Berk Schneider

Office Hours: by appointment

Zoom Meeting: https://ucsd.zoom.us/j/95131157582

Meeting ID: 951 3115 7582

Email: bwschnei@ucsd.edu

TA/Grader: Kosuke Matsuda kmatsuda@ucsd.edu 

TA/Grader: Yongyun Zhang yoz011@ucsd.edu 

MUS 4. Introduction to Western Music (4) — Summer Session II 2023

A brief survey of the history of Western music from the Middle Ages to the present will be covered. Much attention will be paid to the direct experience of listening to music and readings that put the music in a historical context. Class consists of asynchronous lectures, write-ups, listening, a paper, and final presentation project.

Introduction & Course Format

Dear all, my name is Berk Schneider. It’s a pleasure to share this course with you over the next 5 weeks. As a D.M.A. candidate in the music department my research focuses on music perception, cognition, and contemporary trombone performance. I’ve had the opportunity of working with musicians and ensembles from around the world. I’ll do my best to give you a glimpse of what Western music has to offer. As always, I’m excited to see what we can uncover in the short time we have together!

In Summer 2023, this course will be taught in a remote format. In general, this means our class will include a series of asynchronously recorded sessions, in addition to learning activities and opportunities to connect with me and other students during office hours. In a remote environment, our time will be consumed in a variety of tasks per week. The only required textbook for this class is A History of Western Music/Burkholder. The ninth edition is available for online reading in canvas files. Music recordings can be found hyperlinked in the weekly schedule and some are also available here: https://ucsd.naxosmusiclibrary.com/

This class will take place asynchronously, which means that you will engage with most elements at your own pace via the modules tab on canvas. You can anticipate the following types of activities in each week of the term:

Comment on ChatGPT and other AI generated material

Incorporating AI into your writing can be beneficial as long as it's used in a wise and ethical way. As the technology continues to develop, keep some things in mind:

1. In general, don't cite AI as a source for your writing since the information it gathers from published or unpublished research on the web is not fact checked or peer reviewed in most cases. Additionally, there's no way to trace the authors of much of this material so AI could be mixing correct and incorrect information (in a way that is not coherent)— causing your grade to drop! In other words, AI is not a credible source of academic research, YET!!! Think back to the younger days of Wikipedia! Your TA's are experts in their fields so they'll be able to help you conduct research the old fashioned way for now. More notes about this on the bottom of syllabus.

2. Don't just go to ChatGPT and say "type me a paper or comment about [subject]..." If you do this you'll receive a 0 with no chance to revise. This type of plagiarism is very easy to spot since your TA's are experts in music. AI isn't yet. Turnitin is now capable of detecting this type of plagiarism. 

3. I think the the best use of ChatGPT at this moment is to use it as a device for checking grammar, spelling, sentence structure, and the organization of your own thoughts while writing. If you want to use it, try to write your thoughts down in your own words. Then run it through ChatGPT, asking the AI to "rewrite" your thoughts. After it does this, don't just copy and paste. Use it to modify your original draft, updating sentence structure and the organization of your writing. If you notice that something could be clearer, adjust it! Keep in mind ChatGPT isn't a perfect writer either! Also, it doesn't really have a human voice. Keep your own voice intact, it's valuable! 

Assignment

Description/Expectations

          Weight

Discussion Board (participation credit)                      

A question will be posted to Canvas each Wednesday. Please provide a thoughtful response with 200-300 words & comment on a peer’s response (100 words) by the following Wednesday (12:00am)

          15%

Paper Draft, Critique, and Reflective Writing

A draft of your final paper will be submitted on the discussion board for peer review in Week 4 by Monday (12:00am). The draft should be 3 pages. In addition, provide 2 paragraphs of critique for a peer’s draft and 2 paragraphs that reflect on your own writing. Did you feel that your argument or perspective was communicated clearly? What can be improved for the final submission? Please refer to paper rubric and They Say I Say !

          15%

Lecture write-ups, Listening Modules, and Readings

Summarize course material/listening in 300 words (due each Friday by 12:00am)

          15%

Final Paper

Please refer to paper rubric (due Wednesday week 5 by 12:00am)

          25%

Final Presentation Project (individual or group)

Please refer to presentation rubric

(due Friday week 5 by 12:00am)

          30%

          100%

A = 90-100%

B = 80-89%

C = 70-79%

D = 60-69%

F = 59%-below

Date

Topics

                          Assignments, videos, and suggested pacing

Week 1 – 08/07

Ancient & Medieval Music

·       Music In Greek Society

·       Plainchant/Gregorian Chant

·       Liturgical Drama

·       Troubadours and Trouvéres

·       Hildegard von Bingen (1098-1179), Pérotin (fl. c. 1160-1230) Guillaume de Machaut (c. 1300-1377),

·       Medieval Musical Instruments

·       Early Monophonic forms & Polyphony

·       Start presentation partner search! (e.g. Discord, Google Slides/doc, Jamboard, Email). Reach out to someone in class. Write your TA if you’d prefer to work individually instead. Reading: Burkholder Ch. 1-6, Dell, Blench, Ultan

·       Lecture/Listening Module Write-up 

·       Hurrian Hymn no. 6, c. 1400 B.C.E. (interpreted by Dr. Richard Dumbrill and played by Michael Levy)

·       Hymn to Nikkal (Hurrian goddess of the moon), written on Sumerian tablets c. 1400 B.C.E.

·       Explanation of Early Western Notation (Punctum, Virga, and Rhombus)

·       Gregorian Chant: Ave Maria, Sequentia, Dies Irae

·       Monophonic Plainchant: Viderunt Omnes

·       Liturgical Drama: Ludus Danielis

·       Richard I, Troubadours and Trouvéres, c. 1190

·       Hildegard von Bingen, Voices of Ascension

·       Pérotin le Grand, Viderunt omes, 1198

·       Guillaume de Machaut, La Messe De Nostre Dame, 1364

Week 2 – 08/14

Renaissance Music

·       Court of Burgundy & French Royal Court

·       Lauda, Frotolla, & Madrigal

·       Guillaume Du Fay (1397-1474), Clément Janequin (1472-1558), Josquin des Prez (c. 1450-1521)

·       Giovanni da Palestrina (1525-1594), Maddalena Casulana (c. 1540- c. 1590), Giovanni Gabrieli (1557-1612), Carlo Gesualdo (1566-1613), Claudio Monteverdi (1567-1643)

·       Renaissance Instruments

·       Protestant-Catholic Confrontation and the Music of the Counter-Reformation

1.      Form presentation project groups/partnerships. Converse with partner about how to tackle the expectations outlined by the project rubric. Write to your TA, listing your partner(s) name(s). Begin discussing research topics, methods, and audience with partner. Use course/external readings, listening, and previous or upcoming lectures. Reading: Burkholder Ch. 7-12, Drummond, Einstein

2.      Discussion Post 

3.      Lecture/Listening Module Write-up 

·       Lauda Novela, Tenor Rebec & Clément Janequin, Congregati sunt (listen for possible influence, he was inspired by many lauda, originally Italian processional songs)

·       Guillaume Du Fay, Ave Maris Stella c. 1440

·       Frottola: Josquin des Prez, Scaramella

·       Madrigals: Maddalena Casulana, Morir non può il mio cuore, Giocanni da Palestrina, Mentre a le dolci e le purpuree labbra

·       Giovanni Gabrieli, O Magnum Mysterium, 1587

·       Claudio Monteverdi, Vespers, Magnificat, 1610

·       Carlo Gesualdo, Già piansi nel dolore, 1613

Week 3 – 08/21

Baroque & Classical Music

·       Early Opera

·       Concert etiquette and style

·       Religious Music in Rome

·       Instrumental music in Italy, Germany, Austria, & Paris

·       Barbara Strozzi (c. 1619-1677), Antonio Vivaldi (1678-1741), Henry Purcell (1959-1695), Élisabeth Jacquet de La Guerre (1665-1729), George Frideric Handel (1685-1759), Johann Sebastian Bach (1685-1750)

·       Age of Enlightenment

·       Birth of the Symphony

·       Keyboard Music

·       Classical and Neoclassical Architecture and Style

·       Ternary Form, Sonata-Allegro, Theme and Variations Form

·       Elisabetta de Gambarini (1730-1765), Joseph Haydn (1732-1809), Anna Amalia (1739-1807), Joseph Bologne (1745-1799), Wolfgang Amadeus Mozart (1756-1791), José Mauício Nunes Garcia (1767-1830)

1.      Meet with presentation group/partner this week and begin to collaborate using Google Slides (or other software) and decide how you will record the presentation asynchronously for submission. Craft your presentation notes/cues and practice your delivery.

2.      Start making an outline for your final individual paper. Which composition or composer will you discuss? How will you fulfill the goals outlined by the paper rubric? Start writing your 3-page draft. Reading: Burkholder Ch. 13-23, Glixon, Ledford

3.      Discussion Post 

4.      Lecture/Listening Module Write-up 

·       Claudio Monteverdi, L’Orfeo, 1607

·       Barbara Strozzi, Lagrime Mie, 1659

·       Henry Purcell, Dido and Aeneas, 1689

·       Élisabeth-Claude Jacquet de La Guerre, Sonata no. 2, 1695

·       George Frideric Handel, Water Music, 1717

·       Johann Sebastian Bach, Toccata and Fugue in D Minor, 1708 — Brandenburg Concerto No. 5, c. 1721

·       Antonio Vivaldi, Four Seasons, 1723

·       Elisabetta de Gambarini, Tambourin, 1748

·       Anna Amalia, Overture to Erwin und Elmire, c. 1773

·       Joseph Bologne, Symphony in G Major, Op. 11, 1779

·       José Mauício Nunes Garcia, Tota Pulchra Es Maria, 1783

·       Wolfgang Amadeus Mozart, Serenade No. 13, 1787 — Piano Sonata, K. 545, 1788 — Requiem, Tuba Mirum, 1791

·       Joseph Haydn, Surprise Symphony, 1791

Week 4 – 08/28

Romantic Music

·       Ludwig Van Beethoven and the Anxiety of Influence

·       Hector Berlioz )1803-1869, Fryderyk Chopin (1810- 1849), Felix Mendelssohn (1809-1847), Robert Schumann (1810-1856), Clara Schumann (1819-1896)

·       Romantic Opera and Nationalism: Richard Wagner (1813-1883) & Giuseppe Verdi (1813-1901)

·       Mid-Romantic: Johannes Brahms (1833-1897), Antônio Carlos Gomes (1836-1896), Pyotr Llyich Tchaikovsky (1849-1893), Gustav Mahler (1860-1911), Juliette Nadia Boulanger (1887-1979)

·       Late-Romantic: Edward Elgar (1857-1934), Amy Beach (1867-1944),

·       Impressionism and transition into the 20^th century, Claude Debussy (1862-1918), Richard Strauss (1864-1948), Maurice Ravel (1875-1937), Florence Price (1887-1953)

1.      Paper draft due! 

2.      Critique peer’s draft & reflection (in lieu of discussion post) Course Reading: Botstein, Burkholder Ch. 24-30, Hart, Straus

3.      Start working on presentation project (if you haven’t already). Organize Google slides/final touches.

4.      Lecture/Listening Module Write-up 

·       Beethoven, Symphony No. 9, 1824

·       Hector Berlioz, Symphonie Fantastique, 1830

·       Clara Schumann, Piano concerto in A minor, 1835

·       Giuseppe Verdi, La Traviata, 1853, “Parigi, o cara”

·       Antônio Carlos Gomes, Il Guarany, 1870

·       Johannes Brahms, Symphony No. 1, 1876

·       Richard Wagner, Parsifal, 1882

·       Tchaikovsky Symphony No. 5, 1888

·       Richard Strauss, Also Sprach Zarathustra, 1896

·       Amy Beach, Symphony in E-minor, 1896

·       Edward Elgar, Enigma Variations, 1899

·       Gustav Mahler, Symphony No. 3, 1902

·       Claude Debussy, La Mer, 1905

·       Maurice Ravel, Bolero, 1928

Week 5 – 08/04

Modern & Contemporary Music

·       Atonality, The Twelve Tone Method, and Serialism

·       Arnold Schoenberg (1874- 1951), Béla Bartók (1881-1945), Alban Berg (1885-1935), Rebecca Clarke (1886-1979), Heitor Villa-Lobos (1887-1959), William Grant Still (1895-1978) Milton Babbitt (1916-2011)

·       Chance Music, Silence Minimalism, Electronic Music, Eco-music, Rise of Latin American & North America Composers

·       Aaron Copland (1900-1990), Alberto Ginastera (1916-1983), George Walker (1922-2018), Mauricio Kagel (1931-2008), Krzysztof Penderecki (1933-2020), John Cage (1912-1992), Sofia Gubaidulina (b. 1931), Joan Tower (b. 1938), Philip Glass (b. 1937), Chinary Ung (b. 1942) Anthony Davis (b. 1951), Kaija Saariaho (b. 1952), Lei Liang (b. 1972)

1.      Listening & Reading: Cage, Boss, Burkholder Ch. 31-36 (no discussion post due this week!)

·       Rebecca Clarke, Violin Sonata, 1919

·       Arnold Schoenberg, Piano Concerto, Op. 42

·       Alban Berg, Wozzeck, 1925

·       Heitor Villa-Lobos, Bachianas Brasileiras No. 2, 1930

·       William Grant Still, Afro-American Symphony No. 1, 1930

·       Béla Bartók, Concerto for Orchestra, 1943

·       Aaron Copland, Appalachian Spring, 1945

·       Alberto Ginastera, String Quartet No. 1, 1948

·       John Cage, 4’33”, 1952

·       Milton Babbitt, Partitions, 1957

·       Krzysztof Penderecki, Threnody of the Victims of Hiroshima, 1960

·       Mauricio Kagel, Two-Man Orchestra, 1973

·       Philip Glass, Einstein on the Beach, 1976

·       Sofia Gubaidulina, Offertorium, 1980

·       Kaija Saariaho, Vent Nocturne, 2006

2.      Final Paper 

3.      Final Presentation Project/Write-up