MUSIC 101 Telecom (3 CREDITS) Instructor: DR. JOHN CUBBAGE
Music Appreciation Department of Music
Spring Session: 2008 College of Arts and Science
On-line class time: 4:00p.m. – 4:50p.m. Office: T-110, Theater Building
Tuesday Telephone: 791-5377
Office hours to be announced E-mail: jcubbage@ugf.edu
SYLLABUS
l. Purpose of the Course:
Music Appreciation is designed to increase your understanding and thus your enjoyment of music as a listening experience. The course is also concerned with the interaction of music with man’s history and culture since history and culture greatly influence, if not create, the various styles of music, and music in its own unique and effective way reflects the attitude, beliefs and ideals of an age. A comparative study will be made of styles from different historical periods, showing both the similarities and differences between styles and what cultural forces create these differences.
ll. Relationship of Music Appreciation to the University of Great Falls Core Curriculum:
The University of Great Falls states in its current catalogue that “its mission is to provide students with the opportunity to obtain a liberal education for living and for making a living”. To help accomplish this objective, the University designed a core curriculum that responds to four fundamental questions, creating thus four categories. The largest of these questions, to which the other three lead, is “what does it mean to be human?” The category within which there is a three-credit fine arts requirement is “Living and Making a Living,” and, since music is one of the fine arts, Music Appreciation is included among the courses which satisfy the fine arts requirement.
Thus, it is appropriate here to examine what is fine arts, why it is deemed sufficiently important to be a requirement in a liberal education, and why it relates to human nature. Art in the most general sense can be simply thought of as that which is man made, such as a cup for drinking. The notion of fine arts adds the dimension of beauty, so that an object such as a cup can be a source of pleasure beyond its strictly utilitarian function. Thus, the fine arts in general and music in particular are tied in intimately to what it is to be human, representing the aesthetic and creative quality of the human condition.
Creativity has been revered throughout the ages as one of the noblest pursuits of mankind. It would be a drab and dreary world, indeed, if no pleasure could be experienced by making something beautiful or, worst, being incapable of enjoying anything beautiful. And, an institution that purports to offer a liberal education to its students would be remiss in not requiring that its students be exposed to the fine arts as an area of study, to either make something beautiful or to learn to appreciate that which is beautiful. Music Appreciation obviously falls within this latter objective.
lll. Procedure:
Since the course is concerned with music as a sound experience, much of the course work centers upon listening. In addition to assigned reading in the text, and separate study guide, you are expected to listen to the corresponding musical examples in the CD’s that accompany the text. Also, CD’s will be provided for practice in hearing various aspects of music.
lV. Required Texts:
The Enjoyment of Music, Ninth Edition (standard version), by Joseph Machilis and Kristine Fourney.
Study Guide for The Enjoyment of Music, Ninth Edition, by Kristine Fourney.
The CD recordings that accompany the text.
V. Tests, Grading and Attendance:
A Mid-term and Final Examination will be given, counting equally in determining the final grade. Students missing four (4) or more classes will fail the course.
Vl. What does it mean to participate in intellectual inquiry?
The University’s fundamental question “What does it mean to be human?” was addressed in part II of this syllabus, but equally important is the question “What does it mean to participate in intellectual inquiry?” This second fundamental question is addressed in this course by the behavioral objective of developing in students an ability to understand both conceptually and aurally the various elements of music, how they interact to create music, and how they create the stylistic characteristics that distinguish music of one historical style period from another.
Vll. Assessment of the Behavioral Objective of Aural Comprehension
There is a listening section in the mid-term and final exam, each section counting one-fourth of each exam grade. These sections will be graded by the following levels of attainment.
A = Students can recognize most of the characteristics of musical elements heard and can identify nearly all of the music compositions heard. On the final exam students can identify the historical style periods from which unassigned compositions came and name the stylistic characteristics which support this.
B = Students can recognize most of the characteristics of musical
elements heard and can identify most of the musical compositions heard.
C = Students can recognize many of the characteristics of musical
elements heard and can identify over half of the musical compositions heard.
D = Students can recognize some of the characteristics of musical
elements heard and can identify some of the compositions heard.
F = Students cannot recognize the characteristics of musical elements
heard or identify musical compositions heard.
VIII. Academic Conduct:
Cheating, plagiarizing or aiding others to cheat will result in a failure of any paper, assignment or examination involved. See the university catalog for further information regarding academic conduct.
IX. Withdrawal for Class and Incomplete Grades:
Students may withdraw from class within a certain time and, under special circumstances and with permission from the instructor, may receive an incomplete grade. If students wish to do either, they must procure the appropriate form and initiate the process. Consult the university catalogue for the times and conditions of these processes.
X. Organization of the Course: *
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WEEK |
DATE |
SUBJECT |
BASIC READING IN TEXT & CORRELATED LISTENING
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1 |
1/15 |
Tape 1. Introduction to course. The materials of music: melody and rhythm.
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Chapters 1-2 |
|
2 |
1/22 |
Tape 2. The materials of music: Harmony and texture. |
Chapters 3-4
|
|
3 |
1/29 |
Tape 3. Continuation of materials of music: Form, tempo and dynamics
|
Chapters 5-6 |
|
4 |
2/5 |
Tape 4. Musical instruments and ensembles. |
Chapters 7-9
|
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5 |
2/12 |
Tape 5 and Supplement I. Style. Romanticism. Art song. Nineteenth Century piano pieces. Chopin.
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Chapters 10-15, 17-18 |
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6 |
2/19 |
Tape 6. Program music and nationalism. Berlioz and Smetana. Absolute music: The music: The symphony and concerto: Brahms, Dvorak and Mendelssohn.
|
Chapters 21-28 |
|
7 |
2/26 |
Tape 7. Choral music. Opera. Review.
|
Chapters30-33 |
|
|
2/27-2/29 |
MID-TERM EXAM
|
|
|
8 |
3/11 |
Tape 8 and 9. More materials of music: tonality, thematic development And forms of the sonata. Eighteenth century classicism, Chamber music. Mozart.
|
Chapters 37-44
|
|
9 |
3/18 |
Tape 10. The classical symphony. Beethoven. |
Chapters 45-47
|
|
10 |
3/25 |
Tape 11. Beethoven continued. The classical concerto and sonata. Choral music and opera.
|
Chapters 48-51 and Transition I
|
|
11 |
4/1 |
Tape 12. The Baroque period: in general and in music. Baroque opera, Monteverdi, and Purcell.
|
Chapters 58-60 |
|
12 |
4/8 |
Tape 13. The Baroque cantata and oratorio. Bach and Handel. The Baroque concerto. Other instrumental forms and keyboard music. Baroque to Classical.
|
Chapters 61-65 and Transition III.
|
|
13 |
4/15 |
Tape 14 and 15. The Twentieth Century: Impressionism, Debussy, main currents, new elements. Stravinsky, Schoenberg, Berg and Webern.
|
Chapters 66, 68-73
|
|
14 |
4/22 |
Tape 16. Bartok. The American scene: development of American styles. Ives and Copland. New directions and new sounds in music.
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Chapters 74-75 and 80
|
|
15 |
4/29 |
FINAL EXAMINATION |
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*Assignment schedules with more specific instruction will be passed out periodically.
|
Core Requirements for the Bachelor Degree: Fundamental Questions |
Course Behavioral Objectives in Response to Questions
|
|
What does it mean to be human? |
Included in all objectives, but see part II of the syllabus.
|
|
What does it mean to participate in intellectual inquiry?
|
Develop in student the ability to understand aurally the various elements of music, how they interact to create music, and how they create the stylistic characteristics that distinguish music of one historical style period from another. |
Music 101
Music Appreciation (Telecom)
Spring Semester 2008
Instructor: Dr. Cubbage
Schedule of Teleconferences and Assignments
IMPORTANT: All reading should be done before viewing corresponding videotape. All reading, tape viewing, study guide and listening assignment(s) should be done prior to the on-line teleconferences. Read the appropriate chapter(s) in the text before working the corresponding study guide assignments and listening.
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Tuesday January 15 |
Read in textbook “Prelude: Listening to Music Today” and chapters 1 and 2. SG 2.* View Tape 1. Listen to CD for practice in hearing melody and rhythm.
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Tuesday January 22
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Read Chapters 3 and 4. View Tape 2. Work SG 3. Listen to CD for practice in hearing harmony and texture.
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Tuesday January 29 |
Read chapters 5 and 6. View Tape 3. Work SGs 4 and 5.
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Tuesday February 5 |
Read Chapters 7-9. Listen to Benjamin Britten’s “Young Person’s Guide to the Orchestra.” View tape 4. Work SG 7-9. Listen to audio tape for additional practice in hearing the instruments of the orchestra.
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Tuesday February 12 |
Read Chapter 10-15. Listen to Schubert’s “Erlking,” and Schumann’s “And if the Flowers knew.” Work SGs 10, 52, 53 (questions 1-20) and 56 (questions 1 – 10). Read chapters 17-18. Listen to Chopin’s Nocturne in C minor and Prelude in E minor. Work SGs 54 (questions 1-11), 55 (questions 1- 11) and 56 (question 1-10). View Tape 5 and supplement I tape. |
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*SG=Study Guide |
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