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MUS101-40C Course Syllabus and Schedule Fall 2010


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: Stafford Center--313T…Phone 562-4346                 Class Location:  125T

                                                                                        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

EmailSaundra 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

           

  1. This Is Your Brain on Music  by Daniel J. Levitin.   ISBN: 978-0452288522. 

      Publisher:  Plume/Penguin (August 28, 2007).  Cover price $15.00.

  1. NAXOS Music Library online.  Access through CCC website.  Instructions to follow.  Headphones are recommended.
  2. Study disks of course music. 
  3. Jazz and Classical handout packets.  Supplied by instructor.  Bring to every class.

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:

  1. identify the building blocks of sound (pitch, duration, dynamics, timbre) as they pertain to musical works of composers of each era studied;
  2. identify the organizational elements in music (melody, rhythm, meter, tempo, harmony, texture, form) and analyze their use to create an effect for the listener;
  3. demonstrate a basic understanding of music terminology;
  4. demonstrate an awareness of historical and social elements of musical eras and their affect on composers and their style of music;
  5. to identify representative musical works and their composers;
  6. use print, media, and live resources available in the field of music to research a topic of their interest;
  7. listen critically to presentations of music to enhance  understanding and enjoyment of it.

 

 

 

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 CCC campus email address and check this email account routinely.  I frequently
     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

  • Cell phones should be turned off and stored away during class. Texting is not allowed during class.
  • Be on time for class.
  • Leave the room during instruction time only for emergencies. 
  • All assignments should be typed or computer printed.  Hand written work will be accepted only if neat and legible.   There are computer labs in the Main Building, the Library, the Stafford Building
  • Using a laptop to take notes in class is discouraged and must be done with prior instructor approval.
  • 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.

 

 

 

 

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 Academic Assistance Center, for further assistance.



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.

  1. History and/or Manufacturers:
    Find information about well-known makers and/or the instrument's history.  
    Write a paragraph summarizing the content at each website.  Use your own words.                 DO NOT COPY AND PASTE.   This is plagiarism.
    In a separate paragraph tell why your chosen websites are the best you could find for this information.

  2. Famous Performers:
    Locate two different professional performers who play your instrument.  Find the best website dedicated to each performer.  You will have two websites, one for each performer. If your instrument is used in both classical and popular music, you may wish to use one performer in each style.  Your websites should be dedicated solely to the performers you choose.
    Write a paragraph summarizing the content at each website.
    In separate paragraphs tell why your chosen websites are the best you could find for your performers.

  3. Famous Composers:
    Locate two different composers who wrote notable music for your instrument.  Your composers must be different from your performers, even if the person you choose did both.  Find the best website dedicated to each composer.  You will have two websites, one for each composer.
    You are not restricted to any particular period or style. Your websites should be dedicated solely to the composers you choose.
    Write a paragraph summarizing the content at each website.
    In separate paragraphs tell why your chosen websites are the best you could find for your composers.

  4. Repertoire:
    What are the most famous pieces written for your chosen instrument? Submit a list of five famous pieces written for the instrument, and two (2) sites that were sources for the information. Give title, composer, date composed, period of music history.  Here's a site that might help: www.naxos.com.   Locate and listen to one selection and write a few sentences about your personal reaction to the music and use of your instrument.  (If you can’t find the piece on NAXOS, check Media Services in the Library.)

  5. Famous Orchestras:  These should be standard orchestras, with the usual instrumentation. 
    You should submit and comment on two (2) official websites of major orchestras anywhere in the United States or beyond.  Your summary should include information about the orchestra AND an overview of all the information you can find in pages at the websites and their links.  You do not need to tell why these websites are the best choices because they will be the official websites for the orchestras.

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.

ATTEND A LIVE CONCERT OF MUSIC STUDIED IN THE COURSE

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.  Plattsburgh State concerts are often free.  Professional concerts in Burlington and Montreal are also excellent, if you have that opportunity.  Lake Placid, Saratoga or Albany are possibilities. 

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 MusicUse 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 opportunity to show that you can apply the knowledge you gain from this course. 

 

 

 

 

 

 

 

 

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 NAXOS MUSIC LIBRARY, a subscription service provided by CCC.

Using the Naxos Music Library

Clinton Community College has provided the NAXOS Music Library for you, both its classical and jazz collections.  This resource saves you the cost of purchasing study CD’s. 

 

The CCC Naxos License Agreement

Five simultaneous users can access Naxos at any time.  This means that if you try to login when five other people are using Naxos, you will not be able to access the site until one of the five logs out.  You will be most successful at getting into Naxos if you don’t wait until the last day before a listening assignment is due.

 

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 Naxos if you finish before your hour is up to open the usage to someone else.  Just closing the browser won’t do it.

How to Access Naxos
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.

 

Information about You

 

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)

 

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CONTRACT FOR MUSIC 101-40C      Spring, 2010

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

New Orleans Style

 

Bugle Call Rag

China Boy

Heebie Jeebies

Blues

Texas Moaner Blues

Benny Carter

Benny Goodman

Louis Armstrong

Sidney Bechet

 

 

 

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 Tunisia

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

 

 

 

 

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

Arnold Schonberg

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