MUSIC 21: MUSIC APPRECIATION
                               Pasadena City College, Music Department
                                       Syllabus, Summer 2008

Instructor      Dr. Shanon Zusman
Meetings        Tuesdays, Wednesdays, Thursdays in K102
Sections        8267 & 8328
Textbook        Joseph Kerman & Gary Tomlinson, Listen, 6th ed. (Boston: Bedford/St. Martin’s, 2008)
CDs             Set of 6 CDs accompany the textbook (also on reserve in library)

Course Description
Music 21 is an introduction to western European art music from the Middle Ages through the Twentieth
   Century. Students will become familiar with a number of representative works by major composers from
   each musical period. You will be introduced to instrumental and vocal music in addition to conventional
   musical forms and styles associated with various genres, as you develop an appreciation for the historical
   context in which the music was composed. By the end of the course, students will have acquired a variety
   of critical listening skills, as well as a significant musical vocabulary that will allow you to discuss works
   from each of the musical periods. You will have an opportunity to improve writing skills through an
   expanded written project based on attendance of a live performance of western European art music and
   reference materials available through PCC’s library.

1) Students are expected to attend class, arriving on time with the textbook. Frequent unexcused absences will
   lower the student’s semester grade. After four (4) unexcused absences, a student may be dropped from the
   class. Students are expected to pay attention, take notes, and ask questions. If you miss a class, make sure
   you have reviewed someone’s notes and have done the required reading and listening.
2) Students are required to review the listening CDs for at least one hour each week. During this time, you
   will be asked to listen to the music examples covered in class which are listed on your course calendar.
   Always refer to the textbook as a guide. This lab time—whether it is spent in the library or at home—is an
   excellent chance to review what you have learned in class and to make flash cards for terms.
3) There are three (3) required listening exams. In addition, you will have a midterm (to cover the first half of
   the course) and a final exam (non-cumulative, i.e., to cover the second half only). There are no makeup
   listening exams, and makeup examinations for the midterm or final will be given only in cases of family
   emergency. All quizzes and exams will be scantron only. Please be sure to bring the proper scantron form
   (FORM No. 882-E) and a No. 2 pencil. There are no extra credit assignments in this course; however, if
   you take all four listening exams, the final one will count as additional points toward your grade.
4) There is one (1) written assignment, based on your attendance of a live performance. The project requires
   you to select a composer from your concert, and compare the composer’s work (heard in the concert) to a
   similar piece covered in class. You will be asked to research the composer by using sources on reserve in
   the Music Lab and Shatford Library as well as online resources through PCC’s databases, such as JSTOR
   and Grove Music Online. The final paper should be 6-to-8 pages in length.

Grading (based on 1000pts)
    Semester grades will be computed on the following scale:                                  90-100%       A
    Listening Quiz 1:       100 pts          Paper:                300 pts                    80-89%        B
    Listening Quiz 2:       100 pts          Midterm:              200 pts                    70-79%        C
    Listening Quiz 3:       100 pts          Final:                200 pts                    60-69%        D
   (Listening Quiz 4:       100 pts)                                                          <60%          F
                      MUSIC 21: MUSIC APPRECIATION
                        Important Dates, Summer 2008

Lecture Topics, Exams & Projects

6/17, 6/18
   Introduction & Music Fundamentals

6/19, 6/24
   Music of the Middle Ages and Renaissance
   Listening Quiz 1, Middle Ages & Renaissance

6/25, 6/26, 7/1
   Early Baroque Music
   Baroque Instrumental Music
   Baroque Vocal Music
   Listening Quiz 2, Baroque

7/2, 7/3, 7/8
   Music and the Enlightenment
   Classical Symphony
   Other Classical Genres
   Midterm Examination

7/9, 7/10, 7/15
   Early Romantics
   Listening Quiz 3, Classical & Romantic

   Written Project due

7/16, 7/17, 7/22
   Late Romantics
   Romantic Opera
   Early Modernism
   Listening Quiz 4, Late Romantics & Early Modernism

7/23, 7/24
   Alternatives to Modernism
   Late Twentieth Century
   Final Examination
                               MUSIC 21: MUSIC APPRECIATION
                             Required Reading & Listening, Summer 2008

Listening Quiz 1

   Chapter 5:      The Middle Ages (58-72)
             o     Anon: Plainchant antiphon, “In paradisum” (CD1:2, p. 62)
             o     Hildegard: Plainchant sequence, “Columba aspexit” (CD1:3, p. 63)
             o     Bernart de Ventadorn: Troubadour song, “La dousa votz” (CD1:4, p. 66)
             o     Pérotin: Organum, “Alleluia. Diffusa est gratia” (CD1:5, p. 68)
             o     Machaut: Secular motet, “Quant en moi” (CD1:6, p. 71)

   Chapter 6:      The Renaissance (76-92)
             o     Dufay: Harmonized hymn, “Ave maris stella” (CD1:7, p. 78)
             o     Josquin: Renaissance mass, “Kyrie” from Pange lingua Mass (CD1:8, p. 83)
             o     Palestrina: Renaissance mass, “Gloria” from Pope Marcellus Mass (CD1:11, p. 88)
             o     Weelkes: Madrigal, “As Vesta Was from Latmos Hill Descending” (CD1:12, p. 89)
             o     Anon: Galliard, “Daphne” (CD1:13, p. 91)

Listening Quiz 2

   Chapter 7:      The Early Baroque Period (95-111)
             o     Gabrieli: Sacred motet, “O magnum mysterium” (CD1:15, p. 97)
             o     Monteverdi: Recitative, “Tornerai?” from The Coronation of Poppea (CD1:16, p. 104)
             o     Purcell: Aria, “When I am laid earth” from Dido and Aeneas (CD1:18, p. 107)

   Chapter 8:      The Late Baroque Period (115-131)
   Chapter 9:      Baroque Instrumental Music (132-153)
             o     Vivaldi: Violin Concerto in G, mvmt. I, La stravaganza, Op. 4, No. 12 (CD1:24, p. 135)
             o     Bach: Brandenburg Concerto No. 5, mvmt. I (CD2:1-5, p. 141)
             o     Bach: “Air” from Orchestral Suite No. 3 in D (CD2:7, p. 151)

   Chapter 10:     Baroque Vocal Music (154-168)
            o      Handel: Opera seria aria, “La giustizia” from Julius Caesar (CD2:9, p. 159)
            o      Handel: Oratorio chorus, “Hallelujah” from Messiah (CD2:11, p. 163)
            o      Bach: Cantata aria, “Jesus Christus” from “Christ lag in Todesbanden” (CD2:12, p. 167)
            o      Bach: Cantata chorus, “Wir essen und leben wohl” from above work (CD2:14, p. 167)
            o      Bach: Organ chorale prelude, “Christ lag in Todesbanden” (CD2:15, p. 167)

Listening Quiz 3

   Chapter 11:     Music and the Enlightenment (169-181)
   Chapter 12:     The Symphony (182-201)
   Chapter 13:     Other Classical Genres (202-216)
            o      Mozart: Symphony No. 40, mvmt. I (CD2/16-21, p. 188)
            o      Haydn: Symphony No. 95, mvmt. II (CD2/25-29, p. 193)
            o      Haydn: Symphony No. 95, mvmt. III (CD2/30-32, p. 198)
            o      Mozart: Piano Concerto in A, K. 488, mvmt. I (CD2/37-41, p. 207)
            o      Mozart: Duet, “Là ci darem la mano” from Don Giovanni, Act I (CD3/4, p. 215)
Listening Quiz 3 (cont’d)

   Chapter 14:       Beethoven (225-238)
            o        Beethoven: Symphony No. 5, mvmt. I (CD3/5-13, p. 233)
            o        Beethoven: Symphony No. 5, mvmt. III (CD3/16-17, p. 236)
            o        Beethoven: Symphony No. 5, mvmt. IV (CD3/18-19, p. 236)
            o        Beethoven: String Quartet in F, Op. 135, mvmt. II (CD3/20, p. 237)

   Chapter 15:       Music after Beethoven: Romanticism (239-253)
   Chapter 16:       The Early Romantics (254-275)
            o        Schubert: Lied, “Erlkönig” (CD3/21, p. 258)
            o        Wieck-Schumann: Lied, “Der Mond kommt still gegangen” (CD3/24, p. 264)
            o        Schumann: Character piece, “Eusebius” and “Florestan” from Carnival (CD3/25-26, p. 266)
            o        Chopin: Nocturne in F-Sharp, Op. 15, No. 2 (CD3/28, p. 266)

Listening Quiz 4

   Chapter 17: Romantic Opera (276-292)
            o Verdi: Bel canto opera, “Tomb scene” from Aida Act IV/ii (CD4/9-12, p. 282)
            o Wagner: Music-drama opera, Act I/i from The Valkyrie (CD4/13-18, p. 291)

   Chapter 18:       The Late Romantics (293-313)
            o        Tchaikovsky: Overture-fantasy, Romeo and Juliet (CD4/19-30, p. 297)
            o        Musorgsky: “The Great Gate at Kiev” from Pictures at an Exhibition (CD4/34, p. 301)
            o        Brahms: Violin Concerto in D, Op. 77, mvmt. III (CD5/1-6, p. 307)
            o        Mahler: Symphony No. 1, mvmt. III (CD5/7-14, p. 311)

   Chapter 19:       Music and Modernism (319-330)
   Chapter 20:       The Twentieth Century: Early Modernism (331-352)
            o        Debussy: Impressionist tone poem, “Clouds” from Three Nocturnes (CD5/15-20, p. 335)
            o        Stravinsky: Primitivist ballet, The Rite of Spring, Part I (CD5/21-27, p. 337)
            o        Schoenberg: Expressionist Lied, “The Moonfleck” from Pierrot Lunaire (CD5/29, p. 341)
            o        Berg: Expressionist opera, Act III/iii from Wozzeck (CD5/30-31, p. 346)


   Chapter 21:       Alternates to Modernism (353-370)
            o        Ravel: Piano Concerto in G, mvmt. I (CD5/37-41, p. 357)
            o        Copland: Neoclassical ballet, Appalachian Spring, Section 5 (CD5/44-45, p. 364)
            o        Prokofiev: “The Battle on Ice” scene from Alexander Nevsky (CD6/9-10, p. 369)

   Chapter 22:       The Late Twentieth Century (371-390)
            o        Varèse: Musique concrète, Poème électronique (CD6/16, p. 379)
            o        Cage: Chance music, 4’33” (p. 380)
            o        Reich: Minimalism, Music for 18 Musicians (CD6/17-18, p. 383)
            o        Adams: Minimalist oratorio, El Niño (DVD7-9, p. 389)
Written Project: Concert Report/Research Paper
This paper will be due on Thursday, July 17 in class.

The goal of this project is to write a letter to a non-classically inclined music friend, and try to persuade
this friend/relative of yours to attend a classical music concert with you in the future. You should attempt
to convince the recipient of your letter why he/she might enjoy classical music by describing a recent
concert experience of your own. In other words, in this letter it is your job to enlighten your non-
classically inclined music friend with information on the composer, period, genre, and style of music you
encountered at your recent concert experience, based on library research and knowledge from class.

To do this assignment, you will need to complete the following:
1) attend a concert featuring music from the Romantic era (may include Beethoven) to the 20th century;
2) research a composer, work, and genre (heard at the concert), using at least five sources—note: the only
internet research acceptable for this project must be accessed through JSTOR or Grove Music Online;
please use suggested books on reserve along with your textbook and/or program notes from the concert;
3) write a 6- to 8-paged letter addressed to your non-classically inclined music friend, double-spaced
with 1” margins, in Times New Roman 12 pt. font;
4) include at least five MLA references throughout the letter and a bibliography at the end.

In selecting your concert, consult the following websites for ideas:
              Southern California Early Music Society:
              Los Angeles Times:
              LA Weekly:
              Chamber Music Newsletter:

As you write your letter, you might consider describing the following about your concert experience:
- where the event took place; what the performing environment was like; whether the musicians
    played/sung on an elevated stage or on ground level; what you thought of the conductor
- what the audience was like; how well it was attended
- how the musical program was organized; how many pieces were on the program; what type of
  instrumentation you encountered

For your research, focus on one work by one of the composers performed at the concert. You might
consider writing about the composer’s personal life and the social-historical setting, as you attempt to
show your friend why classical music is more than just “notes on a page.” You should do your best to
compare the work, to the highest extent possible, to a similar work we studied in class, in terms of
compositional techniques, instrumentation, genre, etc. Build on what you have learned in class lectures
and personal experience to demonstrate your knowledge of the composer and musical work performed.

You must also include a bibliography at the end of your letter. This should be formatted properly and
arranged in alphabetical order: Last name, First name. Title, ed. City: Publisher, Copyright Year.
Example: Rosen, Charles. The Classical Style, Expanded edition. New York: W.W. Norton, 1997.
Throughout the letter, use MLA format (include the author’s name & page number in parentheses). If you
do not acknowledge that a particular idea or interesting fact is borrowed from another source, or if you
copy an entire sentence(s) without giving credit to the author, then you will be guilty of plagiarizing and
subject to receiving a failing grade. If you have any questions regarding the MLA format or appropriate
places to cite the original author, please consult me immediately.

NOTE: Be sure to attach your program and/or ticket to your paper. Please staple it to the back
of the report. You will be penalized 25% if you do not attach some proof of attendance.
                 ITEMS ON RESERVE FOR MUSIC 21

                            Title                                       Course
Age of enlightenment, 1745-1790 / edited by Egon Wellesz and      MUSIC 21: MUSIC
Frederick Sternfeld.                                              APPRECIATION

Classical music : the era of Haydn, Mozart, and Beethoven /       MUSIC 21: MUSIC
Philip G Downs.                                                   APPRECIATION

Classical style : Haydn, Mozart, Beethoven / Charles Rosen.       MUSIC 21: MUSIC

History of western music / Donald Jay Grout, Claude V. Palisca.   MUSIC 21: MUSIC

Modern age, 1890-1960 / edited by Martin Cooper.                  MUSIC 21: MUSIC

Music in the classic period [by] Reinhard G. Pauly.               MUSIC 21: MUSIC

Music of the twentieth century : style and structure / Bryan R.   MUSIC 21: MUSIC
Simms.                                                            APPRECIATION

Nineteenth-century romanticism in music [by] Rey M. Longyear.     MUSIC 21: MUSIC

Romantic generation / Charles Rosen.                              MUSIC 21: MUSIC

Romantic music : a history of musical style in nineteenth-        MUSIC 21: MUSIC
century Europe / Leon Plantinga.                                  APPRECIATION

Soundings : music in the twentieth century / Glenn Watkins.       MUSIC 21: MUSIC

Twentieth-century music : an introduction / Eric Salzman.         MUSIC 21: MUSIC




Meter (time signature):

Form (name, diagram, explanation):

Performing Forces (how many parts, method of performance):

Part & Placement (if part of a larger work, i.e., movement):

Specific Purpose or Patron (if one is named):

About the Music (any key terms or concepts in bold):

About the Text (if there is any):




Meter (time signature):

Form (name, diagram, explanation):

Performing Forces (how many parts, method of performance):

Part & Placement (if part of a larger work, i.e., movement):

Specific Purpose or Patron (if one is named):

About the Music (any key terms or concepts in bold):

About the Text (if there is any):

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