University of Wisconsin-Milwaukee
PeckSchool of the Arts, Department of Music
Music 212Lec 401
General History of Western Music (Second Semester), 3 cr
Spring 2018
Dr. Timothy Noonan
Lecture: MF 9:00-9:50 a.m., in MUS 320, from January 22 to May 7
Office: MUS 131, phone 229-2286
E-mail: . When you e-mail me about the course, please put Music 212 in the subject line.
Office hour: Wednesdays at 10:00 to 11:00 a.m., and by appointment.
Teaching Assistant: Victoria Peters, , office hours Wednesdays 1-3p.m. and Fridays 10-11a.m., and by appointment.
Texts: J. Peter Burkholder, Donald Jay Grout, and Claude V. Palisca, A History of Western Music, 9th edition (New York: W. W. Norton, 2014; ISBN 978-0-393-91829-8), which is called “text” in the schedule below; and Burkholder and Palisca, eds., Norton Anthology of Western Music, volume 1 7th edition (New York: W. W. Norton, 2014; ISBN 978-0-393-92161-8) and volume II (ISBN 978-0-393-92165-5). The UWM Bookstore quoted $131.55 for the text new, $90.75 used; anthology vols. 1 and 2 $48.65 new, $33.55 used, each; and the text and anthology vols. 1-3 bundled, $229.20 new, $165.05 used.
Learning Outcomes:
1.To gain a strong foundation in the history of opera from its origins to 1800.
2.To acquire an understanding of the biography, output, musical style, and influence of J. S. Bach, Haydn, Mozart, and Beethoven.
3.To understand the historical origins and development of the principal instrumental genres of the Baroque and Classical periods, especially sonata, concerto, symphony, and the forms of chamber music.
4.To gain a thorough understanding of the Classical forms, especially sonata form.
5.To grow in sophistication in writing and research in music history.
Readings: Readings in the Burkholder textbook are listed in the schedule. You should read the pages cited during or before the week in question; it would be wise to read ahead when you have time. The readings are meant to reinforce the content of the lectures: the more you know before a lecture, the more you will learn from it.
Listening assignments: Use your pass code to obtain access to the recordings. Keep up with your listening; if you try to learn all the music soon before an exam you will likely not do well. We will listen to some, but not all, of the required music in class. I recommend that you mark your scores (in pencil) with the points we make about each piece; then it will be easy to recall them as you listen outside class and prepare for exams.
Written assignments: You will be required to write two short papers (about 4 pages each): 1) a paper that addresses a topic in the life and/or work of Johann Sebastian Bach, and 2) a paper that makes historical as well as structural and stylistic observations about a work by Haydn, Mozart, or Beethoven. In both cases, you should expect to combine your own observations, analyses, etc., with ideas that you derive from your reading. Footnotes and bibliography are required in each paper, each in accordance with the formats given in the Writing Guidelines. The quality of your writing and research, as well as your ideas, will count in your grade.
D2L Assignments: Units on D2L start each Friday at 9.00 a.m. (class start time) and end the following Friday at 9.00 a.m. (class start time).
Dropbox Assignments are based on each unit's readings. Please consult textbook chapters/page numbers assigned for each unit when completingweekly Dropbox Assignments. Your answers will be graded based on textbook content in addition to lecture material.
Please copy/paste questions into a Word document, type your response directly below,and submit in assigned Dropbox folder.
Please do not email your assignments to instructor or TA. All Dropbox Assignments are to be submitted via assigned Dropbox folder only.
There will be a 10% penalty for lateD2L assignment submissions. If possible, please email TA ahead of time if you foresee any unavoidable circumstances preventing you from submitting work on time. No late submissions will be accepted after Thursday, May 10, 2017 at 11:59 p.m.
For all D2L-related issues, please con
tact the TA Victoria Peters ()
Time Commitment: The student should commit three hours weekly for the lectures and online discussion and approximately six hours each week in reading, listening, score study, and outside assignments. This is, of course, an estimate and will vary from week to week.
Accommodations: If you require special accommodations, please see the instructor as well as the Accessibility Resource Center, Mitchell Hall room 112 (
Exam: There will in-class final exam during exam week. There is no mid-term. If you are taking this course, you must take the final exam at the scheduled time; if you cannot be here for the final exam, please do not take the course.
Discussion: Class meetings will consist of lecture, listening, and discussion. You should always expect to speak up in class, ask and answer questions, and share your ideas.
Attendance: Attendance is mandatory and worth 10% of the final grade. Students are asked to sign in at each meeting. The instructor on an individual basis excuses absences. Excused absences are granted for illness, family emergency, or personal exigencies. Address e-mails pertaining to attendance to Victoria Peters (). Each unexcused absence will lower your grade by 5 percentage points. If you attend regularly, your attendance grade will be 100. If you fail to appear in class (or contact us to explain your absence), it will be lowered. In other words, irresponsibility is penalized, but illness and other emergencies are not. We will take attendance at each class meeting using a sign-in sheet.
Grading: This is the breakdown of your grade:
weekly online work25%
Bach paper20%
Classical paper20%
final exam25%
attendance10%
Grading Scale:
A 93-100B- 80-82D+ 67-69
A- 90-92C+77-79D 63-66
B+ 87-89C73-76D- 60-62
B 83-86C-70-72F 0-59
Fractions between, e.g. 82.4, are rounded to the closest integer.
What is copyright?
Copyright is a form of protection provided by the laws of the United States (title 17, U.S. Code) to the authors of “original works of authorship,” including literary, dramatic, musical, artistic, and certain other intellectual works. This protection is available to both published and unpublished works. Section 106 of the 1976 Copyright Act generally gives the owner of copyright the exclusive right to do and to authorize others to use their materials. You must get permission to use copyrighted original works of authorship if you plan to make your project available to the public in any way. For more on gaining permission see:
University Policies:
If you will need accommodations in order to meet any of the requirements of this course, please see the instructor as soon as possible. University Policies governing the conduct of this and other UWM courses can be found at:
Protecting your hearing
Student-Hearing-Protection_Guide.pdf
Students with disabilities
Religious observances
Students called to active military duty
Incompletes
Discriminatory conduct
Academic misconduct
Complaint procedures
Grade appeal procedures
Firearms and dangerous weapons
Final examination policy
Weather - Class cancellationssee UWM Home Page or call 414 229-4444
Semester Schedule
January 22: course introduction, some review from the first semester
Unit 1: January 26 29
topics: new ideas c. 1600, music of the early Baroque, early opera
text: pp. 292-315
NAWM: 71 Monteverdi, CrudaAmarilli
72 Caccini, Vedrò ‘l mio sol
73 Peri, L’Euridice, excerpts
Unit 2: February 2 5
topics: Monteverdi, Monteverdi’s Venetian successors, cantata, sacred concerto
text: pp. 315-335
NAWM: 74 Monteverdi, L’Orfeo, excerpts
75 Monteverdi, L'incoronazione di Poppea, excerpt
76 Cesti, Orontea, excerpt
77 Strozzi, Lagrimemie
78 Giovanni Gabrieli, In ecclesiis
Unit 3: February 9 12
topics: oratorio, Schütz, Frescobaldi, Lully
text: pp. 336-363
NAWM: 80 Carissimi, Jephte, excerpts
81 Schütz, Saul, was verfolgst du mich, SWV 415
82 Fresobaldi, Toccata no. 3
85 Lully, Armide, exceprts
Unit 4: February 16 19
topics: keyboard music, Purcell, Alessandro Scarlatti
text: pp. 363-382
NAWM: 88 Jacquet de la Guerre, Suite in A minor
89 Purcell, Dido and Aeneas, excerpts
92 Alessandro Scarlatti, Clorivezzosa, e bella
93 Alessandro Scarlatti, La Griselda, excerpt
Unit 5: February 23 26
First Paper (on Bach) due Friday
topics: Corelli, Buxtehude, concerto, Vivaldi
text: pp. 383-422
NAWM: 94 Corelli, Trio Sonata in D major, Op. 3 No. 2
95 Buxtehude, Praeludium in E major, BuxWV 141
96 Vivaldi, Violin Concerto in A minor, Op. 3 No. 6
Unit 6: March 2 5
topic: François Couperin, Rameau
text: pp. 422-435
NAWM:97 Couperin, 25th ordre, excerpts
98 Rameau, Hippolyte et Aricie, excerpts
Unit 7: March 9 12
topics: Johann Sebastian Bach
text: pp. 435-449
NAWM:100J. S. Bach, Prelude and Fugue in A minor, BWV 543
101J. S. Bach, DurchAdams Fall, BWV 637
102 J. S. Bach, Well-Tempered Clavier, book I: Prelude in E-flat minor and Fugue in
D-sharp minor
103 J. S. Bach, Cantata No. 62: Nun komm, der HeidenHeiland
Unit 8: March 16 26
topic: Handel, classical period, Italian opera
text: 449-484
NAWM: 105Handel, Giulio Cesare, excerpt
106Handel, Saul, excerpts
107 Pergolesi, La servapadrona, excerpts
108Hasse, Cleofide, excerpt
Unit 9: March 30, April 2
topic: Gluck, classical forms, keyboard sonata
text: pp. 484-512
NAWM: 110 Gluck, OrfeoedEuridice, excerpt
113 Domenico Scarlatti, Sonata in D major, K. 119
114 Carl Philipp Emanuel Bach, Keyboard Sonata in A major, Wq. 55 No. 4, second
movement
Unit 10: April 6 9
topic: symphony, concerto, Joseph Haydn part I
text: pp. 512-528
NAWM: 115 Sammartini, Symphony in F major, J-C 32, first movement
116 Johann Stamitz, Symphony in E-flat major, first movement
117 Johann Christian Bach, Keyboard Concerto in E-flat major, Op. 7 No. 5, first
movement
118Haydn, String Quartet in E-flat major, Op. 33 No. 2
Unit 11: April 13 16
topic: Joseph Haydn part II, Mozart part I
text: pp. 528-547
NAWM:119Haydn, Symphony no. 88 in G major
120 Haydn, The Creation, excerpt
121 Mozart, Piano Sonata in F major, K. 332, first movement
Unit 12: April 20 23
Second Paper (classical analysis) due Friday
topic: Mozart part II, Beethoven part I
text: pp. 547-567
NAWM:122Mozart, Piano Concerto no. 23 in A major, K. 488, first movement
123 Mozart, Symphony no. 41 in C major, K. 551 (“Jupiter”), fourth movement
124Mozart, Don Giovanni, K. 527, excerpts
125Beethoven, Piano Sonata in C minor, Op. 13 (“Pathétique”), first movement
Unit 13: April 27 30
topic: Beethoven part II
text: pp. 567-577
NAWM:126 Symphony no. 3 in E-flat major, Op. 55 (“Eroica”), first movement
Unit 14: May 4 7
topic:late Beethoven
text: pp. 577-585
NAWM:127 Beethoven, String Quartet in C-sharp minor, Op. 131, first and second
movements
Our final exam will take place on Wednesday, May 16, from 12:30 to 2:30 p.m. in our usual room. Please commit yourself to taking the exam at this time if you intend to complete the course, and do not ask for an alternate exam time.