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COURSE NUMBER: MUSI 205
COURSE TITLE: Music Appreciation
NAME OF INSTRUCTOR: Wendy Nieuwenhuis
CREDIT WEIGHT AND WEEKLY TIME DISTRIBUTION: credits 3(hrs lect 3 - hrs sem 0 - hrs lab 0)
COURSE DESCRIPTION: This course promotes the enjoyment of music through engaged listening. Through aural analysis of recordings, students will learn to discern the various aspects [physical, psychological, social, ethical, etc.] inherent in music and its aesthetic evaluation. The main forms, genres and styles are introduced and analyzed. Music reading skills are not required.

This course does not fulfil requirements for BMus or BA music majors or minors.
REQUIRED TEXTS: Kerman, Joseph.  Listen. 7th edition
MARK DISTRIBUTION IN PERCENT:
Attendance and Participation 10%
Concert Reports (2@5% each) 10%
First Exam 20%
Second Exam 20%
Written Responses20%
Final Exam 20%
100%
COURSE OBJECTIVES:A course designed to promote the enjoyment of and intelligent listening to music for both the music student and non-music student. Basic reading of music an asset but not required.  This course is designed to help the student:
  • Develop an understanding of the basic elements of music and how composers can use them for different effects;
  • Develop an awareness and knowledge of the variety of styles and forms that have been common in Western Music and to be able to identify some by sound;
  • Become acquainted with representative composers and learn about their personal styles and important contributions;
  • Develop an understanding of changing approaches to musical artistic expression throughout some of music’s history;
  • Learn how music and society interact and how music’s role changed overtime and from place to place.
  • Study selected examples of the creative work and individual styles of several representative composers.
  • Develop a deeper appreciation for music through understanding.
OUTLINE: I. Fundamentals 
  • Assigned Reading: Unit One: Chapters 1-5 (pages 4-41)
  • Assigned Listening:
    •  Joplin Maple Leaf Rag 
    •  Rachmaninov from Rhapsody on a Theme by Paganini  
    •  Schubert From Symphony No. 8 (“Unfinished” Symphony) 
    •  Britten The Young Person’s Guide to the Orchestra 
    •  Beethoven Joy Theme from Symphony No. 9, IV
    •  Schubert String Quartet in A Minor, I  
II. Early Music Overview 
  • Assigned Reading: 
    • Chapter 6 pp.42-48, 54-55; 
    • Chapter 7 pp.64-65, 67(section3)–72; 
    • Chapter 8 pp.82-85, 88-90 (end with Dido and Aeneas)
  • Assigned Listening:
    •  Hildegard von Bingen Plainchant Sequence “Columba aspexit”
    •  Anonymous “Sumer is Icumen In”
    •  Thomas Weelkes Madrigal “As Vesta Was from Latmos Hill Descending”
    •  Purcell “Dido and Aeneas – Thy Hand Belinda/When I am Laid”)
III. The Eighteenth Century 
  • The Late Baroque Period and Baroque Instrumental Music
  • Assigned Reading: Chapters 9-10 (pages 98-134)
  • Assigned Listening:
    •  Vivaldi Violin Concerto in G, La stravaganza II 
    •  Vivaldi Violin Concerto in E, Spring, First Movement
    •  Bach Brandenburg Concerto No. 5, I
    •  Bach The Well-Tempered Clavier, Prelude and Fugue in C Major
    •  Handel Minuet from the “Royal Fireworks Music”
  • Baroque Vocal Music
  • Assigned Reading: Chapter 11 (pages 135-149)
  • Assigned Listening:
    •  Handel Julius Caesar, aria, “La giustizia” 
    •  Handel Messiah, “There were shepherds” & “Glory to God”  
    •  Handel Messiah, “Hallelujah” Chorus 
    •  Bach Cantata No. 4, “Christ lag in Todesbanden” 
  • Music and the Enlightenment; The Symphony and Other Classical Genres
  • Assigned Reading: Chapters 12-13 (pp. 150-180) & Chapter 14 (only pp. 181-195)
  • Assigned Listening:
    •  Mozart Symphony No. 40 in G Minor, I
    •  Haydn Symphony No. 94 in G Major ‘The Surprise’, II
    •  Mozart Piano Concerto No. 23 in A, I  
    •  Mozart Don Giovanni, Act I, “Ho capito” 
    •  Mozart Don Giovanni, Act I, “Alfin siam liberati”
    •  Mozart Don Giovanni, Act I, “Là ci darem la mano”
IV. The Nineteenth Century
  • Beethoven 
  • Assigned Reading: Chapter 15 (pp. 204-217)
  • Assigned Listening:
    •  Beethoven Symphony No. 5 in C Minor, I-IV 
    •  Beethoven String Quartet in F, II
  • Music after Beethoven: Early Romanticism and The Early Romantics 
  • Assigned Reading: Chapter 16-17 (pp. 218-255)
  • Assigned Listening:
    •  Schubert “Erlkönig” (“The Erl-king”) 
    •  R. Schumann Dichterliebe, “Im wunderschonen Monat Mai” 
    •  R. Schumann Dichterliebe, “Die alten, bösen Lieder” 
    •  C. Schumann “Der Mond kommt still gegangen” 
    •  Schubert Moment Musical No. 2 in A-flat 
    •  R. Schumann Carnaval, “Eusebius” and “Florestan” 
    •  Chopin Nocturne in F-sharp, Op. 15, No. 2 
    •  Berlioz Fantastic Symphony, V 
  • Romantic Opera and The Late Romantics
  • Assigned Reading: Chapter 18 (pp. 256-276) and Chapter 19 (only pp. 277-296)
  • Assigned Listening:
    •  Verdi Rigoletto, Quartet, Act III, scene i
    •  Wagner The Valkyrie, Act I, scene i 
    •  Puccini Madama Butterfly, Act II, “Un bel di”
    •  Tchaikovsky Romeo and Juliet, Overture-Fantasy 
    •  Mussorgsky Pictures at an Exhibition
    •  Mahler Symphony No. 1, III (Funeral March)
V. The Twentieth Century and Beyond
  • Assigned Reading: Chapters 20-23 (pp. 302-380)
  • Assigned Listening:
    •  Debussy Clouds (from Three Nocturnes)
    •  Stravinsky The Rite of Spring, Part I (excerpt) 
    •  Schoenberg Pierrot lunaire, No. 8: “Night” 
    •  Berg Wozzeck, Act III, scene iii and iv 
    •  Ruth Crawford Prelude for Piano No.6
    •  Bartók Music for Strings, Percussion, and Celesta, II 
    •  Copland Appalachian Spring
    •  Varèse Poème électronique (excerpt)
    •  Ligeti Lux aeterna  
  • Music in America: Jazz and Beyond 
  • Assigned Reading: Chapter 24 (pages 381-409) 
  • Assigned Listening:
    •  Wallace “If You Ever Been Down” Blues 
    •  Ellington Conga Brava
    •  Parker and Davis Out of Nowhere
    •  Bernstein West Side Story, Meeting Scene
    •  Bernstein West Side Story, “Cool”

Required texts, assignments, and grade distributions may vary from one offering of this course to the next. Please consult the course instructor for up to date details.

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