MUL 101-990; THE ART OF LISTENING TO MUSIC
Spring 2016
January 19- May 9
Instructor: Dr. Anatole Wieck
Office Hour: By appointment.
210 School of Performing Arts (Hall of Class of 1944)
E-Mail: anatole.wieck@umit.maine.edu (FC)
Telephone: 581-1260
Assistants: Ryu Mitsuhashi and Juliana Novotney
E-Mail: Ryu.Mitsuhashi@umit.maine.edu (FC)
E-Mail: Juliana.Novotney@umit.maine.edu (FC)
REQUIRED TEXT: Listening to Music by Craig Wright, 7th edition.
ISBN-10: 1133954723 | ISBN-13: 9781133954729
( You do not need an access code)
TECHNICAL QUESTIONS: All technical (internet and computer set up) questions should
be directed to CED Tech Help@umit.maine.edu or by phone: 1-877-947-HELP or 5813199. (Make sure that you call CED Tech Help, not IT)
COURSE OBJECTIVES:
This 3-credit course fulfills the General Education requirement of History of
Western Civilization and Creative and Artistic Expression. Students are
encouraged to attend live concerts and write reviews that demonstrate their
critical thinking and in-depth understanding of the music. There are four exams
during the semester and reviews are accepted for extra credit.
The course is taught in a multimedia format and references are constantly
made to other disciplines and arts, such as history, philosophy, literature,
architecture, painting and sculpture.
The course is taught in chronological order starting with Medieval and
Renaissance music and ending with the 1960s. We will concentrate on
music from the last 300 years. The course concentrates on the great
composers and the masterpieces of the Baroque, Classical, Romantic and
20th century styles. Students are required to distinguish constituent parts
of symphonies, sonatas and concertos by Mozart, Haydn, Beethoven,
Berlioz and others. For instance, by the end of the semester students who
successfully complete the course will be able to tell the difference between
exposition, development and recapitulation of a sonata allegro form.
Outcomes
Students who complete this course will leave with a broad knowledge of the
history of western music. They will be able to distinguish between the various
musical styles, from medieval to avant-garde. They will be grounded in
particulars of symphonic, chamber music, operatic and jazz genres. They will
also be able to identify the constituent parts of symphonies, concertos and
sonatas (i.e. sonata allegro, scherzo, theme and variation, rondo etc.).
EXAMS: There will be four exams during the course. You will have 75 minutes to
complete each exam in one setting. Your homework is your preparation for the
exam. Lesson quizzes are optional but they will help you to prepare for the
exams. Make sure you submit the syllabus quiz. The lowest grade will count 7%;
the other three tests will count 31% each. The final letter grades for the course
will be calculated utilizing the following scales:
91 - 100=A; 90=A-; 89=B+; 81 - 88=B; 80=B-; 79=C+; 71 - 78=C; 70=C-; 69=D+;
61 - 68=D; 60=D-; 59 and lower is an F
No incomplete grades will be considered under normal circumstances. Failure to
take an exam will result in a grade of zero. There will be no early or late make-up
exams. In the case of a family or health emergency, a doctor's note and e-mail
must be sent to me or to my assistant.
By attending live performances suggested by the instructor and writing a one
page typewritten review of the performance you may obtain 3 bonus points per
performance. The performances will be posted online. There will be 5
performances that will be considered for extra credit (a maximum of 15 points),
and in order to receive credit for these concerts you must get either my signature
on your program or that of my assistant. You must hand in your program with
your review.
Most performances will be held at Minsky Recital Hall, located on the first floor of
the Class of 1944 Hall between the Student Union and the Collins Center for the
Arts.
If you are at a considerable distance from Orono you can attend a live concert in
your area. Please contact me or my assistant to obtain approval. Generally, all
performances that contain classical, jazz, and folk music will be considered.
Exam questions will be based on materials covered in the book and in lectures,
including musical examples. You must take all four exams to have your bonus
points added to your final average.
Recommended sources: Grove's Dictionary of Music and Musicians; The
Harvard Dictionary of Music; and Bakerís Biographical Dictionary. You can
also look up the following site: http://www.music.vt.edu/musicdictionary/
Guide for the Concert Reviews
The typewritten review of the approved performances should include:
Your name and the section number of the course (990)
Date and time of the performance
Name of the featured artist(s) and compositions performed
Indicate the composition you liked the most and why
Indicate the composition you liked the least and why
Discuss areas that are relevant to the course materials covered.
The most important aspect of the paper is your individual response to the pieces
that were performed. For that reason it is recommended that you write your
reviews immediately after the concert. You may also comment on instruments
used, composition form, style, etc.
Papers should be submitted no later than two weeks after the concert date.
A program of the performance with my signature, or that of my assistant, has to
be stapled to your paper. For this reason all reviews must be submitted in hard
copy. No electronic reviews will be accepted. You must take all four exams in
order for extra credit points to be applied to your grade.
All reviews are to be one page in length, double spaced and no larger than 12point font. Refrain from copying the contents of the program into your paper.
A well-written review will receive maximum credit, but extra credit will be awarded
at the discretion of the teaching assistant and professor.
All extra credit reviews must be received by 4:00pm on Friday,
May 6. No late papers will be considered.
The reviews must be either dropped off in my mailbox in the School of
Performing Arts office (210 Class of 1944 Hall) or mailed (snail mail) to: Anatole
Wieck 210 Class of 1944 Hall, School of Performing Arts, University of Maine,
Orono, Maine 04469
Disability Accommodations
If you wish to request an accommodation for a disability, please contact
Disabilities Services 121 East Annex, 581-2319 as early as possible in the
semester.
H1N1 Addendum
CourseScheduleDisclaimer(DisruptionClause):
In the event of an extended disruption of normal classroom activities, the format
for this course may be modified to enable its completion within its programmed
time frame. In that event, you will be provided an addendum to the syllabus that
will supersede this version.
COURSE OUTLINE AND EXAM DATES:
All the exams are online.
Exam Dates
EXAM I: Friday, February 12
Exam II: Friday, February 26
Exam III: Friday, April 15
Exam IV: Monday, May 9
All exams will be open on the scheduled date. Exams will be open for a
total of 24 hours. Please make the necessary arrangements to take the
exam. We strongly recommend that you take the exam during Help Center
hours (9am to 4:30pm) and at a campus or library computer center where
technicians are available to assist you if necessary. Whether you take the
exam from home or a center, please login to your Blackboard account prior
to the exam and notify the help desk if any technical problems arise.
Ced Tech Help@umit.maine.edu or by phone: 1-877-947-HELP or 581-3199. (Make
sure that you call CED Tech Help, not IT)
It is your responsibility to make sure that your computer can handle the
listening examples if you take exams from home.
This syllabus provides a general guideline for the semester. Future changes to
the syllabus may be necessary.
COURSE OUTLINE
Lecture 1: Introduction
• Reading: pgs.1-11
Lecture 2: Rhythm, Melody, Harmony, Dynamics and Color, Musical
Texture and Form
• Reading: pgs: 14-17 (Rhythm), 18-25 (Melody), 26-29 (Harmony), 32
(Dynamics and Color), 43-45 (Texture), 46-50 (Form)
• Listening:
o Handel’s Hallelujah Chorus with Listening Guide (pg. 149)
o Practice recognizing polyphonic, homophonic and monophonic
textures in the Hallelujah Chorus
Lecture 3: Musical Form, Musical Style
• Reading: pgs 46-50 (Musical Form), 52-57 (Musical Style)
• Listening:
o Mozart Minuet as example of triple meter composition in major key.
(http://www.youtube.com/watch?v=AjRe4GqcBPo)
o In Handel's Hallelujah Chorus continue to practice recognizing the
three different textures - Homophonic, Monophonic, and
Polyphonic.
• Begin memorizing the Italian tempo and dynamic markings (page 32) in
the textbook.
Lecture 4: Texture and Form
• Reading: pgs 43-51(Musical Texture and Form)
• Review the instruments of the orchestra (Suggested Pgs: 33-42)
Lecture 5: The orchestra, musical time periods
• Reading: pgs 33-42 (The Orchestra), 52-57 (Musical Style by Period)
• Practice recognizing individual instruments and families of instruments in
the context of "The Young Person's Guide to the Orchestra."
• Historical Music Time Periods:
Middle Ages:
400-1400CE
Renaissance:
1400-1600CE
Baroque:
1600-1750CE
Classical:
1750-1800CE
Romantic:
1800-1900CE
20th Century:
1900-2000CE
Jazz:
20th Century
Lecture 6: Survey of historic periods
• Listening:
o Kyrie
o Madrigal by Casulana
o Hallelujah by Handel
o Minuet and Trio by Mozart
o Transcendental Etude by Liszt
o Three places in New England by Ives
o Crazeology by Harris
o
Read pages 82-82 (Madrigal),141-144 (Hallelujah by Handel),
166-169 (Minuet and Trio by Mozart), 273-275 (Transcendental
Etude by Liszt), 360-361 (Charles Ives)
Lecture 7: Review for Exam #1
Lecture 8: The Baroque Period I (Early opera)
• Reading: pgs 97-102 (Opera- Monteverdi), 104-106 (Opera in LondonPurcell)
• Listening: Examples 12 & 14
o Orfeo by Monteverdi, in particular the recitative Rosa del Ciel
Lecture 9: The Baroque Period II (Baroque sonata)
• Read Pages 112-114 (Baroque Trio Sonata)
Listen to the Corelli Trio sonata op. 3 No. 7 - Example 10
Lecture 10: The Baroque Period III (Baroque concerto and concerto grosso)
• Reading: pgs 115-118 (Baroque Concerto)
• Know the difference between Concertino and Ripieno and recognize the
instruments (trumpet, violin, oboe)
• Listening:
o First Movement of the Spring Concerto by Vivaldi - Listening Guide
page 117-118
o Practice recognizing: Ritornello and each of the different episodes
(Birds, Streams/Breezes and Thunder and Lightening)
o Bach's Brandenburg Concerto #2 - Example 14 (Pg 127)
Lecture 11: The Baroque Period IV (Late Baroque opera, Oratorio, Passion,
Cantata)
• Reading: pgs128 (Cantata), 139-140 (Opera), 140-144 (Oratorio)
o Listening:
§ St. Matthew's Passion
§ Practice recognizing the different sections: aria, recitative,
and chorus, and be aware of who is singing.
§ "Dido's Lament” from Dido and Aeneas
§ Practice recognizing the difference between the recitative
and aria, listen for the basso ostinato (repeated bass).
Lecture 12: The Classical Symphony and Sonata Allegro Form
• Reading: pgs 186-191 (Symphony),169-175 (Sonata Allegro Form)
• Listening:
o Mozart's Symphony #40 (Listening Guide pages 192-193)
o Practice recognizing all aspects of Sonata- Allegro form.
Lecture 13: The Minuet, Trio Form, and Variation Form
• Reading: pgs 166-169 (Minuet and Trio in Ternary form), 177-181 (Theme
and Variations)
• Listening:
Theme and Variation from the Surprise Symphony by Haydn Listening Example 6
•
o Minuet and Trio from Symphony #45 by Haydn, practice recognizing the
minuet and trio segments. - Listening Guide Example 7, Listening Example 8
Lecture 14: The Rondo Form and Aria Form
• Reading: pgs 181-182 (Rondo Form)…
• Listening:
o Haydn, the 4th movement from the string quartet Op. 33 No.2 in E flat Major,
practice recognizing the Rondo Form and tune - Listening Guide Example 4,
Listening Example 6
o Second movement of Mozart piano concerto No.21 in C-major
has Aria Form in ABA shape, with new material in the middle section
and a return to the first A material. - Listening Guide Example 11, Listening
Example 12
Lecture 15: Beethoven’s 5th Symphony (1st movement), Form and Analysis
• Reading: pgs 213-217 (1st Movement)
• Listening:
o 1st movement of Beethoven's 5th Symphony - Listening Guide Example 11,
Listening Example 12
§ Learn to recognize the two themes of the Exposition:" Fate
Knocking at the Door" (principal theme) and lyrical
subordinate, development, recapitulation, and coda.
Lecture 16: Beethoven’s 5th Symphony (2nd, 3rd and 4th movements)
• Reading: pgs 217-222 (2nd, 3rd, and 4th movements)
• Listening:
o Beethoven's 5th symphony, movements 2, 3, and 4.
§ For the second movement you should be able to identify the
theme and variations. (Listening Guide Example 5, Listening
Example 6)
§ In movement 3, you should be able to recognize the first
scherzo, trio, return of the scherzo and the concluding
material leading to the Finale. (Listening Guide Example 9a,
Listening Example 10)
§ In the 4th movement you should be able to recognize the
transition from the concluding material after the second
scherzo to the beginning of the 4th movement and the main
theme. (Listening Guide Example 9b, Listening Example 10)
Lecture 17: Berlioz Symphonie Fantastique
• Reading: pgs 251-256 (Berlioz and Symphonie Fantastique)
• Listening:
o First movement of the Symphonie Fantastique (Listening Guide Example 12,
Listening Example 13)
• Know and learn to recognize the idée fixe (fixed idea), which is the
recurring theme throughout the entire piece.
Lecture 18: Romantic Miniature Character Pieces
• Reading: pgs 268- 275 (Character Pieces)
• Listening:
o Chopin Prelude in e-minor, Op. 28 for Piano. (Listening Guide Example 7,
Listening Example 8)
o Chopin "Minute" Waltz in D-flat, Op. 64, No. 1 (Listening Guide Example 10,
Listening Example 11)
o Liszt Transcendental Etude #10 (Listening Example 4)
Lecture 19: The Romantic Art Song, Chamber Music and Opera
• Reading: pgs 240 (Romantic Art Song), 277-280 (Romantic Opera: Italy),
286-293 (Romantic Opera: Germany),
• Listening:
o Franz Schubert "Die Forelle" or "The Trout" (Listening Guide Example 2,
Listening Example 3)
o Robert Schumann "Traumerei" or "Dreaming" (Listening Guide Example 5,
Listening Example 6)
o Clara Schumann, 3rd Movement from Trio in G (Listening Guide Example 8,
Listening Example 9)
o Verdi excerpt from the opera "Othello" (Listening Guide Example 13,
Listening Example 14)
o Wagner "Prelude and Liebestod" (Listening Example 16)
Lecture 20: Review for Exam #3
Lecture 21: Music and Nationalism, Verismo
• Reading: pgs 262-266 (Musical Nationalism), 295-300 (Verismo/Realistic
Opera)
o Listening:
§ "Un Bel Di" by Puccini.
§ Listen to “The Moldau” by Smetena. Practice recognizing the
main sections:
a) The river theme
b) The country wedding
c) Moonlight and mermaids
d) The rapids of St. John
e) The Castle of Visegrad.
Lecture 22: Charles Ives, Aaron Copland
• Reading: pgs 360-326 (Charles Ives), 362-366 (Aaron Copland)
• Listening:
o Charles Ives, Second Movement of "Three Places in New England
o Copland, “Fanfare for the Common Man”
o Scott Joplin, “Maple Leaf Rag”
Lecture 23: Jazz
• Reading: pgs 391-397 (Early Jazz- Gershwin), 399-404 (Post-war Jazz)
• Listening:
o Bessie Smith, “Florida Bound Blues”
o Louis Armstrong, “Hotter than That”
o Charlie "Bird" Parker, “Confirmation”
Lecture 24: Impressionism and Primitivism
• Reading: pgs 319-326 (Impressionism), 337-343 (Stravinsky and
Primitivism)
• Listening:
o Debussy, "Afternoon of a Faun"
o Stravinsky, "The Rite of Spring"
Lecture 25: Expressionism, Neoclassicism, Minimalism and other 20th
Century Styles
• Reading: pgs 337-338 (Stravinsky and Neo-Classicism), 343-346
(Schoenberg, Expressionism, atonal music, 12-Tone music, Serialism),
376-377 (Minimalism)
• Listening:
o "Madonna", from Schoenberg's Pierrot Lunaire.
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