Recommended Text:  Grout, Donald Jay, and Claude Palisca.  A History of Western Music, 4th ed.  New York:  W.W. Norton & Co., Inc., 1988.

Catalog Description:  An in-depth study of selected historically significant aspects of music history from antiquity to the present.  Required for all MA candidates in music.

Course Objectives:  This course is intended to be a survey/seminar, at graduate level, in the history of western art music and in research techniques in musicology.  A research project will be required of each student.  In addition, class sessions will cover selected topics in the following areas:

 1.  Stylistic and aesthetic principles of the major historical periods.
 2.  Major composers and literature.
 3.  Major developments in theory and performance practice.
 4.  Historical and contemporary research sources.

Course procedure:  Class sessions will be devoted to lecture, discussion and demonstration of selected musical examples.  Whenever possible, musical scores will be used for study and analysis.  Reading assignments should be done prior to each class.  Individual class members will be assigned specific periods of music history to present to class in outline form.  These presentations should cover major historical and geographical subdivisions within the period, major composers and literature, and important musical forms and performance media.  Students will prepare a typewritten outline and will have it duplicated for each member of the class.  Any periods not covered by class members will be covered by the instructor.

 Students will also be required to submit a research paper (15 pages minimum length) on a topic of the student's choice dealing with some aspect of the history of western art music.  The paper should ideally, but not necessarily, relate to the student's own area of specialization.  The paper will be due on the date specified in the class schedule, and will be presented to the class in oral form during one of the final sessions.

 There will be two examinations, mid-term and final, consisting of essay questions of announced topics.  The final grade will be determined by an average of the grades for the two exams, the paper, and written and oral contributions to the class.
 

Class schedule:

1/8:  Introduction:  Rationale, course objectives and requirements.  Survey of research sources available in FAU library.  Antiquity and the Middle Ages.  (Ch.  I-IV).

1/15:  Sacred music of the Renaissance.  Masses by Machaut, Dufay, Josquin, Palestrina and Byrd.  (Ch. V-VIII).
 
1/22:  Secular and instrumental music of the Renaissance.  (Ch. VII-VIII).

1/29:  RESEARCH PAPER TOPICS DUE.  The Early and Middle Baroque.  Monteverdi's L'Incoronazione di Poppea.  (Ch. IX-XI).

2/5:  The high Baroque.   Bach's Klavierübung and the Goldberg Variations.  (Ch.  XII).

2/12:  MID-TERM EXAM DUE.  The Classical Era.  A comparison of the c-minor piano concertos of Mozart and Beethoven.  (Ch.  XIII-XVI)

2/19:  RESEARCH PAPER BIBLIOGRAPHIES DUE.  Beethoven and Early Romanticism.  Berlioz' Romeo et Juliet.  (Ch.  XVI-XVII).

2/26:  Late Romanticism and Post-Romanticism.  Mahler's Das Lied von der Erde.  (Ch. XVII-XIX).

3/5:  Impressionism and the music of the early 20th Century.  Ives' Fourth Symphony.  (Ch. XX).

3/12:  SPRING BREAK

3/19:  Serialism and Indeterminacy.  (Ch. XX).

3/26:  RESEARCH PAPERS DUE. Directions since 1960.  Philip Glass' Operatic Trilogy:  Einstein on the Beach, Satyagraha and Akhnaten

4/2  FINAL EXAM DUE.  Presentation of research papers

4/9:  Presentation of research papers

4/16:  Presentation of research papers

4/23: Presentation of research papers

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., 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," Eighteenth-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 Carnival.

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.