MUHL M307 History of Western Art Music II (3 credits)

Spring 2015
Instructor:

Dr. Valerie Goertzen, Communications/Music 201

504 865-2207, goertzen@loyno.edu

Office hours:

M 10:3011:20, MW 2:003:00, or by appointment

Class meeting time:

MWF 9:3010:20 (section 1); MWF 11:3012:20 (section 2),

CM 204G

Bulletin description:

This course is the second part of a two-semester survey of

Western art music, this semester covering music and ideas about
music from the mid-18th century to the present. We will
consider some influences on Western art music from other
cultures and styles.

Prerequisites:

MUTH M202 (Theory III), MUHL M106 (Introduction to Music

Literature), and MUHL M306 (History I).

Course objectives:

This course examines art music in Europe and the United States
in the past 260+ years. It is designed to help students increase
their knowledge of repertoire, compositional styles, and
principal composers and to develop an understanding of
historical, social, and aesthetic contexts for composition and
performancein short, to help students become better and more
informed musicians and educators. We will study compositions
and issues with the help of readings, scores and recordings,
videos, and perhaps also live performances. Students will be
challenged to improve their listening skills and their ability to
speak and write about music, and to become more proficient at
score-reading and analysis. Students also will gain experience
using library resources relating to the study of music history.

Learning outcomes:

It is expected that students who complete the course will

have an understanding of the broad outlines of the history of
European and American art music since the mid-eighteenth
century.
have a detailed knowledge of more than 50 representative
compositions or excerpts.
understand relevant historical, social, and aesthetic
developments.
have a better understanding of the role and power of music in
human life.
have improved their ability to develop and communicate
interpretations of musical works orally and in writing.
have a better knowledge of library materials and methods of
research in music.

Textbook and
other materials:

1) Burkholder, J. Peter, et al. A History of Western Music. 9th

ed. New York: W. W. Norton, 2014. ISBN 978-0-393-91829-8
REQUIRED (used also in History I)
2) Burkholder, J. Peter, and Claude Palisca. Norton Anthology
of Western Music. Vol. 2: Classic to Romantic. 7th ed. New
York: W. W. Norton, 2014. ISBN 978-0-393-92162-5
REQUIRED
3) Vol. 3: Twentieth Century. 7th ed. New York: W. W. Norton,
2014. ISBN 978-0-393-92163-2
REQUIRED
Owning your own score is absolutely essential to success in this
course. Please note that beginning Wednesday, January 14, any
student not bringing a score to class will be marked as absent for
half the period. If you dont have your book yet, photocopy the
pages needed for the day in question.
There is a companion website for these materials, called Total
Access:
http://wwnorton.com/college/music/hiswest9/welcome.aspx.
A new copy of the 9th edition textbook comes with a registration
code that will give you access to materials on the website for two
years, including:
the textbook in electronic format
recordings of the pieces and excerpts we are studying
video excerpts from MET productions of 14 operas
chapter outlines, practice quizzes over reading and listening
examples, and flash cards for terms
One can purchase the Total Access package for $80 at
http://books.wwnorton.com/books/detail-formats.aspx?
ID=4294977603. Scores are not included.
Recordings of many of the pieces we will study this term are also
available online through the NAXOS database, on Spotify, or
elsewhere.
Copies of the CDs that accompany the score anthologies will also
be on physical reserve in the library.

Blackboard:

In our Blackboard account you will find the syllabus,

assignments, other course materials, and announcements. We
also may use Blackboard to expand upon class discussions, and
you may be asked to post assignments or comments there. I
sometimes send email to the class through this account, so

please check your loyno account regularly.

Evacuation
statement:

Assuming that a power source is available, students are asked to

log on to the University Blackboard site
(http://loyno.blackboard.com) within 48 hours of a University
evacuation or suspension of operations, in order to receive
information about contacting instructors and proceeding with
courses. Students are required to do assigned course work for
any evacuation of more than 48 hours. A summary of students
responsibilities can be found at
http://academicaffairs.loyno.edu/students-emergencyresponsibilities. Students should also monitor the University
homepage for updates.

Academic Resource
Center and
accommodations:

If you have a disability and wish to receive accommodations,

please contact Richelle Voelker, Director of Disability Services,
at 504 865-2990, or email rvoelker@loyno.edu. In order to
receive test accommodations (e.g., extended test time) you will
need to give me an official Accommodation Form from the
Academic Resource Center well in advance of the scheduled test
date. The Center is located in Marquette 112.

Course
requirements:

1. Regular attendance and active participation in class. See my

policy below.
2. Preparation of daily reading and listening assignments. It is
important that you prepare for class so that you can
participate fully in discussions. I sometimes will give you
questions to answer in writing, or in preparation for class
discussion. Come ready to answer questions about the music
and readings, and bring your questions and ideas to discuss.
3. Three fifty-minute exams (January 30, March 4, April 10) and
a final exam (May 6) covering readings, listening
assignments, and class discussions. Exams may include an
essay written outside of class. The final exam will include a
comprehensive component.
4. Three essays (34 pages each), due February 9, March 16,
April 24. I will give out detailed assignments in due time.
5. Friday quizzes over materials assigned for the week.
6. Additional assignments completed in class or outside of class.

Evaluation:

Three exams @ 12% each =

Final exam
Three essays @ 10% each
Friday quizzes and other assignments
Attendance and participation

Grading scale:

A
AB+
B

93100
9092
8789
8386

BC+
C

8082
7779
7076

36%
16%
30%
12%
6%
D+
D
F

6769
6066
below 60

Please note that music education students must earn a grade of

C or higher in this course to receive credit towards their degree.
Attendance:

Attendance and participation count for 6% of the course grade.

Each student may have three free absences, whether excused
or unexcused. A students attendance and participation score
will be lowered by five points for each absence beyond the three
free ones. Two tardies count as one absence. Missed quizzes and
in-class assignments cannot be made up. A student who misses
class on the day an assignment is due must get the assignment to
me by the beginning of the class period to avoid a late penalty.
Make-up exams will be given only in exceptional circumstances
and when an arrangement has been made with me in advance
(see below).
In the grade book on Blackboard, a 0 for a given date denotes
an absence, and 50 indicates that you were tardy to class.
Despite my policy of not differentiating between excused and
unexcused absences, I appreciate knowing in advance whether
you will miss class for a legitimate reason, or if a documentable
illness keeps you from attending. I use a 10 in the grade book
to indicate an absence that I consider to be excused (merely to
help me keep track of the facts).

Attention and focus:

Plan to be fully present and focused on what is going on in class.

Please be sure your phone and other electronic devices are set on
silent (not vibrate) and put away, out of sight. Laptops may not
be used. Headphones may not be worn. Please do not use your
phone to take notes.
Take care of business before or after class. It is very distracting
to everyone if people are entering and leaving the room during
class.

Academic integrity
and policy on
working together:

Your integrity is at the heart of your character. No grade is worth

injuring your self-respect, your sense of accomplishment, and
the trust of your teachers and fellow students.
As a general rule, all work that you hand in for a grade must be
your own. Studying together can be very helpful, but when you
sit down to write an assignment for which you will receive a
grade, you must do the work on your own and by yourself,
without reading other students work or sharing yours. Receiving
or giving help on such assignments, plagiarism on papers, and
other violations of academic integrity will result in your
receiving an F on the assignment or in the course and may be
grounds for exclusion or explusion from Loyola. I am required to
report violations in writing to the Associate Dean of the College.
There are severe penalties for academic dishonesty, which
includes, but is not limited to, plagiarism on papers and cheating
on exams. A summary of the Universitys Academic Honor Code

can be found at http://2014bulletin.loyno.edu/academic-honorcode. If you have questions, ask me.

Please understand that 1) using another writers words in a
paper without quotation marks and 2) closely following the
structure of another writers argument both constitute
plagiarism, even if you cite the source. If you are uncertain how
to use and cite the work of others within your own writing,
consult reference works such as Kate L. Turabian, A Manual for
Writers of Term Papers, Theses, and Dissertations, 7th ed.
(Chicago and London: University of Chicago Press, 2007), or the
Chicago Manual of Style, 16th ed. (Chicago: University of
Chicago Press, 2010), work with a tutor in the Writing Center,
ask a reference librarian, or ask me.
Exams:

Exams will include identifications, other short-answer questions,

objective questions (e.g., matching), and possibly also an essay;
the essay may be assigned as a take-home question. You will
have listening examples to identify and discuss, and sometimes
also score identifications. On an exam, I do not provide a list of
titles for you to choose from. For the listening and score IDs, be
sure you can identify each example by composer, title, part or
movement of the work, and year of composition. For generic
titles such as Brahmss Symphony No. 4 in E Minor, Op. 98, it is
enough to include Brahms, Symphony and one of the
following: the number 4, the key, or the opus number in the
title. Also be ready to show that you understand the main points
made about the example in class and in the readings. These
points will vary but may include matters relating to form,
harmonic structure or pitch structure, thematic relationships,
text-music relationships, philosophical orientation, biographical
context, or performance practice. I will hand out a review sheet
at least a week in advance of the test.
To do well on exams:
Keep up. Come to class prepared, take notes, and review your
notes afterwards, as you prepare for the next class.
Know the music we are studying. Listen often, at least
sometimes following a score. Understand the main points made
in the reading and in class about each piece. Review.
Some students find it helpful to design a template or form to be
filled in for each piece. Working with a partner or group may
also help.
You must take exams with your own section. Any exceptions to
this rule must be for a compelling reason and must be approved
by me well in advance.
If you must miss an exam for an excellent and legitimate reason,
you must notify me in advance. If I am to give you a make-up
exam, either early or late, you must provide me with written
documentation to justify your absence. Obviously, students

taking an exam either early or late must not discuss it with

others in the course.
Late work:

Late work will be accepted, unless I specify otherwise. The usual

penalty is 5 percentage points for every day late (not every class
period late). I cannot accept late work once I have handed an
assignment back to the class. PLEASE NOTE: No work will be
accepted after the final exam.

Tentative Schedule of Topics and Major Assignments

Please note: Additional reading or listening may be assigned.
Smaller written assignments will be announced in class from day to day.
W Jan 7

Syllabus, introductions; Baroque and Classical

F Jan 9

The Enlightenment; Comic opera

pp. 46290

107 Pergolesi, La Serva Padrona, excerpts

a) Recitative: Ah, quanto mi sta male
b) Aria: Son imbrogliato io
109 Gay, The Beggars Opera, excerpts
a) My heart was so free
b) Were I laid on Greenlands coast
M Jan12

Opera seria, opera reform

pp. 489505

pp. 49098

110 Gluck, Orfeo ed Euridice, excerpt

Short written assignment due
W Jan 14

Instrumental music, forms and style;

The Classical symphony

pp. 499515

113 D. Scarlatti, Sonata in D Major, K. 119

115 Sammartini, Symphony in F Major, I
116 Stamitz, Sinfonia a 8 in E-flat Major, I
F Jan 16

The Classical Symphony, cont.; Haydn

pp. 51734

119 Haydn, Symphony No. 88, Mvts. IIV

M Jan 19

MLK birthday, no class

W Jan 21

The string quartet; Mozart: the piano concerto

118 Haydn, String Quartet in E-flat Major, Op. 33, No. 2
117 J. C. Bach, Concerto for Harpsichord or Piano and Strings
in E-flat, Op. 7, No. 5, I
122 Mozart, Piano Concerto in A Major, K. 488, I

pp. 51517,
53450

F Jan 23

Mozart: other works

123 Mozart, Symphony No. 40, Jupiter, IV
124 Mozart, Don Giovanni, Scenes 1 and 2

pp. 55057

M Jan 26

Beethoven: early and middle period

pp. 55978

125 Beethoven, Piano Sonata in C Minor, Op. 13, Pathtique,

III
126 Beethoven, Symphony No. 3, Eroica, I
W Jan 28

Beethovens late period and legacy

pp. 57885

127 Beethoven, String Quartet in C-sharp Minor, Op. 131, III

F Jan 30___

First exam, through Beethoven_____________

M Feb 2

Romanticism, the Lied

pp. 586606

128 Schubert, Gretchen am Spinnrade, D. 118

129 Schubert, Der Lindenbaum, from Die Winterreise
130 R. Schumann, Im wunderschnen Monat Mai from
Dichterliebe
W Feb 4

The Romantic character piece

pp. 60613

132 R. Schumann, Carnaval: Eusebius, Florestan, Coquette

133 Fanny Hensel, Das Jahr, No. 12: December
F Feb 6

Romantic character piece, cont.

pp. 61321

134 Chopin, Mazurka in B-flat Major, Op. 7, No. 1

135 Chopin, Nocturne in D-flat Major, Op. 27, No. 2
136 Liszt, Trios tudes de concert, No. 3: Un sospiro
M Feb 9

Louis Moreau Gottschalk; Romantic orchestral music

pp. 62139

137 Gottschalk, Souvenir de Porto Rico, Op. 31

138 Berlioz, Symphonie fantastique, Mvt. 5: Dream of a
Witches Sabbath
Essay no. 1 due
W Feb 11

Romantic chamber and choral music

pp. 63952

142 C. Schumann, Piano Trio in G Minor, Op. 17, III

143 Mendelssohn, Elijah, Op. 70, chorus: And then shall your
light break forth
F Feb 13

Early nineteenth-century opera

pp. 65364,
67073

145 Rossini, Il barbiere di Siviglia, aria: Una voce poco fa

148 Weber, Der Freischtz, Wolfs Glen Scene
M Feb 16
F Feb 20

Mardi gras break

M Feb 23

More Italian opera

pp. 66470,

695706
146 Bellini, Norma, from Act 1, Scene 4: Casta diva
150 Verdi, La Traviata, Act III scene and duet
151 Puccini, Madama Butterfly, excerpt from Act 1
W Feb 25

More German opera: Wagner

pp. 67895

F Feb 27

149 Wagner, Tristan and Isolde, Prelude and end of Act 1

AMS-S meeting at Loyola

M March 2

Opera, continued
152 Bizet, Carmen, seguidilla and duet
153 Musorgsky, Boris Godunov, Coronation Scene
154 Sulllian, Pirates of Penzance, Act 2, No. 17: When the
foeman bares his steel

W March 4_

Second exam_____________________

F March 6

Late Romanticism: Brahms

pp. 67377,
70618, 746
52

pp. 71930

156 Brahms, Piano Quintet, Op. 34, I

155 Brahms, Symphony No. 4 in E Minor, Op. 98, IV
M March 9

Late Romanticism: The New Germans and others

pp. 73046,
77887

160 Tchaikovsky, Symphony No. 6 in B Minor, Pathtique,

Op. 74, III
165 Mahler, Kindertotenlieder, No. 1
W March 11

The United States in the 19th century

131 Foster, Jeanie with the Light Brown Hair
163 Sousa, Stars and Stripes Forever
164 Joplin, Maple Leaf Rag

F March 13

TBA

M March 16

The early 20th century: France and Russia

pp. 6036,
67476, 753
61, 77476

pp. 76371,
790811

167 Debussy, Nocturnes, No. 1: Nuages

171 Satie, Embryons desschs: No. 3, de Podophthalma
170 Scriabin, Vers la flame, op. 72
Essay no. 2 due
W March 18

Austria: the Second Viennese School

pp. 81220,
82428

172 Schoenberg, Pierrot Lunaire, Op. 21

a) No. 8: Nacht
b) No. 13: Enthauptung
174 Berg, Wozzeck, Act III, Scene 3
F March 20

Second Viennese School, serialism

173 Schoenberg, Piano Suite, Op. 25

pp. 82023,
82830

a) Prelude
b) Minuet and Trio
175 Webern, Symphony, Op. 21, I
M March 23

Stravinsky

pp. 83040

176 Stravinsky, The Rite of Spring, excerpts

a) Danse des adolescents
b) Danse sacrale
W March 25

Bartk and Ives

pp. 84054

179 Bartk, Music for Strings, Percussion and Celesta, III

180 Ives, General William Booth Enters into Heaven
F March 27

Blues, Jazz, and Musical Theater

181
182
183
184

pp. 85574

Gershwin, I Got Rhythm, from Girl Crazy

Bessie Smith: Back Water Blues
King Oliver: West End Blues, sheet music and transcription
Ellington, Cotton Tail

M March 30
M April 6

Easter break

W April 8

Between the World Wars: the USSR

pp. 87592

188 Prokofiev, Alexander Nevsky, op. 78, cantata

189 Shostakovich, Symphony No. 5, Op. 47, II
F April 10__

Third exam______________________________

M April 13

The American ultramoderns

pp. 892902

193 Cowell, The Banshee

194 Seeger, String Quartet 1931, IV
196 Still, Afro-American Symphony, I
W April 15

World War II and after

pp. 898933

195 Copland, Appalachian Spring, variations on Simple Gifts

197 Parker and Gillespie, Anthropology
201 Messiaen, Quartet for the End of Time, I: Liturgie de
cristal
F April 17

World War II and after, cont.

pp. 92829,
94750

200 Britten, Peter Grimes, excerpt: To Hell with All Your

Mercy
206 Varse, Pome elctronique
M April 20

Chance and indeterminacy

pp. 93345

204 Cage, Music of Changes, Book 1

203 Cage, Sonatas and Interludes for Prepared Piano:

Sonata V
W April 22

New Sounds and Textures; integral serialism

pp. 94557

205 Crumb, Black Angels, excerpts

a) Image 4: Devil-Music
b) Image 5: Danse macabre
208 Penderecki, Threnody: To the Victims of Hiroshima
F April 24

Minimalism and other music since the 1970s

pp. 95892

---- Riley, In C
210 Reich, Tehillim, Part IV
213 Gubaidulina, Rejoice! Sonata for Violin and Cello
214 Schnittke, Concerto Grosso No. 1, II: Toccata
Essay no. 3 due
M April 27

TBA

W April 29

Last class: Century 21

9931009

217 Golijov, La Pasin segn San Marcos

218 Carter, Catenaires
220 Higdon, blue cathedral, opening excerpt
219 Adams, Doctor Atomic, Act I, conclusion, Batter my heart
W May 6

Final exam, 911 a.m. Section 1

Final exam, 11:30 a.m.1:30 p.m. Section 2

10