MUSIC 30: INTRODUCTION TO THE HISTORY OF MUSIC (Fall, 2014)

Section 601 Th 5:30 to 8:30 P.M. Music Building, room 210

Instructor: Lloyd Frank
Office: Van Pelt-Dietrich Library, 4
th
floor, room 451
Hours: Thursday, 4:00-5:00 PM, and by appointment
Phone: 898-7544; Home: (610) 622-8045
Email: lfrank@sas.upenn.edu

COURSE OBJECTIVES:

This is a course for music lovers from all backgrounds, whether with or without technical training or a background in
performance. Our main business will be to explain what happens when you listen to music. You will learn much about
the different sounds and meanings of music in history, and you will also learn to focus your attention and become an
active listener. This will in turn help you to articulate your responses to music. All of these skills together will enable
you to enjoy and understand new pieces and new kinds of music in the future.

TEXTBOOK: (REQUIRED)

Joseph Kerman and Gary Tomlinson, Listen, Seventh edition, (Boston and New York: Bedford/St. Martins, 2012).
Copies are available for purchase from the Penn Book Center, located at 130 South 34
th
Street (between Sansom and
Chestnut Streets.

RECORDINGS: (REQUIRED)

The Music 30 listening assignments are found on a six-CD set of recordings. Purchasing the CD set will allow you to
exploit the full range of resources of Listen Online, which includes interactive listening charts that work with the CDs.
(The site also includes a web study guide, review materials, self-tests, web links, and a hyperlinked glossary.) See
http://www.bedfordstmartins.com/listen. Copies are available for purchase from the U Penn Book Store. Copies of the
CDs are also on reserve in the Eugene Ormandy Listening Center, which is open during the following hours:
Monday-Thursday: 8:45 AM to 10 PM
Friday: 8:45 AM to 5 PM
Saturday: 12 noon to 5 PM
Sunday: 12 noon to 10 PM

READING AND LISTENING ASSIGNMENTS:

Attached to this syllabus you will find a detailed list of the reading and listening assignments for each week of the
course. Those compositions to be studied in detail will be marked with an asterisk in the list of assignments. Other
compositions will be of secondary interest only. In general, you will want to familiarize yourself with these secondary
works by reading about them and listening to them while following the listening guides and texts, but you will not be
expected to know them in as much detail as you will the compositions of primary importance.

ATTENDANCE:

Regular class attendance is important in Music 30. Students are expected to attend all class meetings and to come to
class on time. Please bring your textbook, as we will need to refer to listening diagrams often in our discussion.

EXAMINATIONS:

There will be two midterm examinations and a final examination. All students are required to take all three
examinations. The final examination is cumulative and comprehensive. In addition to these exams, three short quizzes
will be given on the listening materials. You will be asked to identify by title and composer short excerpts from
compositions assigned for listening up to the date of the quiz, and you will answer a few multiple choice questions or
write brief responses to questions about each piece. The dates of the exam and quizzes are given in the calendar.
Calculation of the final course average is as follows: Midterm 1=17%; Midterm 2=21%; Final=24%; Quizzes 1-3(@
3%)=9%; Written Responses=20% (WR1=2%; WR 2=3%; WR 3-5 (@ 5%)=15%); Final Project=9%


WRITTEN RESPONSES (WR):

You will be asked to complete five brief written assignments during the semester. These written responses should be
only one page or so, and are designed for you to engage the music in response to specific questions I pose, which would
be relevant to the material we are discussing that week. More detailed information will be provided as we approach the
due date of the first assignment.

FINAL PROJECT:

The final project will involve critical listening, written responses to questions, and the creation of a brief lesson plan in
which you decide how you would present to a class of general music students an excerpt from the composition under
examination. The music you will work with was composed in the 1970s, and we will need to develop together the
critical apparatus necessary to address it. Therefore, I will make the materials available to you only after we have begun
our exploration of modern music

CALENDAR:

August 28 Introduction & Fundamentals

September 4 Medieval and Renaissance Music
11 WR-1 DUE / Renaissance Music / Baroque Music I
18 Listening Identification Quiz I Baroque Music II
25 CLASS CANCELLED FOR RELIGIOUS OBSERVANCE

October 2 Midterm Examination I / Sonata Form & The Classical Sonata
9 FALL BREAKNO CLASS
16 Classical Symphony, Concerto & Opera
23 WR-2 DUE / Beethoven
30 Listening Identification Quiz II / Early Romantic Music

November 6 WR-3 DUE / Romantic Opera / Late Romantic Music
13 Midterm Examination II / Responses to Romanticism
20 WR-4 DUE / The Early 20
th
Century Music & Modernism
TUESDAY 25 NB: CHANGE OF DAY Listening Identification Quiz III / Alternatives to Modernism
27 THANKSGIVINGNO CLASS

December 4 WR-5 DUE / The Late 20
th
Century / Music in America
FINAL EXAMINATION: Thursday, December 18, 2014, 5:30 to 7:30 P.M.
MUSIC 21 READING & LISTENING ASSIGNMENTS

For Sept. 4: Reading: pp. 3-45 (Ch. 1-5)
pp. 47-61 (Ch. 6)
pp. 65-76 (Ch. 7 up to Motet)

Listening: *Gregorian antiphon: In paradisum [1/1]
*Hildegard of Bingen: Columba aspexit [I/2]
*Bernart de Ventadorn: La dousa votz [I/3]
*Protin: Alleluia. Diffusa est gratia [I/4]
*anon: Sumer Is Icumen In [I/5]
*Machaut: Dame, de qui toute ma joie vient [I/6]
*Dufay: Ave maris stella [I/7]
*Josquin: Kyrie & Gloria from Pange lingua Mass [I/8-9]
*Josquin: Mille regrets [I/10]
*Palestrina: Gloria from Pope Marcellus Mass [I/11]



For Sept. 11: Reading: pp. 77-80 (Ch. 7 conclusion)
pp. 83-97 (Ch. 8)
pp. 101-118 (Ch. 9) skim lightly
pp. 119-127 (Ch. 10 through Vivaldi)

Listening: *Weelkes: As Vesta Was from Latmos Hill Descending [I/12]
*anon: Daphne [I/13]
*anon: Kemps Jig [I/14]
*Gabrieli: O magnum mysterium [I/15]
*Monteverdi: The Coronation of Poppea, excerpt [I/16-17]
*Purcell: Dido & Aeneas, excerpt [I/18-19]
*Frescobaldi: Suite [I/20-23]
*Vivaldi: Violin Concerto in G, op. 4, no. 12 [I/24-26]



For Sept. 18: Reading: pp. 101-118 (Ch. 9) review & read more closely
pp. 127-138 (Ch. 10 conclusion)
pp. 139-153 (Ch. 11)

Listening: *Bach: Brandenburg Concerto no. 5, mvt. 1 [II/1-5]
*Bach: Prelude & Fugue no. 1 from The Well-Tempered Clavier I [II/6-7]
*Rameau: Minuet & Tambourin from Castor et Pollux [II/8]
*Handel: Minuet from the Royal Fireworks Music [II/9]
Bach: Gigue from Cello Suite no. 2 [II/10]
*Handel: La giustizia from Julius Caesar [II/11]
*Handel: Messiah, excerpts [II/12-13]
*Bach: Christ lag in Todesbanden, excerpts [II/14-16]









Please note: Compositions marked with an asterisk (*) beside them are of central importance. All other works are of
secondary importance.
For Oct. 2: Reading: pp. 166-174 (Ch. 13 beginning)
pp. 186-188 (Ch. 14 beginning)

Listening: *Mozart: Symphony no. 40 in G minor, mvt. 1 [II/17-22]
*Lebrun: Piano Sonata in F, op.1, no. 3, mvt. 2 [II/38]




For Oct. 16: Reading: pp. 154-165 (Ch. 12)
pp. 174-185 (Ch. 13 conclusion)
pp. 188-200 (Ch. 14 conclusion)

Listening: *Haydn: Symphony no. 95 in C minor [II/23-37]
*Mozart: Piano Concerto in A, K. 488, mvt. 1 [III/1-5]
*Mozart: Don Giovanni, excerpts [II/39-41; DVD 1-3]




For Oct. 23: Reading: pp. 209-222 (Ch. 15)

Listening:
*Beethoven: Symphony no. 5 in C minor [III/6-20]
*Beethoven: String Quartet in F, op. 135, mvt. 2 [III/21]




For Oct. 30: Reading: pp. 223-237 (Ch. 16)
pp. 238-259 (Ch. 17)

Listening: *Schubert: Erlknig [III/22]
*R. Schumann: Dichterliebe, excerpts [III/23-24]
*C. Schumann: Der Mond kommt still gegangen [III/25]
*Schubert: Moment Musical no. 2 in A-flat major [III/26-29]
*R. Schumann: Carnaval, excerpts [IV/1-3]
*Chopin: Nocturne in F-sharp Major, op. 15, no. 2 [IV/4]
*Berlioz: Fantastic Symphony, mvt. 5 [IV/5-11]




For Nov. 6 Reading: pp. 260-280 (Ch. 18)
pp. 281-290 (Ch. 19 through Mussorgsky)

Listening: *Verdi: Rigoletto, excerpt [IV/12-17]
*Wagner: The Valkyrie, excerpts [IV/18-23]
*Puccini: Un bel di from Madame Butterfly [IV/24]
*Tchaikovsky: Overture-Fantasy, Romeo and Juliet [IV/25-36]
*Musorgsky: Pictures at an Exhibition, excerpts [V/1-4]






Please note: Compositions marked with an asterisk (*) beside them are of central importance. All other works are of
secondary importance.
For Nov. 13: Reading: pp. 290-299 (Ch. 19)

Listening: *Brahms: Violin Concerto, mvt. 3 [IV/37-42]
*Mahler: Symphony no. 1, mvt. 3 [V/5-12]



For Nov. 20: Reading: pp. 305-316 (Ch. 20)
pp. 317-338 (Ch. 21)

Listening: *Debussy: Clouds from Three Nocturnes [V/13-18]
*Stravinsky: The Rite of Spring, excerpt [V/19-25]
*Schoenberg: Pierrot Lunaire, excerpts [V/26-27]
*Berg: Wozzeck, excerpts [V/28-32; DVD 4-5]
*Ives: The Rockstrewn Hills [V/33-34]
Ives: The Unanswered Question [V/35]



For Nov. 25: Reading: pp. 339-355 (Ch. 22)
pp. 356-364 (Ch. 23-part)

Listening: Ravel: Piano Concerto in G [VI/1-5]
*Bartk: Music for Strings, Percussion, and Celesta, mvt. 2 [VI/6-12]
*Copland: Appalachian Spring [VI/13-16]
*Prokofiev: Alexander Nevsky, excerpt [V/36-37]
Webern: Five Orchestral Pieces, no. 4 [VI/17]
*Ligeti: Lux aeterna [VI/18-21]



For Dec. 4: Reading: pp. 364-376 (Ch. 23-end)
pp. 377-392 (skim very lightly); pp. 394-398 (Ch. 24)

Listening: *Varse: Pome lectronique [VI/22]
*Reich: Music for 18 Musicians, excerpt [VI/23-24]
*Saariaho: From the Grammar of Dreams [VI/25-27]
Adams: El Nino, excerpts [DVD 6-8]
Wallace: If You Ever Been Down Blues [VI/28]
Ellington: Conga Brava [VI/29]
Parker: Out of Nowhere [VI/30]
Davis: Bitches Brew [VI/31]
*Gershwin: Prelude no. 1 [VI/32]
*Bernstein: West Side Story, Cool [VI/33-34]









Canvas materials: You will be notified about relevant materials as they become available on our Blackboard site.



Please note: Compositions marked with an asterisk (*) beside them are of central importance. All other works are of
secondary importance.