Heritage of Music
MUHL 2308-001
Dr. Eric Fried
Spring 2002
2
Table of Contents
Objectives and Requirements...........................................................................3
Outside Listening.................................3
Course grades.....................................3
Exams.................................................4
Reading Assignments.........................4
Unit Outlines.......................................................................................................6
1. Elements of Music................................................................................6
2. Music in the Middle Ages and Renaissance........................................8
3. The Baroque.......................................................................................11
4. The Classical Period...........................................................................13
J.S. Bach: Little Fugue in G minor for Organ................................................... 17
Mozart: Don Giovanni Synopsis........................................................................19
Mozart: Symphony No. 40, 1st movement (Score)............................................21
Pre-course Questionnaire...................................................................................28
Concert Attendance Report................................................................................30
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HERITAGE OF MUSIC
MUHL 2308
Spring 2002
Professor: Dr. Eric Fried
Office: M239 Phone: 742-2270 ext. 258
Office Hours: T-Th 9:30-10:45, MWF 10:00-10:45
Other times by appointment
Text: Roger Kamien: Music, An Appreciation; 7th edition
Syllabus: Must be purchased at The Copy Outlet (2402 Broadway at Ave. X)
OBJECTIVES:
1. To gain the knowledge required to more fully appreciate great works of music.
To learn ways in which to listen intelligently to music through identification
of instrumental timbres, textures, and forms
2. To associate sociological aspects of each historical period.
3. To recognize general characteristics of works from the Middle Ages,
Renaissance, Baroque, and Classical periods (450-1820), to be able to
identify each style period, and the time span of each.
4. To gain a knowledge of musical terms presented in each unit.
5. To gain a knowledge of representative composers of each style period studied
and important works of each.
REQUIREMENTS:
I. Outside Listening: Possible re-listening of designated musical works as
needed for definite recognition. Review tapes are in the School of Music
Listening Library, room M250. Call for each tape by unit number and period of
study.
Reading Assignments: Daily reading assignments from the Kamien text as
directed on the unit outlines.
II. Course Grades:
A. It is expected that each class member have the maturity and responsibility to
be present for each class. Class attendance is required in order to receive on
exam dates and material, most of which can only be obtained through lecture
notes and classroom listening. In addition, the exams will reflect knowledge
obtained from the recordings and videos presented in class. Experience has
proven that missing even one class almost always results in lower exam and
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course grades. Diligent attendance is expected in order to learn the material and
earn a respectable grade in the course. Your education is a huge investment
($$$)--make the most of it by having perfect attendance!
Promptness to each class is expected in order to maintain courtesy and fairness
to all students. Because of the floor plan of the classroom, latecomers are
extremely disruptive to the class. The classroom door will be locked at the
beginning of each class. Please plan to arrive at least five minutes early!
B. Concert attendance in encouraged, though not required. The following
incentive program is made available to encourage concert attendance: Every two
concerts attended will raise the final grade average by one percentage point (1/2
point for each concert) for a maximum of 10 points.
1. A concert attendance report sheet (attached) and an attendance slip
(identify with MUHL 2308-FRIED) at the entrance door to Hemmle Recital Hall
(you must arrive no later than 10 minutes after the beginning of the program).
Return the attendance slip to the door monitor at the end of the recital.
The concert attendance report sheet must be submitted to the professor by
the next class day after the concert attended.
2. Performances requiring an admission fee with count as 2 attendances
each.
C. Course grade will be computed in this manner:
Average of Exam Grades + Extra Credit
D. Exams: Four exams will be administered over units:
I. Elements of Music
II. Middle Ages/Renaissance
III. Baroque
IV: Classical
V. Final Exam (required)
EXAM POLICIES
1. No “make-up” exams will be given (for any reason). Each missed exam
will result in a grade of “0.”
2. The top three unit exams and the required final exam grade (the final
exam counting equally) will be averaged to form the course grade.
3. EXAM DATES WILL BE ANNOUNCED IN CLASS.
CAUTION!! MISSING ONE EXAM COULD LEAD TO FAILURE OF THE
COURSE OR A POOR COURSE GRADE--DO NOT MISS ANY EXAMS!
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Helpful hints for listening review:
Read the numbers on the left margin of this syllabus to identify the piece(s) you
wish to review. There are two sets of compact disks that accompany this course.
The Basic Set has 8 CDs that will be labeled like this: “CD1-5.” “CD1” tells you
that this is disk number one. “-5” tells you that this is band five on the disk.
If the notation “(Supp.)” appears under the number on the syllabus, this tells you
that this is to be found in the Supplementary Set of two disks. Ask the librarian to
check out the set you wish to use.
For the listening section of each exam, I will always play the beginning of each
assigned piece. While it would be ideal to listen to all of each piece during your
review, I realize that your time is limited. Therefore, you may wish to limit your
listening to approximately the first 30-45 seconds of each excerpt. This should
help you recognize the music when it appears on the exam.
Any student, who because of a disabling condition, may require some special
arrangements in order to meet course requirements, should contact the instructor
as soon as possible to make necessary accommodations. Students should
present appropriate verification from Disabled Student Services, Dean of
Students Office. No requirement exists that accommodations be made prior to
completion of this approved University process.
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Heritage of Music
MUHL 2308
Text: Music, An Appreciation, seventh edition by Roger Kamien
(Available in local bookstores)
Syllabus: Must be purchased at The Copy Outlet (2402 Broadway at Ave. X)
(This is a tentative outline of material to be covered. Course content and dates
may change as the course progresses.)
Week 1
UNIT I Elements of Music
Sound, Pitch, Dynamics, and Tone Color
Performing Media: Voices and Instruments
Rhythm
First day of class--Video: Galway’s MUSIC IN TIME-Vibrations and Pagan Rites
Reading: Pages 3-40 (CHAPTERS 1 AND 2)
Listening:
CD 1-1
1. Richard Wagner, Lohengrin, Prelude to Act III (1848)
(Dynamics)
CD1-5
2. Frederic Chopin, Prelude in C minor for piano, op 28, no.
20 (1839) (Dynamics)
CD1-8
3. Igor Stravinsky, The Firebird, Scene 2 (1910)
(Dynamics, Tone Color, Rhythm)
CD1-10
4. Duke Ellington, C-Jam Blues,
7
Week 2
Rhythm, Music Notation
Melody, Harmony, Key, Musical Texture
Reading: Pages 41-74 (CHAPTERS 3 THROUGH 8)
Listening:
CD1-47
1. George Gershwin, I Got Rhythm (1930) (Rhythm)
CD1-49
2. Harold Arlen, Over the Rainbow (1938) (Melody)
CD1-52
3. Frederic Chopin, Prelude in E minor for piano, Op. 28, No, 4
(1839) (Harmony)
CD1-53
4. Georges Bizet, Farandole from L’Arlesienne Suite No. 2
(1879) (Texture)
CD1-53: First 8 measures, Full Orchestra--Homophonic
CD1-54: Second 8 measures, Violin and viola--Polyphonic
CD1-56: First 8 measures, Strings--Monophonic
CD2-54
5. Georg Frederic Handel, Hallelujah Chorus from The Messiah
(1741) pp. 208-210
CD2-54: Opening Hallelujah--Homophonic
CD2-55: For the Lord God Omnipotent--Monophonic (voices and
instruments in unison)
CD2-56: For the Lord God with Hallelujah-- Polyphonic (two or
more different voices playing at same time)
CD2-57: The Kingdom of This World (hymn-like)--Homophonic
Week 3
Musical Form (Ternary, Binary, Theme and Variation, Strophic)
Performance, Musical Style
Reading: Pages 75-88 (CHAPTERS 9 -11)
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Listening:
TERNARY (ABA):
Piano
1. Twinkle, Twinkle, Little Star
CD1-49
2. Arlen, Over the Rainbow, p. 54
CD1-58
3. Peter Ilyich Tchaikovsky, Dance of the Reed Pipes from
Nutcracker Suite (1892) p. 75
BINARY (AB)
4. Lightly Row
5. O Come, Little Children
THEME AND VARIATION A, A1, A2, A3, etc.
CD3-31
6. Franz Josef Haydn, Surprise Symphony (Symphony No. 94,
Second Movement)
STROPHIC (HYMN-LIKE)
CD1-80
7. Morley, Now is the Month of Maying
Review: Instrument Recognition
CD1-18
1. Britten, Young Person’s Guide to the Orchestra
Video: VCRT NORTON: The Orchestra and its Instruments
Review: Textures
CD1-63
2. Gregorian chant, Alleluia: Vidimus Stellam--monophonic
CD1-73
3. Josquin Deprez, Ave Maria--polyphonic
CD1-76
4. Palestrina Kyrie --polyphonic
CD1-83
5. Bach: Little Fugue--polyphonic (although first 5
measures are monophonic)
CD3-37
6. Mozart: Eine Kleine Nachtmusik,--homophonic
Exam I-- over Unit I, Elements of Music
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UNIT 2 Music in the Middle Ages and Renaissance
Week 4
UNIT 2 The Middle Ages
Music in the Middle Ages
Gregorian Chant, Secular Music in the Middle Ages, The Development of
Polyphony, The 14th Century
Reading: Pages 89-108 (Chapters 1-5)
Listen to Music
CD1-63
1. Gregorian chant, Alleluia: Vidimus Stellam; circa 450-700
Category: Gregorian Chant
Form: ABA
Texture: Monophonic
Fact: Earliest surviving piece of Gregorian Chant
CD 1-67
2. Troubadour Music, Estampie; 13th c.
Category: Medieval secular dance
Form: Estampie (4-7 sections each repeated--AA, BB, CC,
DD, etc.
Texture: Monophonic and improvised drone
accompaniment
Fact: One of earliest surviving pieces of instrumental music
CD1-68
3. Perotin, Alleluia: Nativitas; 13th c.
Category: Organum (parallel 4ths or 5ths)
Form: Free
Texture: Polyphonic
Fact: First known composer to write with more than two
voices
CD1-70
4. Guillaume Machaut, Notre Dame Mass: Agnus Dei, mid 14th c.
Category: Mass, (14th c. Polyphony)
Form ABA
Texture: Polyphonic
Fact: 1st polyphonic treatment of the Mass Ordinary
AV/ML
172/D57
1980
Video Music of the Middle Ages (20 minutes)
10
Week 5
The Renaissance
Reading: pp. 109-132
Listening:
CD1-73
1. Josquin Deprez (Flemish), Ave Maria... Virgo Serena; 1502
Category: Motet (4-voice)
Form: Free imitation in large ABA
Texture: Polyphonic
Fact: Delicate and serene music/smooth flowing
CD1-76
2. Giovanni Palestrina (Italian), Pope Marcellus Mass: Kyrie
Category: Mass
Form: ABA (6-voice a cappella choir)
Texture: Polyphonic
Fact: Leading composer of music for the Roman Catholic
church
CD1-79
3. Thomas Weelkes (English), As Vesta Was Descending ; 1601
Category: Madrigal
Form: Free
Texture: Homophonic and Polyphonic
Fact: Unique with text and/or wording painting
CD1-80
4. Thomas Morley (English), Now is the Month of Maying; 1595
Category: Ballett aa, bb, Fa la refrain, 5 voice
Form: Strophic
Texture: Mostly homophonic
Fact: A clear beat and swing of an English folk dance
AV/ML
410/M818
M8 1987
Video Music of Thomas Morley
Now is the Month of Maying
CD1-81
Pierre Francisque Caroubel, Passamezzo and Galliard
from Terpsichore, 1612
Category: Renaissance Instrumental Dances
Form: Passamezzo, ABC, each section repeating ; Galliard,
ABC, each section repeating
Texture: Homophonic
Fact: Both Dances have the same melody but with
rhythm different rhythms and tempi
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CD1-1 6. Giovanni Gabrieli (Venetian), Plaudite; 1597, p. 127
(Supp.)
Category: Polychoral Motet
Form: Free
Texture: Homophonic
Fact: One of the earliest pieces in which dynamic
indications and desired instruments were specified
Exam II over Unit 2, Music of the Middle Ages and Renaissance
Week 6
UNIT III The Baroque, 1600-1750
Musical Forms: The Concerto Grosso and Ritornello form,
The Fugue
The Elements of Opera, Opera in the Baroque Era
Monteverdi, Purcell
Reading: pp. 133-205
Listening:
CD2-1
1. J. S. Bach, Brandenburg Concerto No. 5 in D Major; 1721,
1st movement
Category: Concerto Grosso
Form: Ritornello
Texture: Polyphonic
Fact: Unique use of harpsichord
CD2-11
2. J. S. Bach, Organ Fugue in G minor (Little Fugue); 1709,
(see score in syllabus)
Video Bach, Little Fugue performed by The Canadian Brass
Borga
CD1-83
3. Henry Purcell, Recitative and Aria: Dido’s Lament from
Dido and Aeneus; 1689
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Week 7
The Baroque Sonata and Concerto Grosso; Corelli, Vivaldi, J. S. Bach
The Baroque Suite
The Chorale and Church Cantata
The Oratorio--Handel
CD1-2
(Supp.)
4. Arcangelo Corelli, Trio Sonata in A Minor, Op. 3, No. 10;
1689 1st and 2nd Movement. (Organ continuo)
Category: Trio Sonata
Form: 1st movement Fast, Dotted (Jerky) Rhythms/2nd
Movement Fugal
Texture: Polyphonic
Fact: Four movements, Fast-Fast-Slow-Fast
CD2-17
5. Antonio Vivaldi, La primavera (Spring) from The Four Seasons;
1725, (1st movement); Terraced dynamics/
bird sounds, a storm
Category: Concerto
Form: Ritornello
Texture: Polyphonic
Fact: Baroque Program Music
CD1-8
(Supp.)
6. J. S. Bach, Mass in B minor: Crucifixus and Et Resurrexit;
1733
Category: Mass
Form: Free
Texture: Homophonic/Polyphonic
Fact: Specific orchestral accompaniment, Crucifixusdescending Ground Bass; Et Resurrexit-text painting
CD2-33
7. J. S. Bach, Suite No. 3 in D Major; 1729-1731
No. 2, Air
Category: Instrumental Suite
Form: AABB
Texture: Homophonic
Fact: Set of dance inspired movements
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CD2-39
8. J. S. Bach, Wachet Auf, Ruft Uns Die Stimme; (Awake, A Voice
is Calling Us) from Cantata No.140 ; 1731
Category: Cantata
Form: Chorale: AAB; 1st Movement, Ritornello Form
Texture: Polyphonic
Fact: Music is based on chorale tune: Wachet Auf
CD2-48
9. G. F. Handel, Comfort Ye My People from The Messiah
Category: Recitative
Form: Ritornello
Texture: Homophonic
Fact: “Action” stated by recitative is described or commented
upon in the following aria
CD2-50
10. G. F. Handel, Ev’ry valley Shall Be Exalted from The Messiah
Category: Aria (from oratorio)
Form: Da capo
Texture: Homophonic
Fact: Vivid Text Painting, virtuosic singing
CD2-51
11. G. F. Handel, For Unto Us a Child is Born, from The Messiah,
Category: Chorus
Form: Ritornello
Texture: Light Polyphonic
Fact: Audibly joyful music
Week 8
Review for Exam
Abbreviated Replay of Music
Exam III over Unit 3, Music of the Baroque Period
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Week 9
Unit IV The Classical Period 1750-1820
The Classical Style
Composer, Patron, and Public in the Classical Period
Sonata Form, Theme and Variation Form
Reading: Pages 213-237 (Chapters 1-7)
Listening:
CD3-1
1. W. A. Mozart, Symphony No. 40 in G minor; 1788,
1st movement; (See full score in syllabus).
Category: Symphony
Form: Sonata
Texture: Homophonic (predominantly)
Fact: 3 note motive prevails
CD3-31
2. Franz Josef Haydn, Symphony No, 94 in G Major (Surprise);
1791, 2nd movement
Category: Symphony
Form: Theme and Variation
Texture: Homophonic/Polyphonic
Fact: One theme is repeated in varied manners
EXTRA
Brahms: Variations on a Theme by Haydn (See information on
Brahms, p. 390)
CD3-37
3. W. A. Mozart, Eine Kleine Nachtmusik (A Little Night Music),
K. 525, 3rd movement (minuet: allegretto)
Category: Minuet and Trio
Form: Detailed form is AA BA’ BA’/CC DC/ABA (Overall
form is ABA)
Texture: Homophonic
Fact: A Serenade
CD3-40
4. Ludwig van Beethoven, String Quartet in C Minor, Op. 18, No 4;
4th movement
Category: String Quartet
Form: Sonata Rondo ABACABA
Texture: Homophonic
Fact: A lively gypsy dance
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Week 10
Reading: Pages 238-277 (Chapters 8-11)
Listening:
CD3-27
5. Haydn, Symphony No. 94 in G Major (Surprise) ; 1791,
1st movement
Category: Symphony
Form: Sonata
Texture: Homophonic/Polyphonic
Fact: Contains Slow introduction, followed by fast tempo
CD3-16
6. Mozart, Symphony No. 40 in G Minor, 4th Movement;
1788
Category: Symphony
Form: Sonata
Texture: Homophonic/Polyphonic
Fact: Perfect proportions, fusing power and elegance
CD4-1
7. Mozart, Piano Concerto No. 23 in A Major; K. 488,
1st Movement, 1786
Category: Concerto
Form: Sonata
Texture: Homophonic
Fact: Contains 2 expositions, 1st for orchestra, 2nd for
soloist (piano)
CD3-44
8. Haydn, Trumpet Concerto in E flat major; 3rd movement, 1796,
Category: Concerto
Form: Quasi Sonata Rondo
(ABAB’A/Development/AB’’Coda)
Texture: Homophonic
Fact: Was forgotten for almost 130 years, first published in
1929
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Week 11
CD3-55
9. Mozart, Don Giovanni; Leporello’s Catalogue Aria, Madamina,
1787
Category: Opera
Form: Da Capo Aria
Texture: Homophonic
Fact: Seduction techniques used by Don Giovanni
Video
Entire 3 Act Opera (173 minutes)
Week 12
Reading: Pages 278-296 (Chapter 12)
Listening: Finish watching Don Giovanni video
CD3-61
10. Mozart, Requiem in D Minor, K. 626; Dies irae, 1791
Category: Mass
Form: Free
Texture: Homophonic (primarily)
Fact: 13th c. Day of Wrath melody
CD4-23
11. Beethoven, Symphony No. 5 in C Minor, Op. 67: 1st
Movement,1808
Category: Symphony
Form: Sonata
Texture: Homophonic/Polyphonic
Fact: 3-note motive used throughout
Video
Chicago Symphony Orchestra; George Solti, conductor
Week 13 Begin movie Amadeus
Week 14
Review for Exam IV
Exam IV over Unit 4, Music of the Classical Period
Friday--Continue with Amadeus video
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Week 15
Finish Amadeus video
Review for Final Exam
Final Exam Friday, May 3rd 2002 4:30 to 7:00 p.m.