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MuHL 331: Music History III
From Romanticism to the Present
Fall Semester 2008
Instructor: Prof. Bruce Alan BrownLecture: Tu/Th 10:00-11:20, ASI AUD
Office hours (by appointment):Tu 1:00-2:00, W 3:00-4:00, WPH 304A
Tel.: 213/740-3212 (Dept. Asst.: -3211)
Teaching Assistant: Colleen Carter ()
The purpose and organization of this course will be essentially the same as for MuHL 232, but the nature of the material studied will change greatly by the end of the semester. In place of a fairly well-defined central tradition, more recent music exhibits a fragmentation of styles and forms, and a less coherent picture historically. Thus it will be even more crucial that you keep up with listening and reading assignments, and bring up any areas of misunderstanding, either in office hour or in class.
Required texts (available at the University Bookstore, textswith call number are on reserve or in the reference section in the Music Library); you should already have most of these from MuHL 231/232:
Piero Weiss and Richard Taruskin, eds., Music in the Western World: A History in Documents, revised edition (New York: Thomson Wadsworth, 2008) ML160.M865 2008 ref.
either: Craig Wright and Bryan Simms, Music in Western Civilization(Belmont, CA: Thomson/Schirmer, 2006) (= the full version of the textbook)
or: Craig Wright and Bryan Simms, Music in Western Civilization,vol. 2: The Enlightenment to the Present (Belmont, CA: Thomson/Schirmer, 2006) ML160.W955 2006b v.2
also on reserve: Craig Wright and Bryan Simms, Music in Western Civilization,vol. C: Romanticism to the Present (Belmont, CA: Thomson/Schirmer, 2006) ML160.W955 2006 v.C
and: Timothy Roden, Craig Wright and Bryan Simms, Anthology for Music in Western Civilization, vol. 2: The Enlightenment to the Present (Belmont, CA: Thomson/Schirmer, 2006)
MT6.A575 2006, v.2, ref.
also on reserve: Timothy Roden, Craig Wright and Bryan Simms, Anthology for Music in Western Civilization, vol. C: Romanticism to the Present (Belmont, CA: Thomson/Schirmer, 2006)
MT6.A575 2006, v.C
and: 7-CD set for Craig Wright and Bryan Simms, Music in Western Civilization, vol. 2: The Enlightenment to the Present (Belmont, CA: Thomson/Schirmer, 2006) 11005 v.2
also on reserve: 5-CD set for Craig Wright and Bryan Simms, Music in Western Civilization, vol. C: Romanticism to the Present (Belmont, CA: Thomson/Schirmer, 2006) 11003 v.C
and: SupplementaryScore Anthology(of shorter pieces not included in the Roden/Wright/Simms Anthology). Scores of some longer works may be on reserve separately.
Our basic text will beWright/Simms, which will be useful both for general background (musical, historical and cultural), as well as for analysis of specific works. Reading assignments are given for each lecture, but you should feel free also to browse, including in sections not yet assigned. Note: the textbook is not a substitute for the lectures, on which the exams will primarily be based.
Weiss and Taruskin's anthology of primary writings on music aims to give a more direct feeling for the history of music by presenting the documents themselves, rather than a filtered interpretation of them. You should try to keep ahead of the readings in both this book and the main textbooks.
The choice of pieces has been dictated in large part by the selection offered in the Roden/Wright/ Simms Anthology. These are pieces that history has "canonized" as first-rate examples of their forms and styles. The main advantages to using an anthology are: 1) ease of reference while listening in class, or away from the library, 2) freedom to mark the scores – which you may not do with library scores! – and 3) low cost, compared to what you'd pay for all these scores separately. Bring your anthologyto every class in which we will cover works included there (see schedule below).
Scores of shorter works not included in the published anthology will be in a Supplementary Score Anthology (a custom-publishing text available for purchase in bookstore). Please look ahead in the syllabus and bring this text to any lectures at which we will be studying pieces from it.
Scores of longer works not in either anthologyare on reserve in the Music Library. Most reserve and reference scores may be used in the Music Library only.
To register for this class’s reserves on the Ares system, use the password “Rite” (as in “Rite of Spring”).
SUGGESTED FURTHER READINGS
Source readings (in addition to Weiss/Taruskin):
Oliver Strunk, ed., Source Readings in Music History, rev. edn. by Leo Treitler (New York: Norton, 1998)
ML60 S89 1998 ref.
The new edition of The Oxford History of Western Music:
Richard Taruskin, The Oxford History of Western Music. 6 vols. Oxford and New York: Oxford University Press, 2005. Vol. 3: The Nineteenth Century; vol. 4: The Early Twentieth Century, vol. 5: The Late Twentieth Century. ML160.T18 2005 v. 3-5 ref.
Various Grove dictionaries (in the Music Library's reference section):
Stanley Sadie and John Tyrrell, eds., The New Grove Dictionary of Music and Musicians, revised edn. (London: Macmillan, 2001; online version at
ML100.N48 200 ref.
Stanley Sadie, ed., The New Grove Dictionary of Opera (London: Macmillan, 1992; online version at ML102.O6N5 1992 ref.
H. Wiley Hitchcock, ed., The New Grove Dictionary of American Music (London: Macmillan, 1986)
ML101.U6N48 1986 ref.
Barry Kernfeld, ed., The New Grove Dictionary of Jazz, 2nd edn. (London: Macmillan, 2002; online version at ML102.J3N48 2001 ref.
Online sources of scores:
Classical Scores Library: this is one of the USC Library’s Electronic Resources: go to then click onSelected Resources by Subject, and then Music
International Music Score Library Project:
Free Sheetmusic Library:
See also:
Listening: Assigned listenings are largely available in vol. 2 of the CD set that accompanies the Wright/Simms textbook. Supplemental assigned listenings are available on a class website, accessible with a user i.d. and password (to be given out in class). As a necessary precaution (in terms of copyright), access to the class website is restricted to USC accounts only (i.e., addresses ending in @usc.edu).
For these pieces on the website, you can listen from any computer with an Internet connection and the (free) RealPlayer program on it (the Leavey Library computers are so equipped, as are also those in the computer lab in the basement of Waite Phillips Hall [WPH]); for those pieces for which scores are on reserve, you will need to make a photocopy if you want to listen via the website, since the Music Library's computers are not equipped with RealPlayer. (In any case, you can always listen to such pieces without the scores, referring to lecture notes and handouts.) Stay tuned for further details on Internet listenings in general, and consult the separate sheet of instructions for the website, distributed in class.
Wherever you listen, you should plan a regular schedule of at least two listening sessions per week (or a larger number of shorter sessions), in order to keep up with lectures. Do NOT leave all your listening to just before exam-time! You may also check out the Music Library's regular CDs (for use in the library) of pieces for which these are available (see Homer catalogue). You may also wish to purchase commercial recordings of some of the pieces from the listening list, on your own.
Some pieces we will study are also available via Classical Music Library ( Note that this is restricted to persons with USC e-mail addresses, or using USC’s public computer terminals. Also on this website: The content of the CDs in the Simms/Wright CD anthology is duplicated (though with different performances) in the “Companion to Wright” playlist; click on the “Playlist Folders” tab, then “Themes” in order to find this playlist.
Attendance: Attendance is mandatory, and will be taken most days. You are responsible for all material, whether you were there when it was presented or not. If for some legitimate reason you must miss class, arrive late, or leave early, please inform me in advance (in person, by phone or by e-mail; if I'm not in my office, the phone will ring through to my voice-mail). Unexcused absences or tardiness will cause your grade in the class to be lowered. Legitimate excuses include illness, personal emergencies, or occasional conflicts with master classes or rehearsals of large ensembles, but NOT lessons, or outside gigs.
General expectations: Regardless of educational, linguistic, or national background, all students in this course, are expected to have a good command of spoken and written English. You should come to class prepared to take full and accurate notes on the lectures, and to participate in discussions. If you are having trouble following the lectures, try 1) sitting closer to the front of the room, 2) recording lectures, and 3) getting help outside of class (with one of the teaching assistants, for instance) – either on lecture material, or with English comprehension. But if you are still having trouble, or spending too much time on coursework, after trying these remedies, you should consider dropping the class and waiting to take it until you are better prepared. Please feel free to talk to me or the teaching assistantsabout any problems you are having.
Written work must be neatly typed or computer-printed(double-spaced), and include your name (student identification number is not necessary), the course number, the date the work was submitted, and the title of the assignment. All work must be entirely your own, unless you are specifically instructed to collaborate. See the guidelines on academic integrity (the URL is given below) if you are uncertain as to what constitutes plagiarism, or proper and improper use of sources.
Since this class covers a large amount of material, it is to your advantage to make use of my office hours – not only if you are having problems with the material, but also simply in order to find out on a topic more than can be covered in class, or so that we can become better acquainted. The pieces and information covered in class are only a starting point; don't limit yourself to just that!
The teaching assistant will also be holding office hours (though not always in an actual office). Times and places will be announced in class.
All students enrolled in MuHL 331 MUST have completed, with a passing grade, MuCO 132a-b and MuCO 133a-b, or their equivalents at another institution – as measured by the MuTC Equivalency Exam. Recommended preparation includes MuCO 232a-b and 233a-b.
Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to me as early in the semester as possible. DSP is located in STU 301 and is open from 8:30 a.m. to 5:00 p.m., Monday through Friday; phone: 213/740-0776.
Evaluation:
- 2 midterm exams and a final exam (20-25% ea., at my discretion); these involve definitions and term/person identifications, listening and objective questions, and short essays. Exams are based on lectures, and assigned readings and listenings, and are not cumulative.
- 2-3 short listening/(reading) quizzes (unannounced, but approximately 2-3 weeks before each exam; 5% total). No make-ups are possible; if you miss one of the quizzes due to a verifiable illness or emergency, you may average your scores for the other quiz(zes). NB: I reserve the right to cancel quizzes if we need the time for lecture instead.
- 1 or 2 written assignments (25-30% total), either analytical or historical in nature, on pieces or topics to be assigned; due as announced in class.
- Class participation (+/- 5%): active, productive participation in class discussions, and demonstration of prior acquaintance with assigned readings and listening excerpts, can raise your grade; lack of participation and/or preparation, or disruption of class, will lower it.
THERE WILL BE NO MAKE-UPS FOR EXAMS
except in cases of a verified illness or emergency,
of which I am informed in advance.
THERE WILL BE NO EARLY FINAL EXAM
(these are banned by University regulations)
WRITTEN ASSIGNMENTS ARE DUE AT THE BEGINNING OF CLASS
Do not skip class in order to finish writing or printing a paper. Late papers and any other written work will normally be graded down by one increment (e.g., B to B-) for each day late, except in cases of a verified illness or emergency. If you think you may not be able to meet a deadline, please see me, before it arrives, to discuss your options.
In the event of an emergency, please contact the USC Emergency Information office at 213/740-9233. Students are also encouraged to enroll in USC’s new TrojansAlert system, which allows University officials to contact members of the campus community during an emergency by sending messages (text or voice) to e-mail accounts, cell phones,pagers, BlackBerries, smart phones, and land-line phones; see and also the more general website
The USC Code of Academic Integrity applies to all portions of this course; see summary below, and the pertinent sections of the Student Judicial Affairs website and especially the online publications there “Guide to Avoiding Plagiarism” and “Understanding and Avoiding Academic Dishonesty.”
Academic Dishonesty Sanction Guidelines
Violation / Recommended Sanction for Undergraduates*Copying answers from other students on exam.** / F for course.
One person allowing another to cheat from his/her exam or assignment. / F for course for both persons.
Possessing or using material during exam (crib sheets, notes, books, etc.) which is not expressly permitted by the instructor. / F for course.
Continuing to write after exam has ended. / F for course.
Taking exam from room and later claiming that the instructor lost it. / F for course and recommendation for further disciplinary action (possible suspension).
Changing answers after exam has been returned. / F for course and recommendation for further disciplinary action (possible suspension).
Fraudulent possession of exam prior to administration. / F for course and recommendation for suspension.
Obtaining a copy of an exam or answer key prior to administration. / Suspension or expulsion from the university; F for course.
Having someone else take an exam for oneself. / Suspension or expulsion from the university for both students; F for course.
Plagiarism. / F for course.
Submission of purchased term papers or papers done by others. / F for course and recommendation for further disciplinary action (possible suspension).
Submission of the same term papers to more than one instructor, where no previous approval has been given. / F for both courses.
Unauthorized collaboration on an assignment. / F for the course for both students.
Falsification of information in admission applications (including supporting documentation). / Revocation of university admission without opportunity to reapply.
Documentary falsification (e.g., petitions and supporting materials; medical documentation). / Suspension or expulsion from the university; F for course when related to a specific course.
Plagiarism in a graduate thesis or dissertation. / Expulsion from the university when discovered prior to graduation; revocation of degree when discovered subsequent to graduation.
*Assuming first offense
**Exam, quiz, tests, assignments or other course work.
S C H E D U L E
R=piece in the Roden/Wright/Simmsanthology on reserve)
r=piece in score on reserve in Music Library
S=piece in Supplementary Score Anthology
WS=reading (listed by chapter and/or page numbers) in Wright/Simms textbook
WT=reading (listed by reading number, not page number) in Weiss/Taruskin, Music in the Western World, 2nd edition (2008)
weekdatetopics, readings, assignment
ITu 26 Aug.Nationalism in Eastern Europe and Russia
Listening:R 161Modest Musorgsky (Модест Мусоргский, 1839-1881),”Within four walls” (“В четырех стенах”) from Sunless (Без солнца)
R 162Pyotr Il’ich Chaikovsky (Пётр Ильич Чаиковский, 1840-1893), excerpt (I/8) from The Nutcracker (Щелкунчик, 1892)
Reading:WS Ch. 57 (p. 530),Ch. 59
WT#115, #116, #117
Th 28 Aug.Verdi’s middle and later periods
Listening:SGiuseppe Verdi (1813-1901), scene and aria “Quale d’armi fragor” from Il Trovatore (1853)
R 156Verdi, excerpt (IV/3) from Otello (1887)
Reading:WS Ch. 56 (pp. 525-end)
WT#121
IITu 2 Sept.Realism/verismo in French and Italian opera
Listening:SGeorges Bizet (1838-75), “Séguedille” (I/10) from Carmen (1873-4)
SRuggiero Leoncavallo (1857-1919), aria “Vesti la giubba” (I/4) from I pagliacci (1892)
R 167Giacomo Puccini (1858-1924), aria “Dovunque al mondo” (Act I) from Madama Butterfly (1904)
Reading:WS Ch. 62
Th 4 Sept.Brahms and Bruckner in late-nineteenth-century Vienna
Listening:R 158Johannes Brahms (1833-97), first movement from Symphony No. 3 in F (1883)
R 159Brahms, “Feldeinsamkeit,” op. 86/2 (ca. 1879)
R 160Anton Bruckner (1824-1896), “Christus factus est” (1884)
Reading:WS Ch. 58
WT#119, #120
IIITu 9 Sept.Mahler in fin-de-siècle Vienna
Listening:R 163Gustav Mahler (1860-1911), “Um Mitternacht” (1901)
R 164Mahler, fourth movement from Symphony No. 5 (1902)
Reading:WS Ch. 60
WT#123
Th 11 Sept.Richard Strauss in Munich and Berlin
Listening:rRichard Strauss (1864-1949), Don Juan, op. 20 (1889)
R 173Strauss, final scene from Salome (1905)
Reading:WS Ch. 64
WT#124
F 12 Sept.add/drop deadline
IVTu 16 Sept.Guest presentation on library resources and research techniques
Th 18 Sept.Paris in the Belle époque
Listening:R 169Claude Debussy (1862-1918),“Reflets dans l’eau” from Images (1905)
R 170Debussy, Nuages from Trois Nocturnes (1899)
R 171Gabriel Fauré (1845-1924), “Dans la forêt de septembre” from La Bonne Chanson (1902)
Reading:WS Ch. 63
WT#125
VTu 23 Sept.Russianpost-tonality: Skryabin and Stravinsky
Listening:R 177Aleksandr Skryabin (АлександрСкрябин, 1872-1915), Piano Prelude op. 74/5 (1914)
SIgor Stravinsky (ИгорьСтравинский, 1882-1971), first section of Петрушка (Petrushka, 1911)
Reading:WS Ch. 65, Ch. 66 (pp. 618-end)
Th 25 Sept.Review
VITu 30 Sept.Midterm 1
Th 2 Oct.Russian primitivism: Stravinsky’s Rite of Spring
Viewing in class of Rite with reconstructed original choreography
Listening:R 174Stravinsky, excerpt from Part I of Le Sacre du printemps (The Rite of Spring, 1913)
Reading:WS Ch. 65 (review)
WT#132
VIITu 7 Oct.Ravel and Satie
Listening:R 178Maurice Ravel (1875-1937), “Rigaudon” from Le Tombeau de Couperin (1914-17)
SRavel, excerpt from L'Enfant et les sortilèges (1925)
SErik Satie (1866-1925), “Sonatine bureaucratique” (1917)
Reading:WS Ch. 67
WT#140, #145
Th 9 Oct.Atonality and Expressionism: The Second Viennese School
Listening:R 176Arnold Schoenberg (1874-1951), No. 8, “Nacht (Passacaglia)” from Pierrot lunaire (1912)
R 183Anton Webern (1883-1945), second movement from Symphony, op. 21 (1928)
R 182Schoenberg, first movement from String quartet No. 4, op. 37 (1936)