Music 1710F—Music History: Introduction

Course Syllabus Lecture: Instructor: Office: Office Hours: E-mail: Website:

Monday, Wednesday, Friday, 2:30-3:30, UC 224 (Conron Hall) Keith Johnston, Ph.D. TC 231 Monday 3:30-5:00 in TC 221, or by appointment [email protected] owl.uwo.ca

Teaching Assistants:

(tutorial rooms) Amanda Lewis (TC 202) Claire McLeish (TC 203) Ian Siess (TC 204) Matthew Toth (TC 205)

Course Description This course provides an introduction to the field of musicology, which is defined as the study of music “as a physical, psychological, aesthetic, and cultural phenomenon.” We will investigate how writing about music can increase our understanding of it, and the ways in which this activity may be a necessary part of our lives as musicians, thinkers, and citizens. A primary focus for this course is developing our skill at writing about music. We will therefore devote time to developing a shared vocabulary to write about music, developing our skills as researchers, and investigating different scholarly approaches to this practice. We will take as our premise the idea that thinking and writing about music does not corrupt our experience of listening and playing, but rather increases the richness of that experience. Objectives At the end of this course you should be able to write about music with precision and confidence. You will have the requisite skills to begin the three-course music history survey sequence which follows (1711G/2710F/2711G). Evaluation Tutorial Participation Writing Assignment 1 Writing Assignment 2 Midterm Exam Essay on Music in Performance Term Paper Final Exam

5% 10% 10% 15%

(Sept. 21, Oct. 5, Oct. 29, Nov. 9, Nov. 30) (Due Oct. 1) (Due Oct. 15) (Oct. 22)

10% 20% 30%

(Due Nov. 5) (Due Dec. 3) (Date TBA)

Explanation Tutorial Participation Students must attend all five tutorials having completed the assigned readings. Students will lose 1% of their final grade for each absence. Writing Assignments 1 and 2 Two short writing exercises which develop your ability to write about music. No research is required. This is a writing-intensive course focusing on issues specific to writing about music. For assistance with general writing skills, an excellent resource is the Writing Support Centre (UCC 210; 661-3031; http://www.sdc.uwo.ca/writing/). Midterm Exam An in-class examination of the course material, including readings, listenings, lectures, and tutorial discussions. The exam will include multiple choice, musical identification, and short essay-style answers. Essay on Music in Performance A short essay which develops your ability to write about music as performance. Term Paper A longer essay which allows you to explore a research question of your choosing. Final Exam A two-hour exam written during the examination period. The methods of evaluation will be identical to those of the midterm. Please do not schedule holiday travel arrangements during the exam period before the date of the exam is confirmed. Alternative arrangements will not be made if you cannot write the scheduled exam because of travel plans. NB—All written assignments will be submitted to through the course webpage (owl.uwo.ca). Assignments are time stamped and must be submitted by the start of class on the day they are due. Late assignments will not be accepted and will result in a mark of zero. If you cannot complete an assignment because of a severe and unanticipated illness, you must obtain documentation from a medical professional. See “Statement regarding Illness” (below). Required Materials Weiss, Piero and Richard Taruskin. Music in the Western World: A History in Documents. 2nd ed. New York: Schirmer, 2008. Turabian, Kate L. A Manual for Writers of Term Papers, Theses, and Dissertations. 7th ed. Chicago: University of Chicago Press, 2007. Strunk, William. The Elements of Style. 4th ed. Boston: Allyn and Bacon, 1999. NB—Links to other course material (including excerpted readings, assignments, and listening examples) are available through the course website (owl.uwo.ca). Students should ensure that they are enrolled and able to access the course website immediately.

Statement on Academic Offences, including Plagiarism Scholastic offences are taken seriously and students are directed to read the appropriate policy, specifically, the definition of what constitutes a Scholastic Offence, at the following web site: http://www.uwo.ca/univsec/handbook/appeals/scholoff.pdf. Students must write their essays and assignments in their own words. Whenever students take an idea or a passage from another author, they must acknowledge their debt both by using quotation marks where appropriate and by proper referencing such as footnotes and citations. All required papers may be subject to submission for textual similarity review to the commercial plagiarism detection software under license to the University for the detection of plagiarism. All papers submitted for such checking will be included as source documents in the reference database for the purpose of detecting plagiarism of papers subsequently submitted to the system. Use of the service is subject to the licensing agreement, currently between The University of Western Ontario and Turnitin.com (http://www.turnitin.com). Statement on Mental Health Students that are in emotional/mental distress should refer to Mental Health@Western (http://www.uwo.ca/uwocom/mentalhealth) for a complete list of options about how to obtain help. Statement regarding Illness In order to ensure fairness and consistency for all students, academic accommodation for work representing 10% or more of the student’s overall grade in the course shall be granted only in those cases where there is documentation indicating that the student was seriously affected by illness and could not reasonably be expected to meet his/her academic responsibilities. Documentation shall be submitted, as soon as possible, to the Associate Dean, Undergraduate. Academic accommodation for work representing less than 10% of the student’s overall grade will similarly be granted only in cases of documented illness. Documentation shall be submitted, as soon as possible, to the Associate Dean, Undergraduate. Statement regarding Late Assignments Late assignments will not be accepted, resulting in a grade of zero for that assignment, except in cases in which there is a documented illness. See “Statement regarding Illness” (above). All assignments are due by the start of class (14:30 [2:30 pm]). Assignments submitted after this time are considered late and will not be accepted.

Schedule DAY September F7 M 10

TOPIC / READING

LISTEN

Introduction Who Cares if You Write about Music? Weiss and Taruskin, 1: “Orpheus and the Magical Properties of Music,” 1-2. W&T, 3: “Plato’s Musical Idealism,” 5-8.

Bach, Cello Suite No. 1 in G major, BWV 1007, Prelude.

Part I: Elements of Music W 12 F 14 M 17 W 19 F 21 *Tutorial M 24 W 26 F 28 October M1 *Assignment 1 Due W3

Pitch and Melody Wright, Listening to Music, 21-24. Scruton, The Aesthetics of Music, 16-22. Introduction to the Music Library (Visit from Lisa Philpott, Librarian, DWFOM) Rhythm and Timbre Wright, 14-21, 41-42, 52. Scruton, 22-32, 77-78. Texture Wright, 53-55, 66. W&T, 36: “The Counter Reformation,” 113-14. Tutorial 1: Writing about Music (attend with outline of writing assignment 1) Mode and Harmony I Wright, 24-33. Scruton, 239-47. Mode and Harmony II W&T, 2: “Pythagoras and the Numerical Properties,” 2-5. Form and Programme I Wright, 55-57.

Mozart, Idomeneo, “Padre, germani, addio!”

Form and Programme II Wright, 59-60, 208-09.

Mozart, Symphony in G minor, K 550, first mvt.

Form and Programme III Shakespeare, Romeo and Juliet, Act 1, scene iv.

Berlioz, Roméo et Juliette, Op. 17, seventh mvt., “La Reine Mab.”

Esatcio, Frenergy Palestrina, Missa brevis, Credo

Mahler, Symphony No. 2, “Urlicht”

Haydn, Op. 33, no. 2 (“The Joke”), fourth mvt.

Part II: Genres of Music F5 *Tutorial M8 W 10 F 12 M 15 *Assignment 2 Due W 17

Tutorial 2: Genre Dubrow, Genre, 1-14. W&T, 81: “A Sidetrip into Aesthetics,” 249-51 [Adam Smith] Thanksgiving (no class) Song Edward T. Cone, “Words into Music” Opera Allan Kozinn, “Nixon in China,” New Grove Online. Sacred Music W&T, 24: “The Testimony of St. Augustine,” 24-27. Preparing for a Music History Exam (no reading)

Dmitri Shostakovich, Piano Concerto No. 2 in F, Op. 102, second mvt.

Schubert, Der Erlkönig Adams, Nixon in China, “News has a kind of mystery” J.S. Bach, Matthäus-Passion, No. 1, “Kommt, ihr Töchter, helft mir klagen.”

F 19 M 22

Study Day (no class) Midterm Exam Part III: Research and Writing

W 24 F 26 *Tutorial

M 29 W 31

The Research Paper (Visit from Erika Serviss-Low, Writing Support Centre) Tutorial 3: Styles of Writing Alex Ross, “The Ring and the Rings,” The New Yorker (22 and 29 Dec., 2003). Ross, “A Lovely Couple,” The New Yorker (3 Jan., 2005). Charles Rosen, “The Future of Music,” NYRB (20 Dec., 2001) Reading Historical Texts W&T, 66: “A Traveler’s Impressions of Vivaldi,” 199-200. Giving Credit Where It is Due Turabian, sections 4-5 and 8-9.

November Part IV: Music as History F2

M5 *Perf. Essay Due W7 F9 *Tutorial M 12 W 14 F 16

M 19

W 21

Periodizing Music History Carl Dalhaus, “The Significance of Art: Historical or Aesthetic?,” in Foundations of Music History, trans. J.B. Robinson (Cambridge: Cambridge University Press, 1983), 19-33. Prehistory and the Ancient World W&T, 4: “Aristotle on the Purposes of Music”, 8-10. The Middle Ages W&T, 10: “The Transmission of the Classical Legacy,” 27-31. Tony Hendra, “A Rant against Chant.” Tutorial 4: The Renaissance W&T, 21: “The Fount and Origin,” 67-68. W&T, 82-85: “Josquin des Prez in the Eyes of His Contemporaries,” 82-85. The Baroque W&T, 59: “The Mature Baroque: The Doctrine of the Affections,” 180-185. The Classical Era W&T, 79: “The Rise of the Italian Comic Opera Style,” 237-40. The Nineteenth Century W&T, 105: “From the Writings of Schumann,” 306-7. Charles Rosen, The Romantic Generation, “Ruins,” 92-94, and “Disorders,” 95-98. Modernism Harry Somers, “An Evaluation of the Facts Preventing Contemporary Music from Reaching the Concert Repertoire,” in Music in the Americas, 213-219. “Contemporary” Music John Beckwith, “The Present State of Unpopular Music,” Intersections 27/2 (2007), 8-18.

De Vitry, “Tuba sacre fidei/In arboris/Virgo sum.” Josquin, Mille Regretz

Handel, La Lucrezia, “Gia nel seno comincia a comprir.” Mozart, Symphony No. 35 in D (“Haffner”), K. 385, fourth mvt. Schumann, Dichterliebe, Op. 48, no. 1, “Im wunderschönen Monat mai” Somers, North Country, second and third mvts. Hatzis, String Quartet No. 1 (“The Awakening”), first mvt.

Part V: Approaches to Musicology F 23 M 26

W 28

F 30 *Tutorial December M3 *Term Paper Due W5 TBA

Approaching Beethoven’s Ninth W&T, 96: “The First Performance of Beethoven’s Ninth Symphony,” 282-84. Musicology in the Postmodern World W&T, 168: “Postmodernist Paradigms,” 515-23, and “Feminist Perspectives,” 523-30; Adrienne Rich, “The Ninth Symphony of Beethoven Understood as a Last Sexual Message.” Recovering the Sound of the Past Richard Taruskin, “The Limits of Authenticity: A Contribution.” La Grange, Mahler, 232-37. Tutorial 5: Critiquing Postmodernism Margaret Bent, “Fact and Value in Contemporary Musical Scholarship,” 1-7. Rosen, “Music à la Mode,” NYRB 41, no. 12 (1994) Intention Stanley Cavell, “A Matter of Meaning It,” 225-37. People and Politics W&T, 84: “Folk Song,” 255-57. Esteban Buch, Beethoven’s Ninth: A Political History, 93-108. Final Exam

Beethoven, Symphony No. 9, mvts. 1-4.