HERITAGE OF MUSIC
MUHL 2309 -002
Dr. Eric Fried
Spring 2003
HERITAGE OF MUSIC
MUHL 2309
DR. ERIC FRIED
TABLE OF CONTENTS
OBJECTIVES AND REQUIREMENTS...........................................3
Required Materials
Objectives
Daily Reading Assignments
Outside Listening
Course Grades
Exams
Concert Attendance--Extra Credit
Attendance
UNIT OUTLINES..........................................................................6
I. Bird’s eye view of Music of the
Middle Ages, Renaissance, Baroque,
and Classical periods
II. The Romantic Period
III. The 20th Century
IV. Popular Music Traditions
APPENDICES
Franz Schubert: Erlkönig........................................................................................22
Puccini: Gianni Schicci; Synopsis.....................................................................….30
Alban Berg: Wozzeck, Act III.................................................................................31
CONCERT ATTENDANCE REPORT..........................................…………….36
HERITAGE OF MUSIC
MUHL 2309
Spring 2003
Professor: Dr. Eric Fried
Office: M239 Phone: 742-2270, ext. 258
Office Hours: T-TH 9:30-10:50 a.m., MWF 10:00-10:45 a.m.
Other times by appointment
REQUIRED MATERIALS:
Text: Roger Kamien: Music, An Appreciation; 7th edition
Syllabus: Must be purchased at Copy Outlet, 2402 Broadway at Avenue X
OBJECTIVES:
1. To gain the knowledge required to understand and 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 Romantic period through the
Twentieth Century (1820-present) and to be able to identify each style period, and the
time span of each. [This course will also include an overview of music of the Middle
Ages, Renaissance Baroque, and Classical periods (450-1820).]
4. To gain knowledge of musical terms presented in each unit.
5. To gain 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 CDs are in the School of Music Listening Library, room
M250.
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 information 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 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 (unit) exams will be administered over the following units:
I. Overview of Music before the Romantic Period (Middle Ages,
Renaissance, Baroque, and Classical Periods)
II. The Romantic Period
III. The Twentieth Century
IV. Popular Music Traditions
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 exam grades 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.
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.
* Helpful hints for listening review:
Read the numbers on the left margin of your syllabus to identify the piece(s) you wish to
review.
There are two sets of compact disks for listening that accompany this course. The Basic
Set has six CDs that will be labeled in the syllabus 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 seconds of each excerpt. This should help you to recognize the
music when it appears on the exam.
Heritage of Music
MUHL 2309
Text: Music, An Appreciation, 7th edition by Roger Kamien
(Available in local bookstores)
Syllabus (This is a tentative outline of materials to be covered. Course content and
dates may change as the course progresses)
Unit I
Week 1
Video TBA
Overview of the Middle Ages, Renaissance, Baroque, and Classical
Periods of Music
The Middle Ages 450-1450
Reading: Text, pp. 89-108
Listening:
CD 1-63
1. Gregorian Chant: Alleluia: Vidimus Stellum; circa 450-700
Category: Gregorian Chant
Form ABA
Texture: Monophonic
Fact: Music of the Roman Catholic Liturgy
CD1-67
2. Troubadour Music: Estampie ; 13th c.
Category: Medieval Secular Dance
Form: Estampie (4-7 sections each repeated--AA, BB, CC,
DD, etc.
Texture: Monophonic with improvised drone
accompaniment
Fact: One of the earliest surviving pieces of instrumental
music
AV/ML
172/D57
1980
Video--Music of the Middle Ages (20 minutes)
The Renaissance 1450-1600
Reading: pp. 109-132
Listening:
CDI-76
Giovanni Palestrina: Pope Marcellus Mass: Kyrie ; (1562)
Category: RenaissanceMass
Form : ABA
Texture: 6 Voice Polyphony
Fact: a cappella singing
CD1-79
Thomas Weelkes (English): As VestaWas Descending ;1601
p. 121
Category: Madrigal
Form: Free
Texture: Homophonic and Polyphonic (six voices)
Fact: Word Painting
Week 2
CD1-80
Thomas Morley (English): Now is the Month of Maying, 1595,
Category: Ballett aa, bb, “Fa la” refrain
Form: Strophic
Texture: Mostly homophonic (5 voices)
Fact: a clear beat and swing of an English folk dance
AV/ML
410/M818
M8 1987
Video The 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
The Baroque Period (1600-1750)
Reading: pp. 133-212
Listening:
CD2-1 J. S. Bach: Brandenburg Concerto No. 5 in D Major; 1721
First movement
Category: Concerto Grosso
Form: Ritornello
Texture: Polyphonic
Fact: Unique use of harpsichord
CD1-83
J. S. Bach: Organ Fugue in G minor (Little Fugue); 1709
Category: Fugue
Form: 4-voice fugue
Texture: Polyphonic
Fact: Subject, Countersubject, Episodes
Week 3
CD2-17
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.)
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
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
CD2-39
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
CD2-50
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
CD2-54
G. F. Handel: Hallelujah Chorus from The Messiah; 1741
Category: Chorus (from Oratorio)
Form: Ritornello
Texture: Light Polyphonic
Fact: Audibly joyful music
The Classical Period 1750-1820
Reading: pp. 213-298
Listening:
VIDEO
Story of the Symphony: (excerpt) “Mozart”
CD3-1 W. A. Mozart: Symphony No. 40 in G minor, K. 550 (1788), 1st Video V. 1
movement (See full score in syllabus)
Category: Symphony
Form: Sonata
Texture: Homophonic/Polyphonic
Fact: 3 note motive prevails
Week 4
CD3-31
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; Surprise!
Video: The Story of the Symphony: (excerpt) “Haydn”
CD3-37
W. A. Mozart: Eine Kleine Nachtmusik (A Little Night Music),
K. 525, 3rd movement (minuet: allegretto)
Category: Minuet and Trio
Form: Ternary (ABA)
Texture: Homophonic
Fact: A serenade
CD4-1 W. A. 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)
CD 3-55
W. A. Mozart: Don Giovanni; Leporello’s Catalogue Aria; 1787
Category: Opera
Form: Da Capo Aria (ABA)
Texture: Homophonic
Fact: Seduction Techniques used by Don Givovanni
CD 3-40
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
CD4-23
Ludwig van Beethoven: Symphony No. 5 in C minor, 1st
movement; 1808,
Category: Symphony
Form: Sonata
Texture: Homophonic/Polyphonic
Fact: 3-note motive used throughout (Fate motive)
Video Beethoven: Symphony No. 5
VCRT
HOME
VISION
8339037
Week 5
Review for Exam I including abbreviated replay of music for listening section of the
exam
Exam I over Unit I: An Overview of Music Before the Romantic Period
Unit II The Romantic Period 1820-1900
Romanticism in Music
Composers: Schubert, Schumann, Mendelssohn, Chopin,
Berlioz, Liszt, Mussorgsky, Dvorak, Smetana, Verdi, Puccini,
Wagner, Brahms, Tchaikovsky
Reading: pp. 299-436
Listening:
CD4-48
Franz Schubert: Erlkönig (The Erlking); 1815
See score in syllabus
Category: Art Song
Form: Through composed
Texture: Homophonic
Fact: Example of early Romanticism
CD4-56
Franz Schubert: Piano Quintet in A Major, “The Trout,”
4th movement; 1819
Category: Chamber Music
Form: Them and Variation
Texture: Homophonic/Polyphonic
Fact: Theme taken from song “Die Forelle” (“The Trout”)
Listening Outline
Theme: Strings
Variation I: Piano enters
Variation II: Viola, Violin countermelody
Variation III: Piano rapid countermelody
Variation IV: Theme in minor key
Variation V: ‘Cello, transformed theme to lyric melody
Variation: VI: Dialogue of ‘cello and violin with melodic
“Trout” figure
Week 6
CD4-63
Frédéric Chopin: Nocturne in E flat Major, Op. 9, No. 2; 1830
Category: Piano Music
Form: Free
Texture: Homophonic
Fact: Unique pedal technique
CD5-17
Frédéric Chopin: Etude in C minor Op. 10, No. 12 (Revolutionary
Etude); 1831
Category: Piano Music
Form: Free
Texture: Homophonic
Fact: “Revolutionary” subtitle and stormy character
CD5-18
Franz Lizst: Transcendental Etude No. 10 in F minor; 1850
Category: Piano Music
Form: ABA'--coda, but sounds free
Texture: Homophonic (but sometimes hard to hear)
Fact: extremely passionate and virtuoso style
CD5-24
Felix Mendelssohn: Concerto for Violin and Orchestra in E minor,
op. 64, 1st movement; 1844
Category: Concerto
Form: Sonata
Texture: Homophonic
Fact: Single Exposition; written out cadenza at the end of
development section
Listening Outline
Violin Exposition (breaks tradition by omitting orchestral
exposition)
1st Theme
2nd Theme (clarinet)
Development
Cadenza (unaccompanied solo violin section written out by
composer--breaks tradition by: 1. Placing the
cadenza after the development instead of after the
recapitulation; 2. Writing the cadenza himself (the
cadenza was usually composed by the performer)
Recapitulation
1st Theme
2nd Theme (woodwinds)
Coda (faster tempo)
Romantic Symphonic Music
Program Music
Reading: pp. 353-366
Listening:
VIDEO
Introduction to Symphonie Fantastique (33:00) Andre Previn,
London Philharmonic, “The Story of the Symphony”
Hector Berlioz: Symphonie Fantastique, movements 4 and 5;
1830
CD5-30
4th movement, March to the Scaffold
CD5-34
5th movement, Dream of a Witches Sabbath
Category: Program Symphony
Form: Free
Texture: Homophonic/Polyphonic
Fact: Ideé Fixe
CD5-44
Peter Ilich Tchaikovsky: Romeo and Juliet, Overture-Fantasy;
1869
Category: Orchestral Program music (based on Shakespeare’s
drama)
Form: Slow introduction followed by fast section in sonata form
Texture: Homophonic
Fact: Different musical themes represent characters in the story
CD6-1 Bedrich Smetana: The Moldau from Ma Vlast (My Country); 1874,
Category: Orchestral Program Music
Form: Tone Poem
Texture: Mostly Homophonic/sometimes Polyphonic
Fact: The Moldau is one movement from a cycle of six tone
poems entitled Ma Vlast
Listening Outline
Objects or events depicted by the music
1. Two streams
2. The River (The two streams come together to form the river)
3. The Forest Hunt (fanfares and hunting calls from French horns
and trumpets
4. Peasant wedding (polka music)
5. Moonlight dance of the water nymphs
6. The River
7. The Rapids (dramatic music with brass and percussion)
8. The River at its widest point (river theme with full orchestra,
major key, faster tempo
9. Vysehrad, the ancient castle
Week 7
Romantic Symphonies
Reading: pp. 383-397
Listening:
CD6-8 Antonin Dvorák: Symphony No. 9 in E minor (From the New
World) 1st movement; 1893
Category: Symphony
Form: Sonata
Texture: Homophonic
Fact: Nationalistic music, glorifying the Czech and
American folk spirit
CD6-15
Johannes Brahms: Symphony No. 4 in E minor, 4th movement;
1885
Category: Symphony
Form: Passacaglia (a type of theme and variations related
to the baroque ground bass form)
Texture: Mostly homophonic
Fact: Brahms’ use of old forms within his Romantic style
reflects his attachment to the past
Romantic Opera
Reading: pp. 401-430
CD6-20
Giuseppe Verdi: Rigoletto, Act III, La donna è mobile (The Woman
is Fickle) and Quartet; 1851
Category: Opera
Form:
Texture: Homophonic (Melody usually in voice,
accompanied by the orchestra
Fact: Carefree and tuneful aria
CD6-27
Richard Wagner: Die Walküre, Act I (love scene, conclusion)
Video Giacomo Puccini: Gianni Schicchi (62 minutes)
Week 8
Review for Exam II on Music of the Romantic Period
Exam II over the Romantic Period
Unit III The Twentieth Century 1900Musical Styles: 1900-1950
Music and Musicians in Society
Impressionism and Symbolism
Debussy and Ravel
Neoclassicism
Stravinsky
Expressionism
Schoenberg, Berg, Webern
Other Important composers of the 20th Century
Bartok, Ives, Gershwin, Copland
Musical Styles since 1950
Reading: pp. 437-564
Introduction to the Twentieth Century
Week 9
Impressionism
Listening:
Video What is Impressionism? Leonard Bernstein
ML3928
V7
CD7-1 Claude Debussy: The Afternoon of a Faun; 1894
Category: Impressionistic Symphonic Poem
Form: ABA’
Fact: Dreams and Fantasies of a mythological forest
creature
Neoclassicism
CD2-21
(Supp.)
Igor Stravinsky: Opening scene from Petrushka; 1911
Category: Ballet
Fact: Main characters of ballet are three puppets who are
brought to life
CD7-23
Igor Stravinsky: Sacrificial Dance fromThe Rite of Spring;
1913
Category: Ballet
Form: Mostly Free
Fact: Primitivism
Expressionism
Atonality and the 12 tone system
CD7-28
Arnold Schoenberg: A Survivor from Warsaw, op. 46, (1947)
Category: Expressionistic Music
Form: 12-tone technique
Fact: Dramatic, gripping protest music
Week 10
Berg
Video
M1500
B4W6
1987
Alban Berg: Wozzeck, Act III; 1917
(See syllabus, p. 31 for libretto)
CD7-46
Béla Bartók: Concerto for Orchestra; Second Movement, 1943
Category: Opera
Form: Theme and Variation
Fact: Atonal expressionistic music
Category: Symphonic Music (Orchestral Concerto)
Form ABA’
Fact: “Games of Pairs”
CD8-17
Aaron Copland: Simple Gifts from Appalachian Spring; 1943
Category: Ballet Suite for Orchestra
Form: Theme and Variations
Fact: Shaker melody
CD8-29
Edgard Varèse: Poème Électronique; 1958
Category: Electronic Music
Form: Free
Fact: Composed for the Brussels World Fair, 1958
CD8-33
George Crumb: Ancient Voices of Children, Movement 3,
From Where Do You Come, My Love, My Child?, 1970,
Category: “Humanized” electronic music
Form: Free
Fact: Singing, shouting, whispers, laughing
CD8-34
Phillip Glass: Knee Play 1 from Einstein on the Beach, 1976
Category: Minimalist Opera
Fact: Constantly repeated rhythms and text
Fact: Entire opera lasts almost five hours with no
intermission
Week 11
Review for Exam III on Music of the Twentieth Century
Exam III
Week 12
Unit IV Popular Music Traditions
Jazz Styles
Ragtime
Blues
New Orleans Style
Swing
Bebop
Jazz Styles since 1950
The American Musical
Reading: pp. 565-598
Listening:
CD8-42
Scott Joplin: Maple Leaf Rag: (1899)
Category: Ragtime
Form: AABBACCDD
Fact: Left hand uses steady rhythms, while right hand
is syncopated
CD8-46
Bessie Smith: Lost Your Head Blues; (1926)
Category: 1920s Blues
Form: 12-bar blues a a’ b
Fact: Scale tones 3, 5, and 7 are flatted
CD8-48
Louis Armstrong: Hotter Than That; (1927)
Category: New Orleans Style Jazz (Dixieland)
Form: 12-bar blues
Fact: Scat Singing
CD1-10
Duke Ellington: C Jam Blues (1942)
Category: Swing
Form: Solos performed by numerous instruments
Fact: Blues played in a Swing Style
CD8-54
Charlie Parker: Bloomdido; (1950)
Category: Bebop
Form: Introduction--melody--eleven choruses of 12-bar
pattern--melody
Fact: Performed by jazz greats Charlie Parker, saxophone,
Dizzy Gillespie, trumpet, Thelonious Monk, piano,
Curly Russell, bass, and Buddy Rich, percussion.
“High-spirited melody” based on harmonic structure
of 12-bar blues
D8-55 Miles Davis: Miles Runs the Voodoo Down , excerpt, (1969),
Category: Jazz Rock (Fusion)
Form: Free
Fact: Opens softly with drums and electric bass, other
instruments gradually join in, including an extended
trumpet solo which has a blues feel.
Week 13
The American Musical
Reading: pp. 599-610
Listening:
Alan Jay Lerner and Frederick Lowe: The Rain in Spain from My Fair Lady
Leonard Bernstein: Tonight Ensemble from West Side Story
Other excerpts from American Musicals TBA
Rock Styles
Rock in American Society
The Beatles
Reading: pp. 613-630
Listening: examples of representative Rock Music TBA
Week 14
Review for Exam IV on Popular Music Traditions
Exam IV on Popular Music Traditions
Week 15 (Wednesday, December 5 is last day of classes)
Review for final comprehensive exam
Final Exam: Official time is Friday, December 7 from 7:30 to 10:00 a.m., but we will
delay the starting time to 8:30 a.m.