Music History Intensive
Peabody Institute
Fall 2003
Patrick Warfield
Instructor: Patrick Warfield
Email: pwarfield@mac.com
Phone: 703 799-7850
Office Hours: By appointment
Course Hours: Tuesdays 11:30-1:30 pm
Course Description
Music History Intensive is a one-semester review course for graduate students. Because
of the amount of music (6000 years) we need to cover in just a few weeks, the speed of
this course is very rapid. We will not be able to touch on every composer or every major
piece of music, rather we will focus only on the most salient issues in music history, from
antiquity to the twenty-first century.
Course Objectives
This class has one primary objective, to aid students in reviewing the major issues of
music history. We will not be able to cover everything in class, so students will be
expected to complete the course assignments carefully. By the end of the semester
students should be able to:
1. Recognize and describe the most important genres and musical styles practiced
in Europe and the United States, including the individual styles of several
composers.
2. Place composers, pieces, styles, and genres in an historical time frame.
3. Identify a repertoire of major works.
Course Materials
All students will need to purchase:
1. Claude V. Palisca, ed., Norton Anthology of Western Music, 4th ed. (W.W.
Norton), 2 volumes.
2. Norton Recorded Anthology of Western Music, 4th ed. (W.W. Norton), 2, 6-CD
sets.
All students are advised to buy all of the materials, but if you would like to share the
recorded anthology, you may purchase it in pairs or use the copy in the library. You are
also strongly encouraged, but not required, to purchase Barbara Hanning’s Concise
History of Western Music, 2d ed. (W.W. Norton) and J. Peter Burkholder’s Study and
Listening Guide (W.W. Norton).
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Tips for Succeeding
Students need to be aware that the word “Intensive” appears in the title of this course for
a reason. This is really a two-semester course that should meet twice a week. In order to
help you through your coursework in a timely manner we have shortened the class to one
semester, once a week. This means that each two-hour class period needs to cover four
regular class periods. Students should expect significant assignments for each class
period, and these assignments MUST be completed before the lecture to which they
pertain. Exams will cover not only lectures, but also the materials in the assignments. So,
do not get behind and do not rely only on your notes. If you miss a class period, you have
really missed four, so always get class notes from a colleague. If you have any questions,
do not wait until the exam to ask. Feel free to call or email the instructor as you need
help!
Grading
This course offers a flexible approach to graded work. All together, the various
assignments and tests are worth more than 1000 points. Course grades, however, will be
calculated based on 1000 points equaling 100%. This means two things: that you do not
have to do every assignment and that there is some extra credit available. With this
flexibility comes responsibility. You need to plan carefully. If you miss too many
deadlines it will be difficult for you to get a good grade. You are also responsible for
showing up to tests on the correct dates and for turning assignments in on time. Please
note: NO ASSIGNMENTS WILL BE ACCEPTED AFTER THE DUE DATES,
AND NO MAKE UP TESTS WILL BE OFFERED.
Midterm (400 pts)
Final (400 pts)
Quiz #1 (50 pts)
Quiz #2 (50 pts)
Quiz #3 (50 pts)
Assignment #1 (100 pts)
Assignment #2 (100 pts)
Participation (100 pts)
Participation in class discussion may affect your grade (up or down) by as much as one
full letter.
Reviews
All international students are REQUIRED to attend the review sessions led by Rebecca
Blank and the study groups led by Janice Shannon. Times and places will be announced.
As their work progresses, students may be released from this requirement by the
instructor.
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Exams
Each exam will have several sections. In the first, you will be asked to identify pieces of
music from the listening assignments, either by sound or by sight. You need to be able to
identify any of the works listed on the syllabus that are marked with an asterisk (*). Other
pieces are used simply as examples and you will not have to identify them. You should
be able to provide the full name of the composer, the title of the piece, and the decade of
the work (or as precisely as is known). Titles may take several forms, but must identify
the piece completely. You do not need to identify individual movements within pieces.
You will also be asked about pieces that were not assigned. For these unknown works,
you will be given a score or played a recording, and asked questions about the work.
These questions might include:
who is a likely composer?
what is a likely date?
what musical styles are used in the piece?
what purpose might this piece have served?
what is the genre of this piece?
For each of these questions, you will need to be able to defend your answer.
Finally, you will be given a list of terms and essay topics prior to each exam. You will
then be given a choice from these terms and topics to define or answer. The final is
comprehensive.
Quizzes
Quizzes will look much like shortened exams and are meant to give you some practice
with the types of questions you will encounter on the midterm and final.
Assignments
There are two written assignments for this course. You are to write a two to four-page
paper on one of the assigned pieces. One of your assignments must be on a piece written
prior to 1750, the other written after 1750, but there should be at least 100 years between
your two pieces. Your paper must do the following:
1. Go beyond the discussion of the piece used in class.
2. Use at least two outside sources, cited appropriately. These may not be the
Hanning or Norton Anthology or any other textbook.
3. Explain the historical situation that led to the piece’s creation.
4. Discuss some portion of the piece’s music in considerable detail.
Grades
A 930-1000 A- 900-929
B+ 870-899 B 830-869 B- 800-829
C+ 770-799 C 730-769 C- 700-729
D+ 670-799 D 630-669 D- 600-629 F 0-599
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Course Schedule, Revised (a little)
Scores to all the assignments appear in the Norton Anthology of Western Music. Be sure
to buy it or share with a friend. You must examine the scores for the assignments before
class, and bring the scores to class. Most of the pieces are recorded on the 4-CD Norton
set that the bookstore has ordered. A few only appear on the 12-CD set. I suggest you
buy the 4-CD set (with friends), and listen to the remaining pieces in the library.
Class 1 (September 9) Introductions / Music of the Ancient Greeks
Class 2 (September 16): Sacred Music: Monophony to Polyphony
NAWM 3: Anonymous, Mass for Christmas Day (Introit and Kyrie only) (no
date) (Introit appears on 12-CD version only. Simply play it at the piano).
NAWM 4: Anonymous, Office of Second Vespers (Tecum principium and Psalm
109 only) (no date)
NAWM 5: Wipo of Burgundy, Victimae paschali laudes (early 11th century)*
NAWM 13: Anonymous, Alleluia Justus ut palma (1100)
NAWM 15: Anonymous, Alleluia Pascha nostrum (late 12th century) (12-CD
version. Either listen to it, or play at the piano)
NAWM 16: Pérotin, Sederunt (early 13th century)*
NAWM 21: Guillaume de Machaut, Messe de Notre Dame (ca. 1364)*
Class 3 (September 23) Secular Song: Monophony to Polyphony
NAWM 9: Bernart de Ventadorn, Can vei la lauzeta mover (ca. 1170-80)*
NAWM 20: Guillaume de Machaut, Rose, liz, printemps, verdure (ca. 1350)*
NAWM 23: Francesco Landini, Non avrà ma’ pieta (late 14th century)
Quiz #1
Class 4 (September 30) The Idea of Renaissance: Mass and Motet
NAWM 25: John Dunstable, Quam pulchra es (early 15th century)*
NAWM 29: Guillame Dufay, Se la face ay pale (ballade and mass) (1450s)*
NAWM 32: Josquin des Prez, Missa Pange lingua (ca. 1515-20)*
NAWM 33: Josquin des Prez, De profondis clamavi ad te (early 16th century)
Class 5 (October 7) Renaissance to Baroque: Madrigal to Opera
NAWM 37: Adrian Willaert, Aspro core e selvaggio (1540s)* (12-CD version)
NAWM 40: Carlo Gesualdo, “Io parto” e non più dissi (1600)* (12-CD version)
NAWM 53: Claudio Monteverdi, Cruda Amarilli (1600)
NAWM 54: Claudio Monteverdi, L’Orfeo (1607)*
No Class October 14
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Class 6 (October 21) Vivaldi to Bach / The Idea of Classic
NAWM 75: Arcangelo Corelli, Trio Sonata, Op. 3, No. 2 (1689)*
NAWM 76: Antonio Vivaldi, Concerto Grosso, Op. 3, No. 2 (1712)*
NAWM 79: Johann Sebastian Bach, Praeludium et Fuga, BWV 543 (1710s)
NAWM 81: Johann Sebastian Bach, Cantata No. 140, Wachet auf, ruft uns die
Stimme (1731)*
NAWM 86: Johann Adolf Hasse, Cleofide (1731)* (12-CD version)
NAWM 89: Domenico Scarlatti, Sonata, K. 119 (ca. 1749)*
NAWM 91: Carl Philipp Emanuel Bach, Sonata, H.186 (1765)*
Quiz #2
Class 7 (October 28) The Classic Style: Haydn, Mozart, and Beethoven
NAWM 94: Franz Joseph Haydn, Symphony No. 56 (1774)*
NAWM 100: Wolfgang Amadeus Mozart, Don Giovanni (1787)*
NAWM 103: Ludwig van Beethoven, Symphony No. 3 (1806)* (12-CD version)
NAWM 104: Ludwig van Beethoven, String Quartet, Op. 131 (1826)*
Class 8 (November 4) Exam 1
Class 9 (November 11) The Romantic Symphony / Lied and Salon Music
NAWM 105: Hector Berlioz, Symphonie fantastique (1830)*
NAWM 107: Robert Schumann, Phantasietücke: Grillen (1837)*
NAWM 109: Fryderyk Chopin, Nocturne, Op. 9, No. 2 (1830-31)
NAWM 110: Franz Liszt, Un sospiro (1849)*
NAWM 111: Franz Schubert, Gretchen am Spinnrade (1814)*
NAWM 113: Robert Schumann, Dichterliebe (1840)* (12-CD version)
Class 10 (November 18) Opera and Music Drama: Verdi and Wagner
NAWM 119: Giuseppe Verdi, La traviata (1853)*
NAWM 120: Carl Maria von Weber, Der Freischütz (1823)* (12-CD version)
NAWM 121: Richard Wagner, Tristan und Isolde (1857-59)*
Class 11 (November 25) France / Vienna
NAWM 128: Claude Debussy, Nuages (1899)*
NAWM 135: Arnold Schoenberg, Pierrot lunaire (1912)* (12-CD version)
NAWM 136: Arnold Schoenberg, Variations for Orchestra (1926-28)*
NAWM 137: Alban Berg, Wozzeck (1917-21)*
NAWM 138: Anton Webern, Symphonie (1928)* (12-CD version)
Quiz #3
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Class 12 (December 2) Eastern Europe / The New World
NAWM 130: Béla Bartók, Music for Strings, Percussion, and Celesta (1936)*
NAWM 134: Igor Stravinsky, Le Sacre du printemps (1913)*
NAWM 141: Charles Ives, They are There! (1942)*
NAWM 143: Aaron Copland, Appalachian Spring (1944)*
NAWM 144: William Grant Still, Afro-American Symphony (1931)*
All assignments due
Class 13 (December 9) Cage and Babbitt / Pop and Minimalism
NAWM 147: Milton Babbitt, Philomel (1964)*
NAWM 149: John Adams, Phrygian Gates (1977-78)*
Final Exam: During scheduled period only (NO EXCEPTIONS)
Extra CD (in library)
1. NAWM 3: Anonymous, Mass for Christmas Day, Introit
2. NAWM 15: Leonin, Alleluia Pascha nostrum, Organum duplum
3. NAMW 15: Leonin, Alleluia Pascha nostrum, chant
4. NAWM 15: Leonin, Alleluia Pascha nostrum, Organum duplum
5. NAWM 15: Anonymous, Gaudeat devotio fidelium
6. NAWM 15: Leonin, Alleluia Pascha nostrum, Organum duplum
7. NAWM 15: Anonymous, Ave Maria, Fons letitie
8. NAWM 15: Leonin, Alleluia Pascha nostrum, Organum duplum
9. NAWM 15: Leonin, Alleluia Pascha nostrum, Organum duplum
10. NAWM 15: Leonin, Alleluia Pascha nostrum, discant
11. NAWM 15: Anonymous, Salve, Salus hominum/O radians stella/nostrum
12. NAWM 36: Adrian Willaert, Aspro core e selvaggio
13. NAWM 40: Carlo Gesualdo, “Io parto” e non piu dissi
14. NAWM 86: Johann Adolf Hasse, Cleofide, Act II, Scene 9
15. NAWM 103: Ludwig van Beethoven, Symphony No. 3, “Eroica”
16. NAWM 107: Robert Schumann, Dichterliebe, Im wunderschonen Monat Mai
17. NAWM 107: Robert Schumann, Dichterliebe, Ich grolle nicht
18. NAWM 120: Carl Maria von Weber, Der Freischutz, Wolf’s Glen Scene
19. NAWM 135: Arnold Schoenberg, Pierrot lunaire, Nacht
20. NAWM 135: Arnold Schoenberg, Pierrot lunaire, Enthauptung
21. NAWM 138: Anton Webern, Symphonie