MUSIC 205 - History of Music: From Chants to Rap
MUSIC 205 - History of Music: From Chants to Rap
Course Description
Students survey the evolution of western music from the middle ages to the present by identifying and analyzing musical compositions. The course explores basic elements of music, including structure of musical compositions as well as orchestral instrumentation. For each musical period, students explore styles, characteristics, and major composers.
Emphasis is placed on becoming a knowledgeable and discerning listener. 4 Units
Prerequisites/Co-Requisites
ENGL 155 College Composition and Research.
Student Learning Outcomes
Upon completion of this course, students should be able to:
• Identify masterpieces of classical music repertoire.
• Distinguish the important compositional characteristics between several stylistic periods of music history.
• Compare and contrast music of various periods for texture, rhythm, form, melodic contour, harmonic orientation, and time of composition.
• Evaluate the elements of a live performance.
• Define the elements that make up the classical performance tradition.
Instructor Information
Topics Covered
 Elements of Music o Define pitch, tone, intervals, octave, melody, harmony, key, texture, form, and style, and identify in music o Describe rhythm by defining beat, meter, measure, downbeat, accent, syncopation, tempo, and metronome o Identify notations for pitch, rhythm, silence, and meter in musical scores o Compare and contrast the major instrument categories (string, woodwind, etc.) o Explain consonance and dissonance
 Middle Ages and the Renaissance
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MUSIC 205 - History of Music: From Chants to Rap o Describe the musical features of compositions from the Middle Ages and
Renaissance o Identify the Gregorian chant, secular music, troubadours and trouveres, estampie, organum, and Agnus Dei in music o Explain key features from the school of Notre Dame o Identify sacred Renaissance music, Palestrina, and madrigals
 The Baroque Period o Compare and contrast characteristics of baroque music with those from the
Renaissance o Explain the role of music in baroque society o Describe and identify baroque musical forms: concerto, ritornello, fugue, opera, sonata, suite, chorale, church cantata, oratorio o Identify music from major composers of the period: Purcell, Vivaldi, Bach,
Handel
 The Classical Period o Explain the difference between music from the baroque and Classical periods by describing the different characteristics o Explain the role of composer, patron, and public in the classical period o Describe and identify classical musical forms: sonata, minuet, trio, rondo, symphony, concerto, and chamber music o Identify music from major composers of the classical period: Haydn, Mozart,
Beethoven
 The Romantic Period o Describe the societal forces that lead to the transition from classical music to the romantic period o Contrast the romantic composers and their public with those of the classical period o Describe and identify the characteristics of music from the romantic period o Describe major forms of music from the romantic period: art songs, and program music o Describe and identify music from major composers of the romantic period:
Schubert, Schumann, Chopin, Liszt, Mendelssohn, Berlioz, Dvorak,
Tchaikovsky, Brahms, Verdi, Puccini, and Wagner
 The Twentieth Century o Compare and contrast musical styles from 1900-1950 and 1950 – present o Explain key characteristics of music from the 20th century o Define major musical forms of the 20th century: impressionism, neoclassicism, expressionism, musical theater, jazz, rock, and rap o Describe and identify music from key composers of the twentieth century:
Debussy, Stravinsky, Schoenberg, Berg, Webern, Bartok, Ives, Gershwin,
Still, and Copland
 Oral and Written Communication o Use appropriate language when discussing features of music and giving an oral presentation o Create written papers using proper English, formatting, and style
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 Internet o Use the Internet to complete research assignments on historical and current music topics
 Critical Thinking o Apply critical thinking skills to music appreciation and evaluation in the discussions and written report
Textbook(s)
Bundle ISBN: 0-07-331824-8
This bundle consists of:
Kamien, R. (2015). Music: An Appreciation, 8 th Brief Edition w/ CDs. New York: McGraw Hill.
**If you have the 7 th Brief Edition you may continue to use that for this quarter**
Grading
Exams
Projects and Assignments
Participation
90% - 100%
30%
60%
10%
= A = Superior
PASS
FAIL
IP
W
WZ
TR
PE
80%
70%
- 89.99% = B = Above Average
- 79.99% = C = Average
60% - 69.99% = D = Below Average†
59.99% - or below
= F = Failing (Class performance and subject knowledge mastery are below academic and job acceptability; class must be repeated)
= Pass (Internship/Externship)
= Fail (Internship/Externship)
= In Progress (for Internship/Externship six-week extensions only)
= Withdraw (after the Add/Drop Period)
= Military Withdrawal (active duty student deployed or training)
= Transfer Credit
= Proficiency Exam
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†Satisfactory completion of most courses is based on achieving a grade of at least “D”.
However, satisfactory completion of some courses is based on achieving a grade of at least
“C ”. Students earning less than 70% in these courses will receive an F. Courses that require a passing grade of “C” are identified by a “†” in the Academic Program Descriptions section within the Academic Catalog. Students are encouraged to review the Academic
Catalog and current Addendum to determine whether they are required to earn 70% to pass this class.
Students whose cumulative grade point average is below 2.0 will not graduate.
Heald does not grant “extra credit” points. Students can view their final grades online using the Heald Student Portal.
Course at a Glance
Schedule & Assignments subject to change at instructor’s discretion.
All assignments will be due on the Friday of the week it is due, unless otherwise specified.
The CD Numbers only apply if you are using the 5 CD Set from the 7 th Brief Edition.
If you are using the new edition there is only one CD.
Week Chapter(s) Assignments/Activity
1 Part I, Chapters 1-10
The Elements of Music
Part I, Chapters 1-10
Read Part I, Chapters 1-10 and
Part II, Chapters 1-2 for next week
Complete Listening Assignments o Stravinsky, The Firebird, Scene 2, CD #1 o Ellington, C-Jam Blues, CD #1 o Britten, The Young Person’s Guide to the
Orchestra, CD #1 o Chopin, Prelude in E Minor for Piano, CD #1 o Bizet, Farandole from L’Arlésienne Suite No. 2,
CD #1 o Tchaikovsky, Dance of the Reed Pipes from
Nutcracker Suite, CD #1 o Bach, Suite for Lute in E Minor-Bourrée, CD #1
Choose any instrument from a standard orchestra, research it and write a 1-2 page summary about the instrument. How did the instrument come about, what is it known for, what section of the orchestra is it in, etc.
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MUSIC 205 - History of Music: From Chants to Rap
Part II, Chapters 1-2
The Middle Ages & The
Renaissance
VOCAB QUIZ
Part II, Chapters 1-2
Read Part III, Chapters 1-15 for next week
Complete Listening Assignments o Anonymous, Alleluia: Vidimus Stellam, CD #1 o Hildegard of Bingen, O successors, CD #1 o Estampie, CD #1 o Machaut, Puis qu’en oubli, CD #1 o Machaut, Agnus Dei from Notre Dame Mass, CD
#1 o Josquin, Ave Maria…Virgo Serena, CD #1 o Palestrina, Kyrie from Pope Marcellus Mass,
CD#1 o Weelkes, As Vesta Was Descending, CD#1 o Dowland, Flow My Tears, CD #1
Listening Log #1
Part IV, Chapters 1-15
The Baroque Period
Quiz #1 on Middle Ages/Renaissance
Part III, Chapters 1-15
Read Part IV, Chapters 1-6 for next week
Complete Listening Assignments o Bach, Brandenburg Concerto No. 5 in D Major-1 st
Movement, CD #2 o Bach, Organ Fugue in G Minor (Little Fugue), CD
#2 o Monteverdi, “Tu sé morta” from Orfeo, CD #2 o Purcell,” Dido’s Lament” from Dido & Aeneas, CD
#2 o Vivaldi, La Primavera, from The Four Seasons,
CD #2 o Bach, Orchestral Suite No. 3 in D Major, CD #2 o Bach, Wachet auf, ruft uns die Stimme, 1 st 4 th and 7 th movements, CD #2 o Bach, “Little” Fugue in G Minor, CD #2 o Handel, Ev’ry Valley Shall Be Exalted, from
Messiah, CD #2 o Handel, Hallelujah Chorus from Messiah, CD #2
Listening Log #2
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5
6
7
Part IV, Chapters 1-6
The Classical Period
Part I
Part IV Ch. 1-6
Read Part IV, Chapters 7-12 for next week
Complete Listening Assignments o Mozart, Symphony No. 40 in G Minor, CD #2 o Haydn, Symphony No. 94 in G Major (Surprise),
CD #2 o Mozart, Eine kleine Nachtmusik -3 rd Movement,
CD #2 o Beethoven, String Quartet in C Minor- 4
Movement, Op. 18, No. 4, CD #3 th
Listening Log # 3
Part IV, Chapters 7-12
The Classical Period
Part II
Quiz #2 on Baroque/Classical
Part IV Ch. 1-6
Complete Listening Assignments o Mozart, Don Giovanni, CD #3 o Mozart, Piano Concerto No. 23 in A Major, CD #3 o Beethoven, Symphony No. 5, CD #3
Write a brief analysis comparing/contrasting the four musical eras (Middle Ages, Renaissance, Baroque, and
Classical) we have discussed thus far. No more than 3 pages.
MID-TERM EXAM & REVIEW!!
The mid-term will cover the Elements of Music, the
Middle Ages, the Renaissance, the Baroque, and the
Classical eras. (Basically anything discussed in class up to this point could potentially be on the mid-term)
** Please note that the mid-term cannot be made
up**
Part V, Chapters 1-8
The Romantic Period
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Part I
Part V, Chapters 1-8
Read Part V, Chapters 9-17 for next week
Complete Listening Assignments o Schubert, Erlkönig, CD #3 o Robert Schumann, “Estrella” and
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“Reconnaisance” from Carnaval, CD #3 o Chopin, Étude in C Minor, Op. 10, No. 12
(Revolutionary), CD #3 o Mendelssohn, Concerto for Violin and Orchestra in E minor, 1 st Movement CD #4
Listening Log #4
8
9
Part V, Chapters 9-17
The Romantic Period
Part II
Part VI, Chapters 1-11
The Twentieth Century
10 Part VII, Chapters 12-18
Beyond The Twentieth
Watch La Bohème in Class
Part V, Chapters 9-17
Read Part VI, Chapters 1-11 for next week
Complete Listening Assignments o Berlioz, Symphonie Fantastique, 4 th movement,
CD #4 o Smetana, The Moldau, CD#4 o Dvořák, Symphony No. 9 in E Minor (From the
New World)-1 st Movement, CD #4 o Brahms, Symphony No. 3 in F Major, 3
Movement CD #4 o Wagner, Die Walküre, CD #4 rd
Listening Log #5
Quiz # 3 on Romanticism
Part VI, Chapters 1-11
Part VI, Chapters 12-18 for next week
Complete Listening Assignments o Debussy, Prélude à L’Après-midi d’un Faune, CD
#4 o Stravinsky, Le Sacre du Printemps, Part I, CD #5 o Schoenberg, Pierrot lunaire (Moonstruck Pierrot),
No. 1 CD #5 o Schoenberg, A Survivor from Warsaw, CD #5 o Webern, Five Pieces for Orchestra, No. 3, CD #5 o Bartok, Concerto for Orchestra, 2
CD #5 nd Movement,
Concert Activity Report Due!
Quiz #4 on 20 th Century Music
Part VII, Chapters 12-18
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Century Complete Listening Assignments o Beach, The Year’s at the Spring from Three
Browning Songs Op. 44 o Still, Afro-American Symphony, 3 rd Movement,
CD #5 o Copland, Appalachian Spring, Section 7, CD #5 o Ginastera, “Final Dance:Malambo” from Estancia
Suite, CD #5
COMPOSER REPORT PAPER DUE!!
Listening Logs
You are to listen to your weekly listening assignments. You will need to focus on the music, so listen when you have an uninterrupted opportunity. Do not attempt to do this assignment while driving, working, doing other homework, or anything that will divert your attention from your focused listening. For at least five
(if there are less than 5 assigned pieces please do them all) of the pieces in a given week write OBJECTIVE observations of the piece being performed, using musical terminology. Instrumentation, texture, form, dynamics, etc., are some of the possibilities for this section. NO SUBJECTIVE COMMENTS! If your observations do not match the composition, I WILL know that you did not actually listen to the piece. FYI: Comments such as, "I liked this song." do not qualify as musical
observations (this is a personal comment, not a musical observation).
Observations must be musical in nature, (i.e., the composition's texture, instrumentation/orchestration, historical period, form, performer's/conductor's interpretation, etc.) Miss Haas will provide you with an example of an acceptable
Listening Log in coming weeks.
Instructor’s Biography
Miss Haas holds a Bachelor of Arts in Music Education from Azusa Pacific University, a
Master’s in Music from CSU Sacramento and a Single Subject Teaching Credential from CSU
Stanislaus. She also received an Associate of Arts in Humanities from San Joaquin Delta
College. She teaches choral music for Stockton Unified and performs in various community productions in the Central Valley.
Online Library and Learning Resources
 Found at http://heald.campusguides.com
, in your Internet Explorer favorites, and the student portal.
 Off-campus remote username is: heald_college; password is: student. (No login required on campus computers.)
 The Library and LRC contains resources, including EBSCO and online tutoring, needed to complete course work.
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 For more information about all available resources, contact a Library and LRC staff member .
Heald Policies, Standards, and Guidelines
Please review the attached Syllabus Policies, Standards, and Guidelines, which contain important catalog excerpts from current Heald College policies, standards, and guidelines.
Instructor’s Classroom Policies
1. COMMUNICATE!- I am not a mind-reader, nor is anyone else in the class. The only way we can know what everyone is thinking and feeling is to communicate.
2. Cell phones, including text messaging, or computer use not related to class activities may not be used during class. Students who engage in these activities during class will receive reduced credit on assignments and projects assigned during that class meeting
3. Be here and be on time. To be early is to be on time, to be on time is to be late. If something happens that causes you to be late, see Rule #1. Regular and punctual attendance and appropriate preparation for each class session is required.
4. Attitude is everything! No matter what our talent, intelligence, or experience if we do not bring a positive attitude through the door, it affects the class. Everyone has problems, bad days, etc- please leave them at the door on your way in, and if you really want you can pick them up on the way out.
5. Academic honesty is an essential value at Heald. The consequence for academic
dishonesty will be automatic failure of the course. Examples of academic dishonesty
(cheating and plagiarism) include, but are not limited to: Inventing data for a paper, report, or project; or using material submitted for another class to satisfy requirements of this class.
6. Late Work/Make-up Work (Make sure you understand this policy!!)
Any homework turned in after MIDNIGHT on the day that it is due is considered late. I do accept assignments by e-mail, so if you must be absent when an assignment is due e-mail your assignments, or drop them in my box in the LRC, to avoid late penalties. I deduct 10% for each week the assignment is late. If, however, you have severly extenuating (i.e.
Hospital admittance, death in immediate family, etc.) circumstances that cause your homework to be late-refer to rule #2. Also, I will not accept any late work during the last week of school.
There are 2 deadlines for make-up work: Week 6 & Week 10. Any and all make-up work that was due during or before Week 6 will not be accepted AFTER the last day of classes during Week 6. And there is NO make-up work accepted after Week 10. (NO
EXCEPTIONS!)
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7. Above all- Never be afraid to fail! The only way to fail, is if you do not try. If you have a question, never be afraid to ask. The only “stupid” question is the one that is never asked!
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