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Instructor:

MUSIC 15 MUSIC APPRECIATION Winter, 2012 SYLLABUS Sasha Metcalf sasha.metcalf@gmail.com Office: Music 2308 Office Hours: T & R 1-2pm Scott Dirkse (sdirkse@umail.ucsb.edu) Meghan Joyce (meghan.joyce@gmail.com) Emma Levine (ellevine88@gmail.com) Emma McCullough (emccullough116@gmail.com) Rachel Short (rachelshort@umail.ucsb.edu) Office: Music 2240 TR, 11:00 12:15 (Lotte Lehmann Concert Hall) www.gauchospace.ucsb.edu

TAs:

Lecture: Website:

Course Description: This course will equip non-music majors with strategies for listening to music, focusing specifically on repertoire drawn from the Western art music tradition (better known as classical music). In addition to developing the tools to engage with this music, we will explore its history, examining its connection to social and political factors. Major trends from the Middle Ages to the Present will be surveyed. Textbook and Required Materials: Kristine Forney and Joseph Machlis, The Enjoyment of Music: An Introduction to Perceptive Listening, Shorter 11th Edition, New York: Norton & Company, 2011. You have two options for purchasing course materials at the UCSB bookstore: 1) On-line Studyspace Code: comes with a password that grants you access to the ebook (online) version of the textbook; all materials streaming on the internet 2) Studyspace + DVD-ROM Combo: Ebook code (as in option #1) plus a DVD containing mp3s of the recordings, sold together as a package in the bookstore. This would allow you to study the music without having to be connected to the internet. The textbook is on reserve at the Arts Library circulation desk. The audio CDs and Student Resource DVD are on reserve at the Music Service Desk (Arts Library, 2nd Floor). Point Structure: The course will be out of 200 points total. Section Quizzes 20 points (10%) Section Assignments 6 points (3%) Concert Report 10 points (5%) Papers 74 points (37%) Midterm 45 points (22.5%) Final 45 points (22.5%) Grading Scale 194-200 A+ 186-193 A 180-185 A174-179 B+ 166-173 B 160-165 B-

154-159 146-153 140-145 134-139 120-133 0-119

C+ C CD+ D F

Website and E-mail Policies Important materials (assignments, section readings, review sheets, etc) will be posted on our Gauchospace page (www.gauchospace.ucsb.edu). All of your grades for the course will also be posted there. Please check the website and your email daily to ensure that you are keeping up with the online posts. In addition, we cannot accept assignments by e-mail you must submit a paper copy for a grade. The course website may go down at some point. Therefore, you should be prepared for such an occurrence by downloading and saving all documents posted online. Additionally, a small number of recordings required for listening will be available on the course website. They are streaming recordings, which you cannot download, so please prepare accordingly for these few pieces when planning your listening. Attendance and Quizzes Attendance is mandatory at both lectures and sections. The lectures will be your guide to the material for which you are responsible, and there may be material presented in lecture that does not appear in your textbook. You must attend the discussion section in which you are enrolled. Quizzes will be administered in sections. These will prepare the student for the types of questions and material that will show up on the exams. Questions will cover material from lectures, readings, and listening assignments. They will deal with concepts, identification of assigned listening, biographical facts, and cultural details surrounding the compositions. Being late or absent may result in missing a quiz. There will be no make-up quizzes; however, the lowest quiz grade (or one missed quiz) will be dropped at the end of the quarter. Tests A midterm exam will be administered on Tuesday, February 14th and the final exam will take place on Wednesday, March 21st. Both of these exams will be multiple choice with one short-answer question. Please bring a pink, 200 question scantron to both exams. Both exams will be scheduled for 1 hour and 10 minutes. Make-up Exams Make-up exams will only be given for medical reasons with official documentation, and you must notify the instructor before the exam is given. Exams will be given in a different format from the original. Written Assignments Section Assignments: For sections, you might be required to read an article or watch a video; type and bring to section a 200-word response; and be prepared to discuss the assignment in section. The written portion of these assignments will not be accepted late. Papers: This course fulfills a writing requirement, so you should start your papers early, craft them with great care, and hand in well-written, repeatedly edited, and carefully proofread work. Papers are expected to be written at the university level and will be graded accordingly for

both content and style. Detailed instructions for these assignments will be posted on the course website. Song Assignment, due 1/24 (14 points) Paper 1, due 2/7 (30 points) Paper 2, due 3/6 (30 points)

Concert Report: In addition to the essays/papers, you will be required to hand in a short report about your experience watching a live concert. This assignment will not require the same investment of time as the papers. It must, however, be easy to read and free of obvious errors. Required Concert UCSB Arts & Lectures presents Julia Fischer, violin Thursday, February 23rd, 8pm at UCSB Campbell Hall $10 Student Tickets The concert report is due week eight (2/27-3/2) in section. IMPORTANT: You MUST attend this concert. ** If you cannot, you must contact us by Thursday, January 26th. Then, you will be required to attend another concert and write a much more substantial paper about it.**

Handing in Papers / Late Papers All papers must be handed to your TA at the beginning of class. They may not be left in the music department office, slipped under the TAs door, or tacked onto the TA bulletin board. We regret that we cannot accept assignments by email; you must submit a paper copy for a grade. Any paper received after the beginning of class/section on the due date will be considered late and penalized by a reduction of one-third of a letter grade. A further full letter grade reduction will be taken for each additional day a paper is late. (Thus, a paper turned in late on the date it is due which would have received a B will instead get an B-; the same paper turned in the following day would get a C-; on the third day a D-.) If you are struggling with an assignment, contact the instructor or TA for help well in advance of the due date so that we have time to assist you. Guard your Grade! Make a copy of all of your work before you hand it in, and retain the original graded work after it has been returned to you. This will protect you should there be a dispute over whether you completed an assignment.

Academic Conduct Instances of cheating and plagiarism may result in failure of the assignment or exam and, in some instances, the entire course. Additionally, violators will be reported to Office of Judicial Affairs. If there is any question in your mind about whether conduct you are considering is a form of cheating or plagiarism, refrain from doing it or ask the instructor or TA. For example, it is cheating to claim that you have attended a concert (or any part thereof) when you did not; to attempt to learn the questions on a test before you take it; to use any part of another persons work; or to give false information to a teacher or a TA with the hope of gaining an advantage in a course. It is plagiarism to use the words or ideas of any source (including the internet) without full citation. For additional guidance, consult UCSB Campus Regulations, Student Conduct. (http://www.sa.ucsb.edu/regulations/index.aspx?page=conduct) The section on Academic Conduct (Chapter VII, Section A, Paragraph 2) reads as follows. Academic Conduct. It is expected that students attending the University of California understand and subscribe to the ideal of academic integrity, and are willing to bear individual responsibility for their work. Any work (written or otherwise) submitted to fulfill an academic requirement must represent a students original work. Any act of academic dishonesty, such as cheating or plagiarism, will subject a person to University disciplinary action. Using or attempting to use materials, information, study aids, or commercial research services not authorized by the instructor of the course constitutes cheating. Representing the words, ideas, or concepts of another person without appropriate attribution is plagiarism. Whenever another persons written work is used, whether it be a single phrase or longer, quotation marks must be used and sources cited. Paraphrasing anothers work, i.e., borrowing the ideas or concepts and putting them into ones own words, must also be acknowledged. Although a persons state of mind and intention will be considered in determining the University response to an act of academic dishonesty, this in no way lessens the responsibility of the student. NOTE: This syllabus is subject to change. Changes will be posted to the website and/or announced in class.

COURSE SCHEDULESubject to Change!! Week One Section T(1/10)

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Introduction and Class Review Introduction Readings: pp. 9-16, 30-34, 63-66 Course overviewsyllabus explication Materials of Music (Melody, Rhythm/Meter, Form overview, Style Periods) Song Assignment posted on Gauchospace The Middle Ages Sacred Readings: pp. 70-83 Listening: Hildegard von Bingen Alleluia, O virga mediatrix Notre Dame School Gaude Maria virgo The Middle Ages -- Secular Readings: Posted on Gauchospace NOTE: The following piece is NOT on the CD/DVD. You must access it via link on Gauchospace: Raimbaut de Vaqueiras Kalenda maya M: Holiday (No Section) TWRF: Section Assignment 1: Gustavo the Great The Renaissance I Sacred Music Readings: pp. 89-95 Listening: Josquin Ave Maria Palestrina Pope Marcellus Mass, Gloria The Renaissance II Secular Music; Transition to the Baroque: Introduction to Tonality Readings: pp. 96-103, 17-24 Listening: Arcadelt Il bianco e dolce cigno Farmer Fair Phyllis M: Section Assignment 1: Gustavo the Great TWRF: Class Review Musical Instruments, Ensembles, and Concerts Readings: pp.4-8, 43-62 Listening: Britten: The Young Persons Guide to the Orchestra Song Assignment DUE Paper 1 posted on Gauchospace The Baroque I- The Rise of Opera Readings: 106-112; 113-118 Listening: Purcell Dido and Aeneas, Act III:

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Week Three Section T (1/24)

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Recitative, Thy hand, Belinda Aria, Didos Lament Week Four Section T (1/31) M: Class Review TWRF: Section Assignment 2: Authenticity The Baroque II- Sacred Vocal Music Readings: pp. 120-129, 140-144 Listening: Handel Messiah No. 18 Aria, Rejoice greatly Bach Cantata no. 140, Wachet auf (Sleepers, Awake) No. 4: Unison Chorale The Baroque III Secular Instrumental Music Readings: pp. 130-134, 136-139 Listening: Handel Water Music, Alla hornpipe Vivaldi Spring, 1st movement, from The Four Seasons M: Section Assignment 2: Authenticity TWRF: Midterm Review The Classical Era I - Form Readings: pp. 150-154, 155-162, 166-174 Listening: Mozart Eine kleine Nachtmusik I. Allegro III. Allegretto Haydn String Quartet, Op.76, No.3 (Emperor), II Paper 1 DUE The Classical Era II Haydn and Mozart Readings: pp. 182-185, 189-199 Listening: MozartPiano Concerto in G Major, K.453, First Movement Mozart Don Giovanni, Act I, Scene 2 No. 3 Aria, A chi mi dice mai Recitative, Chi la? No.5 Aria, Madamina! M: Midterm Review TWRF: *No Section* Midterm EXAM: ***Bring PINK 200-question Scantron and #2 Pencil*** From Classicism to Romanticism Beethoven and the Symphony Readings: pp. 174-181 Listening: Beethoven Symphony no. 5 I. Allegro

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Week Five Section T (2/7)

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Week Six Section T (2/14) R (2/16)

II. Andante con moto III. Allegro: scherzo and trio IV. Allegro Week Seven Section T (2/21) M: Holiday (No Section) TWRF: Class Review Introduction to Romantic Era and the Song Readings: pp. 204-210, 211-218 Listening: Schubert Der Erlknig R. Schumann In the lovely month of May, A Poets Love Paper 2 posted on Gauchospace The Romantic Piano Readings: 219-226, 248-258 Listening: Chopin Mazurka in B-flat minor, Op.24, No.4 Fanny Mendelssohn Hensel September: At the River, from The Year (Das Jahr) NOTE: The following pieces are NOT on the CD/DVD. You must access them via link on Gauchospace: Liszt La Campanella ________________________________________________________________ Required Concert @ Campbell Hall: Julia Fischer, violin recital 8:00PM Concert Report DUE The War of the Romantics (The Symphony after Beethoven; Program vs. Absolute Music) Readings: pp. 230-235, 246-249, 260-265 Listening: Berlioz Symphonie Fantastique, March to the Scaffold Brahms: Symphony No. 3, third movement Smetana The Moldau Romantic Opera and Nationalism Readings: pp. 235-239, 252-259, 275-278 Listening: Wagner Die Walkre, Act III Ride of the Valkyries Verdi Rigoletto Aria, La donna mobile Quartet, Un d, se ben rammentomi Puccini Madame Butterfly, Act II Aria, Un bel d Class Review Twentieth Century I/Modernism: Impressionism and the Ballet Russes

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Week Eight Section T (2/28)

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Week Nine Section T (3/6)

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Readings: pp. 284-285, 288-293, 295-6, 300-305 Listening: Debussy Prelude to The Afternoon of a Faun Stravinsky The Rite of Spring (excerpts) Paper 2 DUE The Twentieth Century II/Modernism: Atonal Expressionism and the American Avant Garde Readings: pp. 296-298, 306-308, 329-332 Listening: Schoenberg Pierrot lunaire, The Moonfleck Cage Sonata V, from Sonatas and Interludes Section Assignment 3: Who cares if you listen? The Twentieth Century III/ New Directions Readings: pp. 396-399, 420, 423-427 Listening: Copland Appalachian Spring, Section 7 Adams Doctor Atomic, Act II, Scene 3, Chorus: At the sight of this NOTE: The following pieces are NOT on the CD/DVD. You must access them via link on Gauchospace: Philip Glass Knee Play 1 from Einstein on the Beach The Twentieth Century IV/ Experimental, Popular, and Film Music Readings: pp. 367-371 Listening: The Beatles: A Day in the Life Williams Raiders March, from Raiders of the Lost Ark Final Exam Wednesday, March 21st, 12:00 PM

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