Dr. Marianne R. Pfau
Camino 173B, x4101, mpfau@sandiego.edu
T/Th: 12:05-2:15, 5:20-5:40
or by appointment
Music
332: Music History III
1830 –
Present (Schubert to
A historical survey of music from the Romantic Era through the Present, offered in a cultural context. We will study composers of Western music and learn how to distinguish their works according to changing style characteristics, shifting esthetic and philosophical perspectives, and changing historical circumstances. Historical study, informed listening and criticism, writing based on library research, analytical writing are central aspects of the course. Music 130 or equivalent are suggested as preparation for this course.
MATERIALS
Text: Craig Wright and Brian Simms. Music in Western Civilization, Vol. III, Schirmer 2005.
Study Guide: Music in Western Civilization, Vol. III, Schirmer 2005.
Notated Listening Examples/Translations: Anthology, Vol. III
Listening Selections: CD set, vol. III.
REQUIREMENTS and Study Hints
As a study routine for this course, it is best to do the assigned readings/listenings once before each class so that you can participate actively in discussions, and to do your in-depth reviewing of the same material right again after class, or on the next day. Delays in listening and reading will not work well for most students.
You should plan on listening to each work we study at least 8 times, in order to be able to recognize and identify each in the tests and exams.
Please bring the anthology to every class session, and be prepared to annotate it as we go through the listening examples in class.
Please give me advance notice of any absences. More than three absences will lower your final grade.
No make-up exams will be given. If you miss an exam for any reason but a documented medical emergency, you loose the points.
Exams and Other Work
for Credit:
There are two Tests, a Mid-term Project, and a Final Exam.
All involve listening, analysis, and essays, but the exact format will be
determined with student input.
On March 3, 2007 there will be a concert visit with 1-page review: Bach Collegium San Diego performs the
inaugural concert of our new “Angelus: Sacred Early Music Concert Series”,
directed by M. Pfau. The review
considers Baroque music as source of inspiration for the composers of the
Romantic Age.
Two further live concert
visits (one of “Romantic Music” and one of “New Music”) round out the grade. Suggested: attendance at San Diego Opera’s
performance of Alban
Berg. Wozzeck, April 14, 17, 20, 22 (matinee).
GRADES
Test 15% 100-93 = A, 92-90 = A-
Research Project 15% 89‑87 = B+, 86‑83 = B, 82‑80 = B-
Mid-term 20% 79‑77 = C+, 76‑73 = C, 72‑70 = C‑
Final 20% 69-67 = D+, 66-63 = D, 62-60 = D-
March 2 Concert + Review 10% below 59 = F
2 Concert Attendances 10%
Participation 10%
Total 100%
Course Outline (subject to change)
Week 1: Jan. 30 and Feb. 1, 2007
1. Franz Schubert
Works for Voices
Chamber, Piano, and Orchestral Compositions
Songs
Franz
Schubert, Erlkönig
Franz
Schubert, Ganymed
Franz
Schubert, Nähe des Geliebten
2. Music in
Musical Culture in
Hector Berlioz, Symphonie
fantastique, 4th movement, “March to the
Scaffold”
Hector Berlioz, “Absence” from Les nuits d’été
Frédéric Chopin,
Nocturne in D_ major, Opus 27, No. 2
3. Leipzig and the Gewandhaus: Felix
Mendelssohn
and the Schumanns
Music in
Felix Mendelssohn, Piano Trio in D minor, Opus 49, 1st
movement
Robert Schumann, Symphony No. 1, 2nd movement
Clara Schumann, “Liebst du um
Schönheit”
Week
2: Feb. 6 and 8
4. German Opera of the Nineteenth
Century: Weber and Wagner
Carl Maria von Weber, Der Freischütz, Act 2,
Wolf’s Glen Scene, concluding section
Richard Wagner, Das Rheingold, Entrance of
the Gods into
5.
Opera in
Gioachino Rossini The
Barber of
Giuseppe Verdi Otello,
Act 4, Sc. 3
Week
3: Feb. 13 and 15
6. Nationalism and Virtuosity: Franz
Liszt
Hungarian Rhapsody No. 15 (Rákóczy March)
Liszt, Wagner, and the New
Music for Orchestra: The Symphonic Poem
7.
Johannes Brahms, Symphony No. 3, 1st movement
Brahms, “Feldeinsamkeit,” Opus 86, No. 2
Anton Bruckner, Christus
factus est
8. Music and
Ballet in Nineteenth-Century
Modest Mussorgsky, Sunless, “Within Four
Walls”
Peter Ilyich Tchaikovsky The
Nutcracker, Act 1, Sc. 8
Week
4: Feb. 20 and 22
Test
1 on Chapters 1-8
9.
Gustav and Alma Mahler
Mahler’s Life
and Music
Gustav Mahler,
“Um Mitternacht”
Gustav Mahler,
Symphony No. 5, 4th movement (Adagietto)
Alma Mahler:
Musician and Muse
Alma Mahler,
“Die stille Stadt”
10.
Elgar and Vaughan Williams
The English
Choir Festivals
Edward Elgar
Enigma
Variations, theme and 9th variation (“Nimrod”)
English Music
after Elgar: Ralph Vaughan Williams
Week
5: Feb. 27 and March 1
11.
Opera in
Puccini, Toscanini, and Verismo
The Opera
Business
The
Claque
Innovations at
La Scala
Arturo
Toscanini
Puccini at La Scala
Madama
Butterfly, Aria, “Dovunque al mondo”
Part II. THE EARLY TWENTIETH CENTURY
12.
New Poetry
Impressionism
in Painting
New Realities:
Claude Debussy
Fêtes
galantes I, “En sourdine”
Images
I, “Reflets dans l’eau”
Nocturnes, “Nuages”
Week
6: March 6 and 8
12. continued
Gabriel Fauré
“Dans
la forêt de septembre,”
Opus 85, No. 1
The Spread of Debussyism: Lili Boulanger
Lili Boulanger, Clairières
dans le ciel, “Elle est gravement gaie”
13.
Richard Strauss in
Richard
Strauss
Salome, concluding scene
Strauss and
“Progress”
14.
Music in
Realism in
Russian Art and Literature
Music during
the Silver Age
Sergei
Diaghilev and The
World of Art
The Ballets Russes
Igor
Stravinsky
The
Rite of Spring , Procession of the Sage, The Sage,
Dance of the Earth
The Russian
Revolution
Week
7: March 13 and 15
Mid-term
15 Atonality: Schoenberg
and Scriabin
New Music and
Abstract Art
The Atonal
Style
Piano Piece, Opus 11, No. 1
Pierrot lunaire No. 8, “Nacht (Passacaglia)”
Other Atonalists: Alexander Scriabin
Alexander
Scriabin, Piano Prelude, Opus 74, No. 5
16.
French Music at the Time of World War
I: Ravel and Satie
Maurice Ravel
Le
tombeau de Couperin, Rigaudon
Erik Satie
Sarabande No. 2 for
Piano
World War I
Week
8: March 20 and 22
17.
New Music in
Musical Life
in
Regaining
Control
Igor
Stravinsky and the Neoclassical Style
Octet, “Sinfonia”
(1st movement)
Darius Milhaud
and “The Six”
Saudades de Brazil, “Botofago”
18.
Organizing the
Twelve Tones
Schoenberg’s
Twelve-Tone Method
String Quartet
No. 4, 1st movement
Anton Webern
Symphony, Opus
21, 2nd movement
Week
9: March 27 and 29—Research Projects on Materials from Chapters 19, 20, and 22,
due on April 10, 2007
19.
Musical Theater in
Georg Büchner and Alban Berg, Wozzeck,
Act 3, Sc. 2
Kurt Weill, The
Threepenny Opera, “Ballad of Mac the Knife”
20.
Béla Bartók and
Hungarian Folk Music
Bartók’s Use of Folk Music
Eight Hungarian Folk Songs, “Fekete fo"d”
Concerto for Orchestra, 1st movement
22.
Paul Hindemith and Music in Nazi
Musical Life
under the Nazis
Hindemith’s
Life and Works
Hindemith’s
Theory of the Twelve Tones
Mathis der
Maler, Scene 6, Entrance 3
Symphony Mathis der Maler
Week
10: Easter Break
Week
11: April 10 and 12
23.
Music in Soviet
Sergei
Prokofiev
Musical
Culture in the
Piano Sonata No. 7, 3rd movement
Dmitri
Shostakovich
Shostakovich, Piano Concerto No. 1, 1st
movement
24.
Self-Reliance in American Music: Ives,
Seeger, Nancarrow
Music in
Colonial
Nineteenth-Century
Developments
Charles Ives, Aesthetics
“Charlie Rutlage”
The Unanswered Question
Later Figures:
Ruth Crawford Seeger and Conlon Nancarrow
Seeger, String
Quartet, 3rd movement
Nancarrow, Study 3a for player piano
Week
12: April 17 and 19
25.
American Composers Return from
Copland’s Life
and Music
Copland, Piano Variations
Copland, Appalachian Spring Variations on a Shaker
Hymn
Samuel Barber, Adagio for Strings
Barber, Hermit Songs, “Sea-Snatch”
26.
Tin Pan Alley and the Broadway Musical
The Popular
Song Business
George Gershwin, “The Man I Love”
Broadway Musicals
Rodgers and Hammerstein:
Leonard Bernstein,
Week
13: April 24 and 26
Part 3. CONTEMPORARY MUSIC
After World War II
27.
Reflections on War: Britten, Penderecki, and Others
Richard Strauss, Metamorphosen
Benjamin Britten and the War Requiem, Agnus Dei
Krzysztof Penderecki, Threnody
for the Victims of
28.
Twelve-Tone Music and Serialism after World War II
The
Twelve-Tone Revival
Milton Babbitt
and “Total Serialism”
Babbitt, Composition for
Piano No. 1
Igor Stravinsky, Agon Bransle Double
Pierre Boulez, Le marteau
sans maître , “L’artisanat furieux”
Week
14: May 1 and 3
29.
Alternatives to Serialism:
Chance, Electronics, Textures
Chance Music:
John Cage
Cage, Music of Changes, Part 1
Electronic
Music: Edgard Varèse
Varèse, Poème électronique
New Musical
Textures: Olivier Messiaen
Messiaen, “Mode de valeurs et d’intensités”
31.
Music in the 1960s and 1970s: Live
Processes,
Minimalism, Metric Modulations
New Uses of
the Voice: Luciano Berio
and George Crumb
Berio, Circles,
“Stinging Gold Swarms”
Crumb, Ancient
Voices of Children, “¿De dónde vienes?”
Elliott
Carter
Carter, String Quartet No. 2, Introduction and 1st movement
Minimalism:
Steve Reich
Reich, Clapping Music
Week 15: May 8 and 10
32
Returning to the Known: Music of the
Recent Past
Mixing Styles:
György Ligeti
Ligeti, Hungarian
Rock
The
Transformation of Minimalism: John Adams
Adams, Nixon in
Reviving the
Recent Past:
Tower, Fanfare for the Uncommon Woman, No. 1
The
Renaissance Reborn: Arvo Pärt
Music in the
Twenty-First Century – student perspectives
FINAL Exam
May 17, 11 am-1 pm