Catalog Description:  The history of western music from the  Pre-classic Period through the Classic Period and the Romantic  Era.

TEXTS:   Stolba, K. Marie.  The Development of Western Music, 3rd. ed.  Dubuque, IA:  Brown & Benchmark   Publishers, 1997.
Stolba, K. Marie, ed.  The Development of Western Music an Anthology, Vols I and II,  2nd. ed.   Dubuque, IA:   Brown & Benchmark Publishers, 1994.
 
Course objectives:  MUH 4212 is a survey course dealing with the history of western art music from the Pre-classic Period through the end of the Romantic Period.  It is designed to cover the following areas:
 
 1.  Names, dates and general stylistic characteristics of the major historical periods of music.  Attention will be paid to the  relationship of music to the visual arts, literature, and socio- political developments.

 2.  Principal composers and compositional schools within each period, from the standpoint of pertinent biographical data, compositional output, stylistic characteristics, and significant  developments and innovations.

 3.  The origin and development of compositional forms and performance media.

 4.  Listening familiarity with selected major works from each period.

Course   procedure:  Class sessions will be devoted to lecture,  discussion and demonstration of various musical examples by recordings, videotapes and musical scores.  Students will be expected to read the appropriate sections of the text before lecture sessions.  Lectures will clarify the understanding of the  text and will contain information not found in the text.  Regular attendance will be necessary for comprehension of the subject matter.
 Three tests will be given during the semester, covering respectively the Classic Period, Beethoven and early Romanticism, and Late Romanticism, Post-Romanticism and Impressionism.  Each  test will consist of objective, essay, and listening questions.  Listening selections will be made available to students in the Department of Music Office.

 In addition, students will be required to submit a research  paper, 10-15 pages in length, on some aspect of music from the Classical Period through the Romantic Period.  Students taking the course for honors credit will submit a 20-30 page paper on a topic approved by Dr. Keaton.  Details of the required format requirements will be given to students at the beginning of the term.  Students will be encouraged, though not  required, to choose a topic which relates to their major instrument or major field.  The final grade will be determined by an average of the three test grades and the research paper grade, each counting 25% of the final grade.  Class participation and preparation may also be considered in the final grade.

 The grading scale for this course is as follows:  93-100 = A,  90-92 = A-, 87-89 - B+, 83-87 = B, 80-82 = B-, 77-79 = C+, 70-76 = C,  67-69 = C-, 66-67 = D+, 63-65 = D, 60-62 = D-, 59 or below = F
 

Class  Schedule -- Week  of:

1/8:  Introduction.  Sources of Classic Style.  Contributions of  Handel, Vivaldi, Scarlatti.  Style galant and J.C. Bach.  Empfindsamer Stil and C.P.E. Bach.  The Mannheim Orchestra and Stamitz.  Gluck and Operatic reform.  The guerre   du  bufons.  Sonata-allegro  form  and  the  Sonata  Cycle (Ch. 18-19).

1/13:  Franz Joseph Haydn.  The patronage system and Esterhazy.  Instrumental music:  symphony and string quartet.  Vocal music:  the late masses and the oratorios.

1/20:   Wolfgang Amadeus Mozart.  Early life, Salzburg, Vienna.  Instrumental music
1/27:  Mozart.  Vocal music:  early operas, Le nozze di Figaro, Don Giovanni, Cosi fan tutte, Die Zauberflöte. Mozart's death.  The Requiem.  EXAM NO.  1.

2/3:  Ludwig van Beethoven.  Historical perspective.  The first  two style  periods.  Symphonies, string quartets, piano sonatas.  The piano concertos and Fidelio.  (Ch.  20)  RESEARCH  PAPER  TOPICS  DUE.

2/10:  Beethoven:  third style period.  The Ninth Symphony, the  late piano sonatas and quartets.  Franz Schubert:  background and  instrumental  works:  symphonies, chamber music, piano works.

2/17:  Schubert:  vocal works.  Lieder, song cycles:  Die schöne  Müllerin, Die Winterreise.  (Ch.  21)

2/24:  Early Romanticism.  The Classic/Romantic continuum.  Aspects  of romantic aesthetics.  Program music vs. absolute music.  Berlioz and Mendelssohn.  (Ch. 22)
 
3/3:   Romantic piano music.   Schumann, Fantasie,  Op. 17.  Chopin  Préludes, Op. 28.  Liszt, Sonata in b minor.

3/10:  SPRING  BREAK
 
3/17:  Early Romantic vocal music.  Art songs by Schumann.  French  Grande Opera and Meyerbeer.  German opera and Weber.  Italian Bel  Canto opera and Donizetti, Bellini, and Rossini.  Guillaume  Tell.

3/24:  EXAM NO. 2  Late Romanticism.  Johannes Brahms:  symphonies,  concertos, chamber music, piano music, lieder.  (Ch. 23)  RESEARCH  PAPER  BIBLIOGRAPHIES  DUE.

3/31:   Chaikovsky:  orchestral works.  French music:  Fauré, Saint-Saëns, Franck, Bizet, Gounod, Massenet, Offenbach. (Ch. 24)

4/7:  RESEARCH PAPERS DUE.  Nationalism:  Mussorgsky, Dvo ák, Albèniz, Grieg, Gottschalk.  Giuseppe Verdi:  La traviata, Don Carlo, Otello.  The Manzoni Requiem.

4/14:   Richard Wagner:  Early operas, Bayreuth, the music drama,  the leitmotif.  Der Ring des Nibelungen,  Tristan und Isolde,  Die  Meistersinger.

4/21:  Post-romanticism and Impressionism.  Wolf, Strauss, Sibelius, Schoenberg.  Mahler:  Symphony no. 2, "Resurrection;" Debussy:  Prélude à l'après-midi d'un faune;  Ravel:  Gaspard de la nuit.

4/30:  EXAM NO.  3, 1:15 PM..
 RESEARCH PAPER GUIDELINES -- DR. KEATON

TOPIC:  Due within one month of the first day of class.  Your topic should ideally have some relevance to your major field of study, although this is not a requirement.  A voice major, for instance, may choose to study the vocal works of a particular composer; or perhaps a single major work or group of works, such as opera, mass, or art song.

CONTENT REQUIREMENTS:  All papers must include a title page and bibliography.  The required length will be announced in your course syllabus.  All papers are required to include at least six sources, one of which must be from The New Grove Dictionary of Music and Musicians.  The main text will be typed, double-spaced.  A generalized summary of form follows:

NOTES: ALL SOURCES, NOT ONLY DIRECT QUOTATIONS, ARE TO BE ACKNOWLEDGED IN YOUR PAPER.  In general, each paragraph in a formal research paper should have a note acknowledging its source, unless the information is strictly your own, as in an introduction or summary.  If the information in a paragraph is taken from two or more sources, each must be acknowledged (though only a single source is necessary for each idea).

 To acknowledge the source of your information, cite the author's last name and the page(s) from which the information was taken.  The note will be enclosed in parentheses and will be located immediately following the sentence or paragraph in which the information was presented.  For example, to acknowledge information found in The Classic Style by Charles Rosen, on pp. 250-252, use the following form:

 ...the use of a double ending of the exposition of the first movement of K.491 (Rosen, 250-252).

 If there is more than one source by the same author in your bibliography,  distinguish among the sources by including the date of publication.    For example, if you used four sources in your bibliography by Charles Rosen, and this particular idea was taken from a source published in 1986, use the following form:

 ...of K.491 (Rosen, 1986, 250-252).

DIRECT QUOTATIONS: Direct quotations of more than a line or two should be set off from the text by single spacing and an indentation of five spaces from both right and left margins.  Avoid too heavy a reliance on short quotations; these are almost always better paraphrased.

MUSICAL EXAMPLES/ILLUSTRATIONS:  Each example should follow its reference in the text, where practical, and should be numbered, identified as to its source (work, movement, and measure number in the case of a musical example; bibliographic source or model in the case of an illustration).   The identification should precede the example, which shoud be set off by triple spacing.  Be sure to leave adequate room to paste in the example.  For example:
 

 Ex. 1.  Bach, Goldberg Variations, var. 3, mm.9-11.
 

BIBLIOGRAPHICAL ENTRIES:  Entries should be single-spaced, and arranged in alphabetical order.  Cite the author's last name first, then first name (in the case of multiple authors, subsequent names should be arranged with the first name first, then last name).  The first line will not be indented, and all subsequent lines will be indented by five spaces.  You should include in your bibliography all works which are cited directly in your text, and also any source which has been helpful when consulted, whether it was directly cited or not.   Follow the following formats:

A.  For a book:

Staler, Ilona.  Music in the Middle Ages, 2nd. ed., 2 vols.,  tr. Francesca Scala.  New York:  W.W.  Norton & Co.,  1940.

B.  For an article in a reference work:

O'Clytemnestra, Ema.  "Dufay," Grove's Dictionary of Music and Musicians, 5th ed., 10 vols., ed. Eric Blom.   London: St. Martin's Press, Inc.  1958, II, 793-795.

C.  For an article in a periodical:

Quayle, J. Danforth.  "The Castratoe in 18th Century Opera -- an Overview," 18th-Century  Music III/1 (Jan.,  1926), 3-9.

 Note that books are to be underlined (or italicized, if you are working with a word processor with that capability), while sections of books are placed in quotation marks.  This same principle holds when referring to musical works:  large works are to be underlined, while sections of those works are placed in quotation marks.  For example, a reference to "Eusebius" from Schumann's Carnaval.

DUE DATE:  ALL PAPERS WILL BE DUE WITHOUT EXCEPTION ON THE DATE SPECIFIED IN YOUR SYLLABUS.  Late papers will be penalized by one letter grade per week.