University of Massachusetts, AmherstDepartment of Music

Music 301: History of Music from 1700-1900Fall Semester 2015

Instructor: Erinn E. Knyteknyt@music.umass.eduFine Art Center, Room 366

Teaching Assistant: Allison Smithallisonsmith@umass.edu

Meeting Times: Mon., Wed., Fri., 9:05-9:55

Location: Fine Arts Center, Bezanson Recital Hall

Office Hours: Mon./Fri. 10-11Other times by appt.

Course Goals and Objectives: The main goal of this course is to provide an overview of the development of Western Music from 1700-1900. The lecture-based course, which is organized by genre, will focus on changes in musical style throughout the time period, as well as on correlations between music, culture and art. By the end of the course, students should be able to aurally and visually distinguish among different styles, genres, and forms of music, relate them to cultural and artistic trends or manifestos, and identify basic compositional techniques used in representative compositions.

Required Textbook: J. Peter Burkholder, Donald J. Grout, and Claude V. Palisca. A History of Western Music, 9th ed. N.Y.: W.W. Norton and Co., 2014.

Prerequisites: MUS 101 and MUS 113. Contact the instructor if you have not met the prerequisites and would still like to take the class.

Honors:An optional honors colloquium is available for this course. Contact the instructor for details.

Assignments:Complete the reading and listening assignments by the indicated dates in the course schedule. In addition, there will be:

1. Two Midterms (short answer, essay, and score identification)2. Four Listening Quizzes (identify composer, title, movement, and date)3. One Research Paper (5-7 pages), or other Creative Project that involves some research and writing. This, for instance, could include the design of an educational website, the critique of a cinematic representation of a composer or his music, a video of a performance-lecture accompanied by extensive program notes, or the creation of a lesson plan for teaching a class in music. Contact me if you would like to propose an alternate Creative Project. Turn in the project to the Moodle Course Website (under assignments).4. One Oral Report (max. 5 minutes)5. One Final Exam (short answer, essay, and score identification)

Grading:Midterms, 30%Listening Quizzes, 20%Final Exam, 20 %Final Paper/Creative Project, 20 %Oral Report, 5 %Attendance, 5 %

Grading Scale:A+: 98-100A: 93-97A-: 90-92B+: 88-89B: 83-87B-: 80-82C+: 78-79C: 73-77C-: 70-72D+: 68-69D: 63-67D-: 60-62F: 0-59

Grading Criteria:More detailed criteria will be provided in class in relation to specific assignments. However, the following criteria will be used when evaluating assignments:ClarityOriginalityAccuracyOrganizationPresentationStyle

Extra Credit:Extra credit opportunities will be offered throughout the semester.

Late Assignments:Late assignments will de docked one grade increment (i.e. A to A-) for every class period (or portion thereof) that they are late. You are responsible for selecting an appropriate oral presentation time. Missed oral presentations cannot be made up (except in the case of documented medical emergency).

Missed Exams:Only three of the four listening quizzes will count toward your final grade. I will “throw out” the lowest grade of the four quizzes, which, in the case of a missed quiz, will be a 0.Midterms, the final exam, and listening quizzes may only be made up due to a medical emergency or conflict with another academic event.

Attendance:Attendance is an important part of the learning process in this course. You may miss up to three class sessions without penalty. If you miss additional classes, except under special circumstances (i.e. documented medical crisis, etc.), your attendance grade will be docked one grade increment (i.e. from A to A-) for each skipped class session. Please notify Allison Smith in writing (by e-mail) of all excused absences and cc me.

Course Schedule

Week 1, Wed. (Sept. 9) Course IntroductionOverview of Syllabus and Course.Introduction to music and culture of the 18th Century.Week 1, Fri. (Sept. 11) The Height of Italian Dominance: The Sinfonia, the Cantata, and Opera SeriaReading: 379-405.Listening: Alessandro Scarlatti, Andate, o miei sospiri (1712) [No score]Johann Adolph Hasse, “Tu, sprezzator di morte” (Attilio Regolo) (1750) [No Score]Ricardo Broschi, “Son qual nave qu'agitata” (c. 1734) [No Score]Week 2, Mon. (Sept. 14) Italian Instrumental Music: The Trio Sonata and the ConcertoReading: 406-422.Listening: Arcangelo Corelli (1653–1713), Trio Sonata in G minor, op. 3, no. 11 (1689) [IMSLP]Antonio Vivaldi (1678–1741), Violin Concerto in E, RV 269, La primavera, from Il cimento dell'armonia e dell'inventione, op. 8 (1725) [IMSLP]Week 2, Wed. (Sept. 16) The Class of 1685: Bach, Handel, and Scarlatti—The Chorale Prelude and FugueReading: 432-437.Listening: Two Chorale Preludes on Durch Adams Fall ist ganz verderbt:1. Dietrich Buxtehude, BuxWV 183 (c. 1690) [IMSLP]

2. Johann Sebastian Bach, BWV 637, from Orgel-Büchlein (c. 1715) [IMSLP]Bach, Fugue in G minor, BWV 578 (before 1707?) [IMSLP]Week 2, Fri. (Sept. 18) Keyboard Music—The Well Tempered Clavier and Tuning SystemsReading: 437-442.Listening: Bach, two pieces from Das wohltemperirte Clavier, Book 1 (1722): Prelude and Fugue no. 1 in C, BWV 846/Prelude and Fugue no. 24 in B minor, BWV 869 [IMSLP]Bach, Goldberg Variations (Aria plus variations 3-5) (1741) [IMSLP]Week 3, Mon. (Sept. 21) Keyboard Music (cont.)--The SuiteReading: 422-424Listening: Bach, French Suite no. 5 in G, BWV 816 (1722–23, rev. 1725) [IMSLP]François Couperin (1668–1733), Le rossignol en amour and Double de rossignol from Quartorzième Ordre, from Troisième Livre de Pièces de Clavecin (Paris, 1722) [IMSLP]Week 3, Wed. (Sept. 23) The Concerto GrossoReading: 442-443Listening: Bach, Brandenburg Concerto no. 5 in D, BWV 1050 (1721)[IMSLP]George Frederic Handel, Concert Grosso in D major, Op. 6 No. 5 (1739) [IMSLP].Week 3, Fri. (Sept. 25) The Class of 1685: Vocal Music—Baroque OperaReading: 425-431.Listening: Jean-Philippe Rameau, Hippolyte et Aricie, Act IV (1733) [IMSLP]Handel, Giulio Cesare in Egitto, HWV 17, Act 1, scene 3 (London, 1724), [IMSLP]Week 4, Mon. (Sept. 28) The English OratorioReading: 449-459.Listening: Handel, Israel in Egypt, HWV 54, selections from Part 2 (London, 1739), [IMSLP]Handel, an example of self-borrowing:

a. No, di voi non vo' fidarmi, HWV 189 (1741), movement 1

b. "For unto us a Child is born?” from Messiah, HWV 56 (Dublin, 1742), [IMSLP]

Week 4, Wed. (Sept. 30) Baroque Sacred MusicReading: 443-449.Listening: J.S. Bach, Nun Komm, der Heiland, BWV 62 [NAWM].Bach, St. Matthew Passion, BWV 244 (1727, rev. 1736), opening chorus [IMSLP]Week 4, Fri. (Oct. 1) LISTENING QUIZ 1The Enlightenment and the Classical StyleReading: 462-476.Listening: C.P.E. Bach, Sonata in A Major, H. 186, Wq. 55 no. 4, II (1765) [NAWM].Week 5, Mon. (Oct. 5) Early Classic Opera and Opera ReformReading: 477-498.Listening: Giovanni Battista Pergolesi, “Ah, quanto mi sta male” and “Son imbrogliato io”, La Serva Padrona (1733) [NAWM].

Johann Adolf Hasse, “Digli ch’io son fedele [Tell him I am Faithful], Cleofide, Act II, Scene 9 (1731) [NAWM].John Gay Airs XV and XVI from The Beggar’s Opera (1728) [NAWM]. Christof Willibald Gluck, Oreo et Euridice, Act II, scene 1 (1762) [NAWM].Week 5, Wed. (Oct. 7) Sonata FormReading: Grout, 499-512, 538-547.Listening: Domenico Scarlatti, Sonata in D Major, K. 119 (c. 1740) [NAWM].Wolfgang Amadeus Mozart, Piano Sonata in F Maj., K. 332, I (1781/1784) [NAWM].Return of Listening QuizzesWeek 5, Fri. (Oct. 9)MIDTERM #1Week 6, Tues. (Oct. 13) The Sonata (cont.) and Beethoven’s Early PeriodReading: 563-567.Listening: Haydn, Sonata no. 53 in E Minor, Hob. XVI: 34, I, (1781/1784) [NAWM].Beethoven, Piano Sonata in C Minor, Op. 13, I (Pathetique) (1797-1798) [NAWM].Week 6, Wed. (Oct. 14) The SymphonyReading: 512-518, 528-538.Listening: Giovanni Battista Sammartini, Symphony in F Maj., I (c. 1740) [NAWM].Johann Stamitz: Sinfonia a 8 in E-flat Major, Op. 11, No. 3, I (mid 1750s) [NAWM].Joseph Haydn, Symphony no. 92 in G Maj. (Oxford) (1789) [NAWM].Return of MidtermsWeek 6, Fri. (Oct. 16) No Class (Multi-Band Pops)Week 7, Mon. (Oct. 19) The Symphony (cont.) and Beethoven’s Middle PeriodReading: 570-578.Listening: Mozart, Symphony No. 41 in C Major, K. 551 (Jupiter), Finale (1788) [NAWM].Beethoven, Symphony No. 3 in E-flat Major, Op. 55 (Eroica), I (1803-1804) [NAWM].Week 7, Wed. (Oct. 21) The ConcertoReading: 550-552.Listening: Johann Christian Bach, Concerto for Harpsichord or Piano and Strings in E-flat Major, Op. 7 no. 5, I (1770) [NAWM].Mozart, Piano Concerto in A Major, K. 488, I (1786) [NAWM].

Week 7, Fri. (Oct. 23) Chamber Music and Beethoven’s Late PeriodReading: 519-528, 547-550, 578-585.Listening: Beethoven, Quartet in C-sharp Minor, Op. 131, I and II (1826) [NAWM].Haydn, String Quartet in E-flat Major, Op. 33 no. 2, IV (1781) [NAWM].

Week 8, Mon. (Oct. 26) Classical Opera and Sacred Vocal MusicReading: 552-557.Listening: Haydn, The Creation: No. 2, “In the Beginning God” (1797-1798) [NAWM].Mozart, Don Giovanni, Act I: Scenes 1-2 (1787) [NAWM].Week 8 Wed. (Oct. 28) Romanticism and MusicReading: 560-563, 586-596.Week 8, Fri. (Oct. 30) LiedReading: 596-606.

Listening: Franz Schubert, Gretchen am Spinnrade (1814) [NAWM].Schubert, Der Lindenbaum (from Die Winterreise, D. 911, No. 5) (1827) [NAWM].Schumann, Im wunderschönen Monat Mai (from Dichterliebe, Op. 48, No. 1) (1840) [NAWM].LISTENING QUIZ NO. 2Week 9, Mon. (Nov. 2) Piano MusicReading: 606-613, 618-623.Listening: Mendelssohn, “Songs Without Words” no. 1, Op. 19 no. 1 (1830) [IMSLP].Schumann, Carnaval, op. 9, nos. 5-7 (1840) [NAWM].Franz Liszt, Un Sospiro, from Three Concert Etudes (1845-1849) [NAWM].Week 9, Wed. (Nov. 4) Piano MusicReading: 613-618.Chopin, Nocturne in D-flat, Op. 27 no. 2 (1836) [NAWM].Chopin, Mazurka in B-flat, Op. 7 no. 1 (1831) [NAWM].Chopin, Ballade in G Minor, Op. 23 (1835) [IMSLP].Return of Listening QuizzesWeek 9, Fri. (Nov. 6) The SymphonyReading: 624-635.Listening: Schubert, Symphony no. 8 in B Minor, (“Unfinished”) D. 759, I (1823) [IMSLP].Berlioz, Symphony Fantastique, V (1830) [NAWM].Week 10, Mon. (Nov. 9) The Symphony (cont.)Reading: 638-639.Listening: Schumann, Symphony no. 4 in D Min., OP. 120 (1841/rev. 1851) [NAWM].Brahms, Symphony no. 4 in E Min., Op. 98, IV (1884/1886) [NAWM].Week 10, Wed. (Nov. 11) HOLIDAY—NO CLASSWeek 10, Fri. (Nov. 13) Midterm #2Week 11, Mon. (Nov. 16) Guest: Pam JuenglingWeek 11, Wed. (Nov. 18) The ConcertoReading: 635-638.Listening: Mendelssohn, Violin Concerto in E Minor, I and III (1844) [NAWM].Week 11, Fri. (Nov. 20) Chamber MusicReading: 639-52.Listening: Schubert, String Quintet in C Major, D. 956, I (1828) [NAWM].Brahms, Quintet for Piano and Strings in F Minor, Op. 34, I (1862-1864) [NAWM].Return of MidtermsLISTENING QUIZ NO. 3Week 12, Mon. (Nov. 23) Italian Romantic OperaReading: 653-666.Listening: Rossini, Un voce poco fa (from Il barbiere di Siviglia) (1816) [NAWM].Vincenzo Bellini, Casta Diva (from Norma), (1831) [NAWM].Week 12, Wed. (Nov. 25) French Grand Opera/German Romantic OperaReading: 666-677.Listening: Meyerbeer, Les Huguenots, Act II, Conclusion (1836) [NAWM].Carl Maria von Weber, Der Freischütz,“Wolf’s Glen Scene” (1821) [NAWM]Return of Listening Quizzes

Week 13, Mon. (Nov. 30)Student Presentations (BSZN and FAC 152)Week 13, Wed. (Dec. 2)Student Presentations (BZSN and FAC 152)Week 13, Fri. (Dec. 4)Student Presentations (BZSN and FAC 154)Week 14, Mon. (Dec. 7) The Wagnerian Music DramaReading: 678-695.Listening: Wagner, Tristan und Isolde, Prelude and Conclusion of Act I (1857-1859) [NAWM].FINAL PAPERS DUE BY 11:59 P.M. (UPLOAD TO MOODLE)Week 14, Wed. (Dec. 9) Italian Romantic Opera (cont.)Reading: 695-703.Listening: Verdi, La Traviata: Act III, Scena and Duet (1853) [NAWM].Week 14, Fri. (Dec. 11) Italian Romantic Opera (cont.)Reading: 703-718.Listening: Giacomo Puccini, Madame Butterfly: Excerpt from Act I (1904)Georges Bizet, Carmen: Seguidilla and Duet (1873-1874) [NAWM].LISTENING QUIZ NO. 4Course Evaluations

FINAL EXAMINATION—TIME TBD

Possible Presentation and Research Topics

Instruments/Voice Types and their Development

Performance Practice of music from 1700-1900

Development of Repertoire for your instrument

Treatises about Performance on an Instrument

Bach’s Legacy:C.P.E. BachJohann Christian BachWilhelm Friedemann BachBach’s B Minor Mass

Music Reception:Reuse of Music from 1700-1900 in music of the twentieth centuryRe-stagings/New Productions of operasBach RevivalsCecilian MovementChant RevivalBach’s music in Rock, Pop, or JazzReconstructions of early instruments

Famous performers/interpreters of music from 1700-1900:Glenn GouldWanda LandowskaRosalyn TureckFerruccio BusoniPDQ BachOther

Female Composers from 1700-1900:Amy BeachFanny HenselOther

Important Places or institutions:BayreuthOspedale della pietàParisian Opera HousesNicholaskircheSt. Mark BasilicaOther

Chamber Music:

Development of Music History:Charles Burney

Founding of Music Schools and/or other music education topics in the 18th or 19th Centuries:

Famous People:Dietrich BuxtehudeLorenzo da PonteHans Von BülowFarinelli and Castrati Stephen FosterCésar FranckScott JoplinArthur Sullivan

18th or 19th Century Virtuosi:Niccolo PaganiniMarin MaraisPauline ViardotLouis Moreau Gottschalk Clara SchumannJenny LindNannerl MozartMaria MalibranJoseph JoachimOther (up to 5)

Music Criticism:E.T.A. HoffmannHector BerliozRobert SchumannFranz LisztImprovisation from 1700-1900 Nationalism:The Mighty HandfulJean SibeliusBedrich SmetanaAntonin DvorakOther

Other Topics:Lutheran Chorale

Mahler’s Reorchestration of Bach and BeethovenMozart’s RequiemOperettaOpera CensorshipCamille Saint-Saëns Sacred Music in the 19th CenturySalons or Music AcademiesSchumann’s Mental Illness and his Late MusicSir Walter Scott and Opera LibrettiShape-Note Tune booksSlave SongsTranscriptions and Arrangements

Accommodation Statement

The University of Massachusetts Amherst is committed to providing an equal educational opportunity for all students. If you have a documented physical, psychological, or learning disability on file with Disability Services (DS), Learning Disabilities Support Services (LDSS), or Psychological Disabilities Services (PDS), you may be eligible for reasonable academic accommodations to help you succeed in this course. If you have a documented disability that requires an accommodation, please notify me within the first two weeks of the semester so that we may make appropriate arrangements.

Academic Honesty Statement

Since the integrity of the academic enterprise of any institution of higher education requires honesty in scholarship and research, academic honesty is required of all students at the University of Massachusetts Amherst.

Academic dishonesty is prohibited in all programs of the University. Academic dishonesty includes but is not limited to: cheating, fabrication, plagiarism, and facilitating dishonesty. Appropriate sanctions may be imposed on any student who has committed an act of academic dishonesty. Instructors should take reasonable steps to address academic misconduct. Any person who has reason to believe that a student has committed academic dishonesty should bring such information to the attention of the appropriate course instructor as soon as possible. Instances of academic dishonesty not related to a specific course should be brought to the attention of the appropriate department Head or Chair.

Since students are expected to be familiar with this policy and the commonly accepted standards of academic integrity, ignorance of such standards is not normally sufficient evidence of lack of intent.