Clinton Community College
MUSIC 101-- 40C MUSIC APPRECIATION
COURSE SYLLABUS -- Fall, 2010
3 credit hours 3 contact hours
Instructor: Saundra Stortz Class Time: TUES. 6:00-8:45 PM
Office:
Office Hours: Tues. 5:30-5:45pm
M 11-11:30; W 8:30-9:00
Home Phone 561-8573. Leave voicemail or text message. F 9-9:30; and by appt
Email: Saundra K. Stortz
Faculty website. Contains assignments and syllabus : www.clinton.edu/SaundraStortz/
~~~~~ FINAL EXAM – Tuesday, December 14. 6:00 – 8:45 pm ~~~~~
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Course Description: [from College Catalog] Presents a basis of intelligent music listening with a series of listening experiences. Knowledge of music technicalities and information relating to the historical/cultural aspects of music develop sensitivity to the art. A wide variety of music is explored, from ancient through contemporary styles, including representative masterpieces which form an important part of our musical tradition.
Prerequisites: No prerequisites.
Required Textbook and Supplies
Publisher: Plume/Penguin (August 28, 2007). Cover price $15.00.
5. Optional: 3-ring Binder for portfolio. (1-inch or 2-inch) for gathering your note taking and
handouts, NY Times reports, weekly discussion question sheets, and graded assignments.
You will want to keep these organized.
Attendance
Attendance is taken in every class. You are expected to attend all classes.
Arriving late or leaving early will be marked as 1/2 absence.
Course Objectives: Upon successful completion of this course students will be able to:
General Education objective.
Students will demonstrate knowledge of the conventions and methods of at least one of the humanities in addition to those encompassed by other knowledge area required by the General Education program.
HOW TO PASS THIS COURSE AND GET THE GRADE YOU DESERVE
· Attend class on time and take thorough notes.
· Review handout notes and music played in class between classes.
· Submit all work on or before its scheduled due date. Late work loses grade points.
· Submit all ten NY Times article reports.
· Read assigned text pages and submit completed worksheets.
· Submit Orchestral Instrument research report.
· Attend a suitable live concert and submit a report.
· Take the weekly quizzes and the midterm and final exams.
COURSE POLICIES
Email account.
Use your
communicate with students during the
week between classes.
MISSED CLASSES AND LATE WORK
You
are responsible for locating and printing worksheets from my faculty website
for a
missed class.
Late assignments may be accepted, but grade points will be deducted. Deadlines are a
fact of real life. If you expect to earn
an A, B, or C+ in this course, get your work in on time.
Save all your work carefully on your
computer and back up your work for college classes on flash drives /
floppy disks to avoid having to recreate assignments.
No makeups are allowed on weekly in-class quizzes. You will receive a “0” for those points.
Students who miss more than two
classes will automatically be withdrawn
from the course
and be assigned a grade of W. This could affect your financial aid and
should be avoided
by all means possible. By college policy, a student missing more
than 15% of classes may
be removed from the class at the
discretion of the instructor.
CLASSROOM COURTESY
WRITTEN ASSIGNMENTS AND METHODS OF EVALUATION
Weekly New York Times article reports. 15 % of grade
· Reports will be graded on a scale of 10 points to 1 point, based on completeness of the summary, demonstration of understanding of the information, and insightfulness of personal commentary.
· The average of your grades for the ten reports assigned will be worth 15% of your grade.
Weekly in-class readings and discussion. 15% of grade
For each
chapter we cover you will be required to read the chapter and fill out a
discussion questions worksheet. This MUST be done PRIOR to the week
it is scheduled. We will discuss these questions as a class. Everyone must
participate in the discussions. The average of your worksheets and
participation will be worth 15% of your grade.
Research Report. 20% of grade
Each student will prepare a documented research paper according to guidelines contained in this syllabus.
The paper will be worth 20% of your
grade.
Live Concert Report. 10% of grade
· Each student is expected to attend a live concert and write a report that demonstrates an understanding of the elements of music, performance factors, audience perception, and repertoire.
· It is your
responsibility to locate a suitable concert.
This report will be worth 10% of your grade.
Quizzes and Exams. 40% of grade
· Weekly quizzes on class lecture material.
· Mid-term and final exam points are weighted double the value of weekly quizzes.
· The average of quizzes and exams will be worth 40 % of your grade.
GRADING SCALE:
A = 93-100 A- = 90-92.99
B+ = 86-89.99 B = 83-85.99 B- = 80-82.99
C+ = 76-79.99 C = 73-75.99 C- = 70-72.99
D+ = 66-69.99 D = 60-65.99
F = 0-59.99 W = Withdrawal
All assignment and quiz sheets are available on my faculty website. It is the student’s responsibility to locate and print these when absent from class.
From the college homepage, www.clinton.edu, click the link to “Faculty Websites.” Find my name and click the Website link. Direct web address is at top of syllabus.
COLLEGE POLICIES
ACADEMIC INTEGRITY:
Academic Integrity is drawn from honesty, trust, fairness, respect, and responsibility. These are the values that must guide all of us both in this class and in our everyday lives. I expect your work and your attitude to live up to these ideals. You should expect the same of yourself.
All students in the course will be required to sign a Pledge of Academic Integrity and to take that pledge seriously.
All Students are expected to behave with academic honesty. It is not academically honest to take credit for another person's work as one's own, to take credit for someone else's words or ideas, to accept help on a test or to obtain advanced information on confidential test materials, or to act in a way that might harm another student's chance for academic success.
A student who does not maintain academic honesty will receive an F, either for the assignment or for the course, depending on the severity of the offense. For a second offense, a student will be dismissed from the College. Humanities Division Policy. Approved December, 1993
Academic Assistance:
If you have, or suspect you may have, any type
of disability or learning problem that may require extra assistance or special
accommodations, please speak to me privately before or after class as soon as
possible so I can help you obtain any assistance you may need to successfully
complete this course. You should also contact Laurie Bethka, Room 420M in
the
DIRECTIONS FOR WRITTEN ASSIGNMENTS
WEEKLY NY TIMES ARTICLE REPORTS. These reports will be one-page papers.
15 % of your overall course grade.
There are ten of these reports assigned over the course of the semester. Check the schedule.
Access the New York Times online.
The New York Times can be read online free. You will need to register to access it, but there is no fee.
http://www.nytimes.com/ You can also read the paper in the library.
When you open the "front page" you will see Sections listed down the left side of the page.
Look for the link to "Music" under the ARTS section.
Read the article.
· Read a current article from the Music Section of the New York Times and submit a one-page report. This information may be discussed in class.
¨ Choose an article about jazz, classical music, or world music or the people involved in these fields. Articles about popular, commercial music will not earn grade points.
¨ Give the title, author, and date of publication.
¨ Read the entire article. Your report summary should include all the information.
Write a summary in your own words.
¨ What information is given? Write a summary.
¨ Give the purpose of the article. Is it an announcement of an upcoming event, a news feature article, or a review? The summary of a review should include the author’s opinion or viewpoint.
Write a critical personal commentary on what you read.
· Write a paragraph of reflective personal commentary on what you have read. This should explain what you think about what you have read and/or what the information means to you or how it enriches your learning in the course.
Your grade for each paper will be based on the quality and completeness of your writing.
Grades will range from 10 – 1 points.
DOCUMENTED RESEARCH REPORT ON ORCHESTRAL INSTRUMENT. Usually 5-7 pages.
20 % of your overall course grade. Check the schedule for due date.
Task:
To find and submit
ten (10) web sites related to ONE instrument you choose to research. You may
choose from any of the instruments used in an orchestra (This excludes
the guitar, the saxophone, and the human voice). You will have two (2) websites for each of
the following categories.
Submission:
Submit this
assignment in both hard copy and as
a computer file. Save it as a .rtf
file (rich text file) or Microsoft Word Document. Email this to me, or put it on a floppy disk
or CD.
Your report will be graded on how well you follow the guidelines for the assignment as well as the quality of your information.
TIPS FOR CORRECTLY COMPLETING
Orchestral Instrument Research Report
On first glance, this assignment looks easy; however, it takes a lot of time to do it well. It is unlike other research reports you have done for other classes.
Should you copy-and-paste the words you find on the webpages? No! Compare what you find on several websites before deciding which to cite as your preferred site. You may read the same things several times. That should serve to make writing your summary less difficult.
HOW TO PROCEED:
First, choose an instrument to research. It should be an instrument found in a standard symphony orchestra. In other words, French horn—yes; zither--no.
HISTORY AND MANUFACTURER CATEGORY
Search for websites about the history and/or manufacturers of your instrument. You will probably find dozens.
From several that you find, choose TWO websites that give information on history and/or manufacturers of your instrument.
Report:
1 .Give the website address.
2. Write a paragraph summary of what you find at each of TWO websites.
3. Write a statement about why you chose this website instead of others you found for this category.
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PERFORMER CATEGORY
Find the names of TWO persons, living or dead, who perform(ed) on your instrument.
Seach for websites about your two performers. The website should be dedicated to your person of choice. For example, if Ronald Reagan played your instrument professionally, find websites about Ronald Reagan.
Report:
1 .Give the website address of performer #1.
2. Write a paragraph summary of what you find at your chosen website.
3. Write a statement about why you chose this website instead of others you found for this performer.
1 .Give the website address of performer #2.
2. Write a paragraph summary of what you find at your chosen website.
3. Write a statement about why you chose this website instead of others you found for this performer.
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COMPOSER CATEGORY
Find the names of TWO persons, living or dead, who composed music featuring your instrument.
Seach for one websites each about your two composers. The website should be dedicated to your person of choice. For example, if John Adams composed music for your instrument, find websites about John Adams. Do not give a website that lists the names of lots of composers.
Report:
1 .Give the website address of composer #1.
2. Write a paragraph summary of what you find at your chosen website.
3. Write a statement about why you chose this website instead of others you found for this composer.
1 .Give the website address of composer #2.
2. Write a paragraph summary of what you find at your chosen website.
3. Write a statement about why you chose this website instead of others you found for this composer.
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REPERTOIRE FOR YOUR INSTRUMENT
Locate FIVE pieces written for your instrument.
Report:
1. List title, composer, and era in which your five pieces were written.
2. Give two websites that you used to find your repertoire.
No statement needed about why your chose websites.
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MAJOR ORCHESTRAS IN THE WORLD
Locate the official websites of two major orchestras in today’s world. These are general orchestras—NOT clarinet orchestras, or an orchestra made up of only your instrument.
(Think about it. If you find a clarinet orchestra, it will be a novelty, but NOT a “Major Orchestra.”)
Report:
1. Give website address for orchestra #1.
2. Write a short summary explanation what you can find at the orchestra’s website. Hint—look through all the page links on the website.
No statement is needed about why you chose the websites. You chose them because they are the official website for the orchestra.
1. Give website address for orchestra #2.
2. Write a short summary explanation what you can find at the orchestra’s website. Hint—look through all the page links on the website.
Rubric for Orchestral Instrument Assignment
5 points Instrument choice is suitable to assignment
10 points Report is complete, with all five categories and two websites given for each.
Report is submitted to instructor in both hard copy and electronic forms. “Electronic” may be by email, flash drive, floppy disk, or CD of file.
10 points Websites for performers and composers are specific to the persons chosen.
30 points All summaries are an overview of website content in student’s own words. They contain correct information and valid opinions.
20 points Each website summary is followed with your criteria explaining why this was the best website choice for its purpose. Your explanations exhibit sound critical thinking processes for determining the value of the information and its importance to student learning.
10 points Url addresses cited are written correctly and can be retrieved by instructor.
Url addresses should be listed with each category, NOT at the end of report.
5 points Repertoire pieces were written originally for the instrument.
10 points Orchestras chosen are major orchestras in the world. Avoid small local orchestras and orchestras made up of only your instrument. Orchestra summaries give a complete overview of all the content pages of the orchestra’s website.
10% of your overall course grade. Usually 3-5 pages.
WRITE A REPORT ABOUT THE PERFORMANCE
Attend one concert of jazz or classical music and submit a descriptive review of the music and its performance. This means you cannot write your report about a rock concert. The music performed should be either jazz or classical music, since these are the two styles of music that are the subjects of this course.
The concert
should be of a high enough quality to give you a performance with enough
technical merit on which to comment.
This means that high school concerts are not acceptable.
If in doubt about the suitability of a concert you plan to attend, check with your instructor.
It is your responsibility to locate a suitable concert performance for this assignment.
Overview:
This report will be a showcase for what you learn in this course. It is not enough to praise the concert or say how much you loved it.
When you review and describe what you hear in the concert, you must include:
Elements of Music. Use terms and language of music to talk about these elements in the pieces played.
Melody
Harmony
Rhythm
Timbre
Dynamics
Historical Period and Composer.
We will study styles of music through the historical development of music. In your report, illuminate the music itself that was chosen for this concert by including information about how the pieces reflect the characteristics of the historical period and the work of the composer.
Your Personal Response to the Concert
During the semester you will examine your personal relationship to the course music.
Use the same techniques to describe and explain your reaction to your concert experience. If you like it, why? If you don’t, why not? The answer must be more than just a personal opinion.
Remember that this is your
RESOURCES FOR THIS COURSE
You will frequently want to seek out musical examples for study during the semester during the semester. You may also want to hear something you read about.
Rhapsody.com
This site offers 25 free downloads per month and has a large inventory of jazz and classical music.
The
Using the
The CCC Naxos License Agreement
Five simultaneous users can access
Every time you log in, you will have one hour of usage before being automatically logged out. After an hour, access just ends with a pop-up, even if you are in the middle of listening to something. It's like a clock timer. The timeout frees up a space and no logout it necessary.
Remember to log out of
How to Access
From the Clinton Community College homepage http://www.clinton.edu/ click the link to the Douglas Library in the
left-hand column.
Click on the Find Articles Online Periodicals
(Databases) link on the Library homepage;
then click on Databases by Format and you will see:
Music
NEW! Naxos Music Library
NEW! Naxos Music Library, Jazz
Login with the username and password you use for navigating all CCC computer uses.
NAME ___________________________________ Current working phone
___________________
Major _______________________ Life goals __________________________________________________________
Do you work (circle one) full-time 25-35 hours a week 10-25 hours a week
*Email address other than campus email_____________________________________________________________
Instrument(s) you play ________________ Could you bring this instrument and
demonstrate?_________
Genres of music you listen to _______________________________________________________________________
Composers whose music you know _______________________________________________________________
Why did you choose to take this course? ________________________________________________
_________________________________________________________________________________
How comfortable are you with opening your mind to grasp new ideas?
Very_____ Somewhat______ Iffy______ Terrified_____
Rate your knowledge of classical music from 1 – 10. ___________ (1=Little knowledge; 10=Expert)
Rate your knowledge of jazz music from 1 – 10. ___________ (1=Little knowledge; 10=Expert)
You are responsible for knowing the policies of this class.
Please place a check next to the items as you go through your syllabus.
_____1. I know what materials I need for this course and will obtain them.
_____2. I have read and understand the attendance policy. I know I am responsible for arranging to obtain any materials or instructions due to any missed classes.
_____3. I have read and understand the policy on assignments, projects, deadlines, due dates, and makeups. I am aware that I must complete every presentation and assignment, on time, to pass this course.
_____4. I understand the necessity of having a working email account, and will check my email regularly during the duration of this course.
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PLEDGE OF ACADEMIC INTEGRITY
I, __________________________________, have read the policy on academic honesty in this course and pledge to abide by this policy in my written assignments and my presentation. All work submitted by me will be my own. I will not plagiarize the thoughts, words, or intellectual property of another person by submitting it as my own. If I am uncertain about my actions in any way, I will consult with my instructor prior to submitting the work.
Signed: __________________________________
Date : ________
Music 101-40C FALL, 2010 Tentative Schedule of Classes and Assignments. Subject to Change.
|
Class Meeting |
Topic |
Music Studied |
Featured Artists and composers |
Read ahead for Discussion IN CLASS. |
Written assignments due |
|
WEEK 1 Aug 31 |
Jazz – Identifying sounds Virtuoso players Rhythm section
|
Bugle Call Rag Heebie Jeebies Blues |
Benny Carter Benny Goodman Louis Armstrong Sidney Bechet |
|
|
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WEEK 2 Sept 7 |
Jazz—soloists and head arrangements Syncopation. Riffs Form,Meter, & Blues Swing Style
|
Now’s the Time
Blue Rondo a la Turk Every Tub Jumpin at the Woodside |
Charlie Parker
Dave Brubeck Count Basie |
Chapter 1. pp. 13-29 |
New York Times report #1 |
|
WEEK 3 Sept 14 |
Jazz—Popular song form The vocal line Pianists
|
Take the “A” Train Serendipity
Strange Fruit Without Your Love Where or When Blue in Green |
Duke Ellington Rebecca Coupe Franks
Billie Holiday Lester Young Errol Garner Bill Evans
|
Chapter 1. pp. 29-41 |
New York Times report #2 |
|
WEEK 4 Sept 21 |
Jazz—Sidemen of Rhythm section Brass improvisation masters Bebop Style |
Night in Dizzy Atmosphere------- Air Conditioning Goose Pimples
Someday My Prince Will Come What Is This Thing Called Love?
|
Dizzy Gillespie Gerry Mulligan Bix Beiderbecke Miles Davis Clifford Brown |
Chapter 1. pp 41-55 |
New York Times report #3 |
|
WEEK 5 Sept 28 |
Jazz—Straight-ahead jazz Modal jazz Early piano styles: ragtime, stride, boogie woogie Modern piano masters of bebop, atonal, fusion Cool Jazz Style Fusion Style
|
Sporting House Rag Boogie Woogie Tea for Two East of the Sun Harlequin
Cool Mix Desafinado Take Five
Birdland |
Jelly Roll Morton Pete Johnson Art Tatum Bud Powell Weather Report
Stan Getz Astrud Gilberto Dave Brubeck
Weather Report |
Chapter 7. pp.193-221 |
New York Times report #4 |
|
WEEK 6 Oct 5 |
MID-TERM EXAM |
Music Industry—Before the Music Dies |
|
|
|
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WEEK 7 Oct 19
|
Classical Terms and Concepts Melody and Meter Theme and Variations |
Capriccio Espagnol, II Kreutzer Sonata, II L’Arlessienne Suite, No. 1, I Symphony No. 7, II |
Rimsky-Korsakov Ludwig von Beethoven Georges Bizet Beethoven |
Chapter 2. |
New York Times report #5 |
|
WEEK 8 Oct 26
|
Symphony Middle Ages
Texture Renaissance Early Instruments |
Symphony No. 7 Beethoven’s Music Chant Fair Phyllis |
Beethoven Michael Tilson Thomas
John Farmer |
Chapter 3 |
New York Times report #6 |
|
WEEK 9 Nov 2 |
Baroque Ritornello form Concerto Baroque opera Basso ostinato
|
Little Fugue in g minor “Spring” I, from Four Seasons Dido’s Lament
Texture exercise Symphony No. 3 |
Johann Sebastian Bach Antonio Vivaldi Henry Purcell
Ludwig Van Beethoven |
|
Research report on Orchestral Instrument |
|
WEEK 10 Nov 9 |
Rondo form Classical concerto
The Violin |
“Every Breath You Take” Rondeau Horn Concerto in Eb M and exercise Violin Concerto / exercise Mao to Mozart The Art of Violin DVD |
Sting Mouret Wolfgang Amadeus Mozart
Johannes Brahms Isaac Stern |
Chapter 4 |
New York Times report #7 |
|
WEEK 11 Nov 16 |
Chamber Music String Quartet Cello/Piano The Orchestra Sonata-Allegro form Classical Opera |
Cello/Piano Sonata VC 1781 Symphony No. 40, I Marriage of Figaro |
Biava Quartet Dimitri Shostakovich Gustavo Dudamel Mozart Mozart |
Chapter 5 |
New York Times report #8 |
|
WEEK 12 Nov 23 |
Romantic Era Program music Romantic Lied Piano Miniatures Post-Romantic |
Symphonie fantastique V Don Quixote The Erlkonig Carnaval: Eusebius/Florestan Symphony / Opera |
Hector Berlioz Richard Strauss Franz Schubert Robert Schumann Frederic Chopin Mahler / Wagner |
Chapter 6 |
New York Times report #9 |
|
WEEK 13 Nov 30 |
Early 20th Century Impressionism Primitivism Serialism |
Prelude to Afternoon of Faun Rite of Spring Pierrot lunaire |
Claude Debussy Igor Stravinsky |
Chapter 8 |
New York Times report #10 |
|
WEEK 14 Dec 7 |
American Masters of 20th Century
Experimentalists
Electronic music |
Fanfare for Common Man Country Band March Tonight quintet 4’ 33” The Banshee Poeme electronique Electric Counterpoint, III |
Aaron Copland Charles Ives Leonard Bernstein John Cage Henry Cowell Edgar Varese Steve Reich |
Chapter 9 |
Live Concert Report |
|
WEEK 15 Dec 14 |
FINAL EXAM Room 125T |
6:00 – 8:45 pm |
|
|
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