
http://www.music.vt.edu/musicdictionary/
Hosted by Virginia Tech, this dictionary includes a pronunciation of most terms. Unfortunately,
the links to audio examples do not work.
http://datadragon.com/education/instruments/
This is the best online guide to musical instruments that I’ve seen. The photos are okay, but the
quality of the sound (there is an example for each instrument) is poor.
5. Attending concerts
Live music offers a different experience from hearing it on an iPod, computer, or radio. We will have at
least three opportunities to hear live music together, once in class, twice outside. Given the importance
of these experiences, everyone is required to attend. That means that if you work or usually have other
commitments outside of class at the times we have concerts scheduled, you should make arrangements
(start as soon as possible) to attend the concerts.
 Monday, November 12 at 7:00pm, Baruch Performing Arts Center – the Alexander String
Quartet
 Tuesday, November 13, in class – the Alexander String Quartet (follow-up to concert)
 Thursday, November 15 (PROVISIONAL DATE!) at 8:00pm at the Metropolitan Opera House
Le Nozze di Figaro (The Marriage of Figaro) by Wolfgang Amadeus Mozart.
By all means, attend other live concerts! The more music you hear this semester, the better!
6. Participating in class
In general, I prefer not to lecture. Although lecturing is a good way to present summaries, to focus on
key concepts, and to help orient and provide context, it isn’t the best way to foster other kinds of
learning. Therefore, much of what we do will involve your active participation in discussion. At the
very least, I’ll need to know how much of what I hoped you’ve learned has been learned—so I can
figure out how to proceed. Please ask and try to answer questions in class even if you’re not sure of
yourself. What you don’t know, many others won’t know either.
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Attendance and Lateness
As mentioned above, one of the ways I know what you’re learning comes from your active participation
in class. You can’t participate if you’re not there. It’s always good manners to let me know in advance if
you will be absent, but even if you do you are allowed only four absences. After that I will drop you
from the class with a grade of WU (which is the equivalent of an F). If you must drop the course, please
Slavin, Music 1005 KM24 Fall 2007
p. 7
note that Tuesday, November 6 is the latest you can drop and receive a grade of W (i.e. a simple
withdrawal without affecting your GPA). Chronic lateness also will be reflected in the participation
portion of your grade. If you are late, please enter silently and sit as near the entrance as possible. You
may bring food to class so long as you consume it quietly and dispose of it correctly. Your deportment
in class should be characterized by respect for your colleagues, for the college, and for those who work
here, including the custodial staff.
Disabilities Statement
Baruch College provides reasonable accommodations and modifications for students with disabilities to
ensure that no student with a disability is denied the benefits of, is excluded from participation in, or
otherwise is subjected to discrimination under the education program or activity operated by the College
because of the absence of educational auxiliary aids for students with disabilities. Arrangements for
adapting class procedures without compromising course content and standards may take time. Therefore,
students who require accommodations or modifications should speak with me as soon as possible. I am
available for you to talk with me after this class or by appointment (dennis_slavin@baruch.cuny.edu
or 646-660-6504).
To receive services, you must register with the Office of Services for Students with Disabilities.
Documentation is necessary for every disability. For more information concerning services for students
with disabilities, please contact Barbara Sirois, Director of the Office of Services for Students with
Disabilities, NVC2-270, Phone: 646-312-4590.
Contacting me
Best is email. If there are no technological breakdowns, you can be pretty sure I’ll see what you’ve sent
within 24 hours. I’d be very happy to talk with you after class or in my office, where my hours will be
by appointment. You can set up an appointment by email <dennis_slavin@baruch.cuny.edu> or by
calling the Provost’s office: 646-660-6500.
Evaluation of what you’ve learned
How you complete the assignments and how you do on the quizzes will allow us (you and me) to
monitor your learning. What you contribute to the class discussions also will help me gauge how close
you’ve come to attaining the goals of the course. The breakdown will be roughly as follows:
Weekly and other written assignments
First presentation and essay
Revised presentation and essay
3 Quizzes (10%, 15%, 15%)
Participation
30%
10%
10%
40%
10%
Some helpful numbers/addresses
Me: Email: <dennis_slavin@baruch.cuny.edu>
Office: 646-660-6504
Fax: 646-660-6501
Provost’s office: 646-660-6500
Luke Waltzer: <Lucas_Waltzer@baruch.cuny.edu>
Naxos (listening): http://baruch.naxosmusiclibrary.com
Blog: http://slavinmsc1005.blsci.org/
User: msc1005
Password: msc1005blog
Glossaries: http://www.essentialsofmusic.com or http://www.music.vt.edu/musicdictionary/
Slavin, Music 1005 KM24 Fall 2007
p. 8
PROVISIONAL SCHEDULE OF CLASSES
#1 Tuesday, Aug. 28
#2 Thursday, Aug. 30
Subjective/objective descriptions and course policies
Descriptions & policies continued; blogging training
#3 Tuesday, Sept. 4
#4 Thursday, Sept. 6
Musical forms Due: academic honesty statement (see p.3) & listening assignment #1 (see p. 9)*
Musical forms (continued)
#5 Tuesday, Sept. 11
Musical forms (continued) Due: listening assignment #2 (see p. 9)
#6 Thursday, Sept. 20
Quiz on forms; begin Rhythm
#7 Tuesday, Sept. 25
#8 Thursday, Sept. 27
Rhythm (continued) Due: listening assignment #3 (see p. 9)
Pitch and Melody
#9 Tuesday, Oct. 2
#10 Thursday, Oct. 4
Melody and Harmony Due: listening assignment #4 (see p. 9)
Musical textures and dynamics
#11 Tuesday, Oct. 9
#12 Thursday, Oct. 11
Musical instruments
Quiz on elements of music; begin historical style periods
#13 Tuesday, Oct. 16
#14 Thursday, Oct. 18
Historical style periods (continued)
Historical style periods (continued) Due: listening assignment #5 (see p. 9)
#15 Tuesday, Oct. 23
#16 Thursday, Oct. 25
Presentations
Presentations
#17 Tuesday, Oct. 30
#18 Thursday, Nov. 1
Historical style periods (continued and reviewed)
Quiz on style periods; begin sonata form
#19 Tuesday, Nov. 6
#20 Thursday, Nov. 8
Introduction to chamber music and string quartets [Last date to drop with a “W” grade.]
A close look at a string quartet by Beethoven Due: listening assignment #6 (TBA)
 Monday, Nov. 12
We will attend a concert by the Alexander String Quartet.
We’ll meet at 6:45pm in the Baruch Performing Arts Center (BPAC)
#21 Tuesday, Nov. 13
#22 Thursday, Nov. 15
ASQ in class
Mozart’s Le Nozze di Figaro (the Marriage of Figaro) Due: listening asignment #7 (TBA)
 Thursday, Nov. 15
PROVISIONAL DATE
We will attend a performance of Mozart’s Le Nozze di Figaro at the Metropolitan Opera House.
If we’re able to get the tickets in advance, we’ll and distribute them in class. Otherwise, we’ll meet at
7:45pm at the main entrance. Lateness will mean will mean that someone else will have to wait for
you and miss part of the opera.
#23 Tuesday, Nov. 20
Figaro performance discussed and some other operas
#24 Tuesday, Nov. 27
#25 Thursday, Nov. 29
Handel’s Messiah and some songs Due: listening assignment #8 (TBA)
Orchestral music: symphonies and concerti
#26 Tuesday, Dec. 4
#27 Thursday, Dec. 6
Presentations
Presentations
#28 Tuesday, Dec. 11
What do we mean by “authenticity” in music? Due: listening assignment #9 (TBA)
Wed-Friday, Dec. 12-14
Individual appointments as necessary
 Wednesday, Dec. 20
Final versions of essay due
* The weekly blogging assignments are not included above. That schedule appears on p. 10.
Slavin, Music 1005 KM24 Fall 2007
p. 9
LISTENING ASSIGNMENTS 1-5
 Unless otherwise specified, all assignments include listening to the pieces on the appropriate “playlist”
at http://baruch.naxosmusiclibrary.com. Go to the site and click on “Playlist” at the top of the page.
The menu of playlists that I’ve put together is on the left.
 All assignments are due by the start of the class on the due date. You will receive full credit for doing
them thoughtfully and on time; late submissions will be read but will receive less credit.
 Your written answers may be turned in on paper or by email to <dennis_slavin@baruch.cuny.edu>.
Listening assignment #1 – subjective and objective description (due Tuesday, Sept. 4)
Choose any piece of music you want (i.e. not from the Naxos site) and write a description of it. Divide your
essay into two labeled sections: subjective description and objective description. Try to convey what the music
sounds like to a reader who does not know the piece.
Listening assignment #2 – musical form (due Tuesday, Sept. 11)
Listen to the pieces on the “musical form” playlist. For each piece, try to diagram its form using the letters of
the alphabet, as discussed in class. Remember, the best answers are not likely to be a long sequence of letters
with little repetition. We’re looking for the rough outline, the skeleton of the piece, not all of the surface detail.
If the form you’ve come up with resembles any of those we’ve discussed, name it (e.g. rondo, ternary etc.)
Pieces nos. 2 and 5 are fairly long – figuring out the form won’t necessarily mean listening to them complete.
Listening assignment #3 – tempo and meter (due Tuesday, Sept. 25)
Listen to the pieces on the “tempo and meter” playlist. For pieces nos. 1-7, describe the tempo using words in
both English (e.g. fast and cheerful, slow and lugubrious etc.) and the Italian terms we’ve discussed (e.g.
Allegro, Adagio etc.). For pieces nos. 8-15, describe the tempo and indicate whether the meter is duple or triple
(or something else). If you think the piece is in quadruple meter, write that, but duple will also be correct for
these purposes.
Listening assignment #4 – melody and harmony (due Tuesday, Oct. 2)
Listen to the beginnings of the pieces on the “melody and harmony” playlist. For each piece indicate whether
the melody moves mostly in conjunct or disjunct motion or a combination of both, and whether the scale being
used is major or minor. For piece no. 2, describe the motion of the melody the male singer sings (for his first
several phrases) and then, separately, the motion of the first few phrases of the melody sung by the woman.
Listening assignment #5 – style periods (due Thursday, Oct. 18)
Listen to the pieces on the “style periods” playlist. For each piece:
 suggest in which of the four style periods we have studied the piece was most likely composed, and
 list at least two reasons for your choice, related to the use of the elements of music.
(other listening assignments TBA)
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p. 10