Music 130: Survey of Music Literature

Fall 2013, MW 1:00-1:50, LeFrak 2205 Friday discussion sections: 9:00-9:50, 10:00-10:50, 11:00-11:50, 12:00-12:50 Instructor: Dr. Samuel Baltimore Email: sbaltimo@umd.edu Office hours: Wednesdays 2:00-4:00 and by appointment, CSPAC 3112 AJ Reitter Email: areitter@umd.edu Office hours: Thursdays, 12:30-3:30 PM, CSPAC 2121 Sections: 101-103, CSPAC 2164 Wendy Bargstadt Email: wbargsta@umd.edu Office hours: Wednesdays, 10:30 AM-12:30 PM, CSPAC 2121 Sections: 104-106, CSPAC 3168 Keila Rone Email: krone@umd.edu Office hours: Thursdays, 12:30-3:30 PM, CSPAC 2121 Sections: 107-109, CSPAC 2200 Official course description: A study of the principles upon which music is based, and an introduction to the musical repertory performed in America today. Useful course description: This course surveys a wide variety of musical styles, genres, and periods. Each week will address one type of music, focusing on how that music is listened to and used now, and how it was listened to and used when it was first created. Students are required to listen to music outside of class, and will learn the skills necessary to become a historically informed listener. Students will also learn to write about music coherently and rigorously. There are no prerequisites for this course. Required reading and listening assignments will be made available on the course ELMS webpage. Grades: Discussion participation: 15% Listening quizzes: 15% Reading responses: 10% Performance responses: 10% Final paper proposal: 10% Midterm: 20% Final paper: 25% TOTAL: 105% Discussion sections, quizzes, and reading responses are each worth one point of your final grade.

Teaching assistants:

Assignments: 1. Weekly listening quizzes: Each week, there will be a brief in-class listening quiz. You will be expected to answer questions about one of the musical examples you have listened to in preparation for class. These quizzes may fall on Mondays or Wednesdays, at any time during the class. 2. Weekly reading responses: Each week, you will write one page in response to questions about the readings assigned for the week. These will be turned in at the beginning of Friday discussion sections, with two exceptions. During the first discussion section, you will do a writing exercise together, and you will turn it in at the end of the section. During Thanksgiving week, discussion sections are cancelled; you will turn in your reading response the following Monday (December 2nd). 3. Performance responses: Twice during the semester, you will attend a performance of live music and report on that performance. One performance should be from the list of performances provided below. The other performance should be selected on your own and approved by your TA or the instructor before it occurs. Performance reports must follow the format laid out by the instructor during lecture. Each report will be worth 5% of your final grade. 4. Final paper proposal: At the beginning of the sixth week of class (October 7th), you will turn in an additional one-page writing assignment. This will be a proposal for your final paper (see below). Your proposal should include a piece of music you want to examine, at least one scholarly source of information relating to that piece, and a draft thesis statement for your paper. You should explain briefly why you are interested in that piece. Your TA will spend an earlier discussion section going over how to craft a proposal. Your piece of music should be drawn from one of the types of music we study in this class, but it should not be a piece we have already covered extensively. 5. Midterm exam: The take-home midterm exam will begin on Friday, November 8th, at 9:00 AM. It will cover material from the first ten weeks of the class. The format of the exam will be short-answer questions and an essay question. It must be submitted electronically before 1:00 PM on Monday, November 11th. 6. Final paper: Your final paper will consist of a 7- to 10-page essay on a topic of your choice, as indicated in your proposal. It must incorporate two scholarly sources and one popular source, in addition to the musical piece you have selected. You will be graded on your clear thesis statement, your incorporation of acceptable research, your analysis of the musical piece, and your writing proficiency and style. The final paper is due electronically on Friday, December 20th at 5:00 PM. If you have a complete draft ready by Friday, December 13th, you may submit it to the instructor for preliminary comments without a grade. All writing assignments must be double-spaced, in twelve-point font, with one-inch margins. You will lose points if you do not adhere to these guidelines.

Course procedures and policies Decorum: Students are expected to actively participate in both discussions and lectures. It is not possible for students to participate in an acceptable manner while texting, scrolling through Facebook news feeds, doing work for other classes, or otherwise engaging their attention in nonclass-related activities. Students found to be detracting from the class in this manner will be asked to leave and will lose credit from their discussion participation grade. If this becomes a widespread classroom issue, laptops will be banned and students will be expected to take notes by hand. Attendance: Students are expected to inform the instructor in advance of medically necessary absences, and present a self-signed note documenting the date of the missed class(es) and testifying to the need for the absence. This note must include an acknowledgement that (a) the information provided is true and correct, and (b) that the student understands that providing false information to University officials is a violation of Part 9(h) of the Code of Student Conduct. The universitys policies on medical and other absences can be found at: http://www.umd.edu/catalog/index.cfm/show/content.section/c/27/ss/1584/s/1540 Absence due to religious observance will not be penalized, however, it is the students responsibility to notify the instructor within the first three weeks of class regarding any religious observance absence(s) for the entire semester. Unexcused absences will result in a reduction of the discussion participation grade. Each such absence is worth one point on the final semester grade. Academic integrity: The student-administered Honor Code and Honor Pledge prohibit students from cheating on exams, plagiarizing papers, submitting the same paper for credit in two courses without authorization, buying papers, submitting fraudulent documents and forging signatures. Allegations of academic dishonesty will be reported directly to the Student Honor Council: http://www.shc.umd.edu. Students who engage in academic dishonesty in this course will receive no points for the assignment in question, and will be immediately reported to the Honor Council and Office of Judicial Programs for further action. There will be no warnings. Students with Disabilities: The University of Maryland is committed to providing appropriate accommodations for students with disabilities. Students with a documented disability should inform the instructors within the add/drop period if academic accommodations are needed. To obtain an Accommodation Letter prepared by Disability Support Service (DSS), a division of the University Counseling Center, please call 301.314.7682, e-mail dissup@umd.edu, or visit the Shoemaker Building for more information. Copyright notice: Class lectures and other materials are copyrighted and they may not be reproduced for anything other than personal use without written permission from the instructor. Emergency protocol: If the University is closed for an extended period of time, the course will continue, using a distance-learning model. Assignments will be modified at the instructors discretion to suit this format. Exceptions: If special circumstances make it impossible to comply with these policies, those circumstances should be reported to the instructor during office hours to discuss accommodations.

Class schedule: All reading and viewing/listening must be completed prior to class on the indicated day. Week 1 (September 2nd-6th): Introductions Wednesday: Semester mix tape, listening exercise, introductions, logistics Friday: Introductions, practice reading response Week 2 (September 9th-13th): Film scores Monday: Classic Hollywood Reading: The Language of Music: A Brief Analysis of Vertigo, Kathryn Kalinak Viewing/listening: The Atomic Brain Wednesday: Pop music film scores Reading: Whatever happened to great movie music?: Cinma Vrit and Hollywood Film Music of the Early 1970s, Julie Hubbert Viewing/listening: The Graduate Friday: Discussion TBA Week 3 (September 16th-20th): Music videos Monday: Madonna Reading: The Aesthetics of Music Video: An Analysis of Madonnas Cherish, Carol Vernallis Viewing/listening: Cherish, Madonna Wednesday: Guest lecture: Keila Rone Reading: How YouTube Matters, Jean Burgess and Joshua Green Viewing/listening: Gangnam Style, Psy Friday: Paper proposal exercise Week 4 (September 23rd-27th): Musicals Monday: The Golden Age Reading: Tin Pan Alley Songs on Stage and Screen before World War II, Raymond Knapp and Mitchell Morris Viewing/listening: No Business Like Show Business Wednesday: Rock musicals Reading: Excerpts, Raymond Knapp, Judith Peraino, and Elizabeth Wollman Viewing/listening: Hedwig and the Angry Inch Friday: Discussion TBA Week 5 (September 30th-October 4th): Opera Monday: Eighteenth-century opera Reading: Introduction to The Culture of Opera Buffa in Mozarts Vienna, Mary Hunter Viewing/listening: La Nozze di Figaro, Wolfgang Amadeus Mozart Wednesday: Twentieth-century opera Reading: Brittens Bad Boys: Male Relations in The Turn of the Screw, Philip Brett Viewing/listening: Turn of the Screw, Benjamin Britten Friday: Discussion TBA, and questions about paper proposals Paper proposal due at 1:00 PM on Monday, October 7th in class

Week 6 (October 7th-11th): Ballads Monday: Ballads from the British Isles Reading: None Listening: Tam Lin, Steeleye Span Tam Lin, Fairport Convention Wednesday: Nineteenth-century Lieder Reading: Some Thoughts on Erlknig, Edward T. Cone Listening: Der Erlknig, Franz Schubert (sung by Dietrich Fischer-Dieskau) Friday: Discussion TBA Week 7 (October 14th-18th): Blues Monday: Robert Johnson Reading: Thinking Blues, Susan McClary Listening: Cross Road Blues, Robert Johnson Wednesday: Womens blues Reading: It Jus Bes Dat Way Sometime: The Sexual Politics of Womens Blues, Hazel V. Carby Listening: Empty Bed Blues, Bessie Smith and Prove it on Me Blues, Ma Rainey Friday: Discussion TBA Week 8 (October 21st-25th): Motets and Madrigals Monday: Josquin Reading: TBA Listening: Ave Maria, Josquin Des Prez (sung by the Hilliard Ensemble) Wednesday: Monteverdi Reading: The Second Practice, Richard Taruskin and Piero Weiss, eds. Exterior nature and interior affect, excerpt from The Oxford History of Western Music, Richard Taruskin Listening: Cruda Amarilli, Claudio Monteverdi (sung by The Consort of Musicke) Friday: Discussion TBA Week 9 (October 28th-November 1st): Church music Monday: Guest lecture: AJ Reitter Reading: Die Ochsen am Berge: Franz Xaver Sssmayr and the Orchestration of Mozarts Requiem, K. 626 (excerpt), Simon Keefe Listening: Requiem in D Minor, K. 626, Wolfgang Amadeus Mozart (performed by the Academy of Ancient Music) Wednesday: Guest lecture: Dr. Lindsay Johnson Reading: Listening and Vocal Embodiment in Private Devotions by Early Seventeenth-Century Italian Nuns (excerpt), Lindsay Johnson Listening: TBA Friday: Discussion TBA

Week 10 (November 4th-8th): Chant Monday: Greogrian Chant Reading: Melodic Movement, Rhythm and Words, and Gregorian Chant in Notation and in the Mind, Richard Crocker Listening: Ave, generosa, Hildegard von Bingen (sung by Sequentia) Wednesday: Midterm review TAKE-HOME MIDTERM available at 9:00 AM Friday, due by 12:59 PM Monday Week 11 (November 11th-15th): American marching bands Monday: New Orleans Second-Line Bands Reading: None Listening: Who Dat Called Da Police, New Birth Brass Band Wednesday: John Philip Sousa Reading: The March as Musical Drama and the Spectacle of John Philip Sousa, Patrick Warfield Listening: The Stars and Stripes Forever, John Philip Sousa Friday: Technical musical terminology: a basic introduction Week 12 (November 18th-22nd): Electronic dance music Monday: The rhythm of EDM Reading: Slaves to the Rhythm? Using Music, Space, Composition, and the Ideas of the Body, Fiona Buckland Listening: TBA Wednesday: Reading: From 1990s Massives to Raves Death? Forces of Cultural Change, Tammy Anderson Listening: Love Among European Moderns, The Modernist Friday: Final paper outlining workshop Week 13 (November 25th-29th): Symphonies Monday: Beethoven Listening: Symphony No. 3, Eroica, Ludwig van Beethoven (performed by the Berlin Philharmonic) Reading: A. B. Marx, Berlin Concert Life, and German National Identity, Sanna Pederson Wednesday: Guest lecture: Wendy Bargstadt Listening: Symphonie Fantastique, Hector Berlioz Reading: Echoes of the guillotine: Berlioz and the French fantastic (excerpt), Marianna Ritchey NO CLASS FRIDAY

Week 14 (December 2nd-6th): Chamber music Monday: Seventeenth and eighteenth centuries, the dance suite Reading: The Social History of a Groove: Chacona, Ciaccona, Chaconne, and the Chaconne, Susan McClary Listening: Third concert, from Concerts Royaux, Franois Couperin (performed by Le Concert des Nations) Wednesday: Nineteenth century, the piano quartet Reading: Letter from Clara Schumann to Johannes Brahms Quartets (excerpt), Leon Botstein Listening: Piano quartet in G minor, Johannes Brahms (performed by Emanuel Ax, Isaac Stern, Jaime Laredo, and Yo-Yo Ma) Friday: Performance discussion (bring performance responses) Week 15 (December 9th-13th): Cello Monday: Luigi Boccherini Reading: Cello-and-Bow Thinking: the first movement of Boccherinis cello sonata in EMajor, fuori catalogo, Elisabeth Le Guin Listening: Cello sonata in EMajor fuori catalogo, i, Luigi Boccherini (performed by Elisabeth Le Guin and Charles Sherman) Wednesday: Johann Sebastian Bach to Paul Hindemith Reading: None Listening: Suite No. 3 in C Major, BWV 1009, J. S. Bach (performed by Pieter Wispelwey) Sonata for solo cello, Op. 25 No. 3, Paul Hindemith (performed by Janos Starker) Friday: Performance discussion (bring performance responses) Final paper due December 20th at 5:00 PM On-campus concerts (http://claricesmithcenter.umd.edu/calendar): 10/4/13: Miami string quartet 10/11/13: UMD symphony orchestra, Evelyn Elsing plays Schumann cello concerto 10/24/13: Kronos quartet 10/29/13: UMD repertoire orchestra, Andrew Hesse plays Haydn cello concerto 11/2/13: Faculty artist recital: Beethoven, Dvorak, and Britten 11/8/13: Masterclass with Lluis Claret, cello 11/13/13: Pieter Wispelwey, cello 11/18/13: Chamber music showcase 11/20/13: Chamber music showcase 11/24/13: Honors chamber music recital One of your two performance responses must come from this list. Your other performance response must either come from this list or be approved by your TA or the instructor.