Introduction

            Section: Listening strategies

Early and late 18th-century styles

Background reading: GP 420-32; 450-56t; 456b-58

Contemporary documents: Heinichen and Scheibe on musical style (WT 73)

                                         C.P.E. Bach on keyboard playing (WT 77)

                                         Rousseau on music (WT 79)

• Domenico Scarlatti, Sonata in D Major, K. 119 (NAWM 89, CD 7:22-23) [c. 1749]
• Carl Philipp Emanuel Bach, Sonata in A Major, H. 186, Wq. 55/4, II: Poco adagio (NAWM 91, CD 7:27-28) [1765]

• Johann Christian Bach, Concerto for Harpsichord or Piano and Strings, op. 7, no. 5, I: Allegro di molto (NAWM 93; CD 7:34-46) [ca. 1770]
              Diagram

Comparative examples played in lecture:
    J.S. Bach, Brandenburg Concerto No. 5 BWV 1050, 1st mvt.
    G. P.Telemann, Sonata no. 1 in A major, 1st mvt.

            Section: C.P.E. Bach Sonata movement

Comic opera and musical style

Background reading: GP 432-47
Contemporary documents: Tosi on singing (WT 74)
                                         Rousseau and Hiller on Italian opera (WT 78)
                                         Gluck on opera (WT 82)

• Giovanni Battista Pergolesi/Gennaro Antonio Federico, La serva padrona, "Ah quanto mi sta male/Son imbrogliato io" (NAWM 85, CD 7:1-6) [1733]
        Text in original verse form   •   Diagram of aria

Comparative examples played in lecture:
    A. Vivaldi, "Summer" Concerto in G minor, RV 315 Op.8, No.2, 3rd mvt.
    W. A. Mozart, Symphony No. 41 K. 551, 1st mvt.

[MLK Jr. Day]

            Section: Johann Adolf Hasse/M.A. Boccardi after Metastasio, Cleofide: Act II, Sc. 9, "Digli ch'io son fedele" (NAWM 86, CD 7:7-11) [1731]

Early Classic symphonies and their materials

Background reading: GP 452-53 (review), 456m, 458-60

Contemporary documents: Quantz on flute playing (WT 76)

                                         Various writers on instrumental music (WT 80)
                                         Burney on music (WT 83)

• Giovanni Battista Sammartini, Symphony in F Major, No. 32, I: Presto (NAWM 90, CD 7:24-26) [ca. 1744]
• Johann Stamitz, Sinfonia a 8 in Eb Major, I: Allegro assai (NAWM 92, CD 7:29-33) [publ. 1758]
• Franz Joseph Haydn, Symphony No. 56 in C Major, I: Allegro di molto (NAWM 94, CD 7: 47-53) [1774]
      Diagrams as shown in lecture

            Section: Paper-writing strategies

"Topics" in Classic music

Background reading: GP 465-88
Contemporary documents: Haydn's duties (WT 81)
                                         Haydn in London (WT 87)
                                         Kollmann on symphonies and sonata form (WT 88)

• Wolfgang Amadeus Mozart, Sonata K. 332, 1st mvt. (score of exposition) [c.1782]
• Franz Joseph Haydn, Symphony No. 104 in D major, Finale: Allegro spiritoso (NAWM 96, CD 7:58-68) [1795]

            Comparative examples for the topics used in K. 332

The expectations of genre

Background reading: GP 488-505

Contemporary documents: The young Mozart (WT 85)

                                         Mozart writes from Paris (WT 86)

• Franz Joseph Haydn, String Quartet, Op. 33, No. 2 ("The Joke"), Finale: Presto (NAWM 97, CD 8:1-6) [1781]
                      Diagram

• Wolfgang Amadeus Mozart, Symphony no. 40 in G Minor, K. 550  (Score) [1788]

            Section: Wolfgang Amadeus Mozart, Piano Concerto in A Major, K. 488, I: Allegro (NAWM 99, CD 8:12-27) [1786]

Mozart opera

Background reading: GP 505-08

• Wolfgang Amadeus Mozart/Lorenzo Da Ponte after Beaumarchais, Le nozze di Figaro, Act I, beginning through Bartolo's aria "La vendetta"; and Act I, No. 7 Terzetto "Cosa sento"  (Score) [1786]
                  Text of Nos. 1-7 in original verse forms  •   Text and translation of No. 7  •  A copyright online translation (opens in new window)

            Video recording of Le nozze di Figaro shown in class: DVD 5464741 and videotape VTP-S .M939 A.6-98 [Act I only]

             Section: W.A. Mozart/Lorenzo Da Ponte, Don Giovanni, Act I, Sc. 5, “Ah, chi mi dice mai” and “Madamina! Il catalog è questo”
                        (NAWM 100, CD 8:28-32) [1787]   Text of Nos. 3-4 in original verse forms

Beethoven as a figure

Background reading: GP 513-28
Contemporary documents: Musical life in Vienna around 1800 (WT 90)
                                         A review of Beethoven's Symphony No.3 (WT 92)

• Ludwig van Beethoven, Symphony no. 3 in Eb Major  (Score)
      [I: Allegro con brio , (NAWM 103, CD 8:52-66)] [1803]

              Analytical handouts: Page 1    Page 2    Page 3    Page 4

Beethoven and the ideal of motivic writing

Background reading: GP 528-33

Contemporary documents: Beethoven's "Heiligenstadt Testament" (WT 91)

                                         A report of Beethoven (WT 93)

• Ludwig van Beethoven, Symphony No. 5 in C minor op. 67  (Score) [1807/8]
            Analytical handouts: Mvt 1-Materials of exposition  •   Mvt 1-Development  •   Mvts 2/3/4-Materials  •  
                     Mvt 2-Outline  •   Mvt 3-Outline  •   Mvt 4-Outline

                Section:  Ludwig van Beethoven, Piano Sonata, op. 13, III: Rondo (NAWM 101, CD 8:33-42) [1797/8]

Beethoven and the problem of the program

• Ludwig van Beethoven, Symphony No. 6 in F major "Pastoral" op. 68  (Score) [1808]

                 Analytical handouts: Outline (whole)  •   Mvt 1-Materials of exposition  •    Mvt 1-Development  •  
                    Mvt 2-Outline  •   Mvt 5-Outline  •   5th and 6th symphonies compared

            Section: Beethoven, Symphony No. 6, slow mvt.

Late Beethoven

Background reading: GP 533-39

Contemporary document: A review of Beethoven's Symphony No. 9 (WT 94)

• Ludwig van Beethoven, String Quartet in C# Minor, op. 131, mvts. 1 and 2  (Score) [1826]
      [Mvts 1 and 2 (NAWM 104, CD 8:67-70)]
                  Analytical handouts: Beethoven's late quartets  •   Opus 131
• Ludwig van Beethoven, Symphony No. 9 in D minor op. 125, 4th movement  (Score) [1822/4]

                  Text and translation  •  Analytical handout: Mvt 4-Outline

Comparative examples played in lecture:

Beethoven, Piano Sonata Op. 106 ("Hammerklavier"), last mvt.

Beethoven, "Grosse Fuge" Op. 133

Hector Berlioz, Romantic artist

Background reading: GP 543-51

Contemporary documents: The new conductor (WT 99)

                                         From Berlioz's writings (WT 101)

• Hector Berlioz, Symphonie fantastique  (Score) [Full program in WT 102] [1830]
      [Mvt IV (NAWM 108, CD 9:1-6)]

            Section: Berlioz, Symphonie fantastique, mvts 3 and 4

Romanticism expressed on the piano

Background reading: GP 571-82

Contemporary documents: From Schumann's writings (WT 103, through p. 361)

                                         On Chopin (WT 106)

• Fr. Chopin, 24 Preludes, Op. 28, No. 1 and No. 18 (no score)  [1839]
• Robert Schumann, Carnaval op. 9: "Préambule" through "Chopin" (Score) [1834/5]
          Outline

            Some paintings by Caspar David Friedrich

            Section: Exam review and practice

Romanticism expressed in song

Background reading: GP 593-98

Contemporary document: On Schubert (WT 97)

• Franz Schubert/Johann Wolfgang von Goethe, "Gretchen am Spinnrade" (NAWM 111, CD 9:25-29) [1814]
• Franz Schubert/Wilhelm Müller, "Der Lindenbaum" from Die Winterreise (NAWM 112, CD 9:30-33) [1827]
• Robert Schumann/Heinrich Heine, "Im wunderschönen monat Mai" and "Ich grolle nicht" from Dichterliebe (NAWM 113, CD 9:34-35) [1840]
              Text in two forms

Comparative examples played in lecture:

    Beethoven, Piano Sonata Op. 81a ("Lebewohl")

    Schubert/Müller, "Die Post" from Die Winterreise

[First hour exam]

            Section: Workshop on first papers

Italian opera

Background reading: GP 603-8; 614-17

Contemporary documents: On Rossini (WT 96)

                                         Reviews of a new opera by Verdi (WT 118)

• Gioachino Rossini/Cesare Sterbini after Beaumarchais, Il barbiere di Siviglia, Act I, Sc. 5, "Una voce poco fa" (NAWM 117, 9:43-46); End of Finale I (Score) [1816]
      Text and translation
• Vincenzo Bellini/Felice Romani, Norma, Act I, Sc. 4, "Casta Diva" (NAWM 118, CD 10:1-6) [1831]    Outline
• Giuseppe Verdi/Francesco Maria Piave after V. Hugo, Rigoletto, Act III: Recit "E l'ami," Canzona "La donna e mobile"; Quartet "Un dì, se ben rammentomi" (Score) [1851]            Text and translation

            Section: Schubert, "Gretchen am Spinnrade"; R. Schumann, "Im wunderschönen Monat Mai";
                  Clara Wieck Schumann/H. Rollert, "Geheimes Flüstern hier und dort" (NAWM 114, CD 9:36) [1853]

The virtuoso

Background reading: GP 582-86t

Contemporary documents: On Paganini (WT 98)

                                         On Liszt (WT 104)

                                         On Jenny Lind in America (WT 111)

• Nicolò Paganini. Caprices No. 1 and No. 24  (Score ) [c. 1805]

• Franz Liszt, Etudes d’exécution transcendante d’après Paganini, No. 4 and No. 6  (Score ) [1838/40]

• Franz Liszt, Rigoletto: paraphrase de concert  (Score) [c. 1855]

            Some images of Paganini and Liszt

Into the (Romantic) woods

Background reading: GP 618-24

• Robert Schumann/Joseph Freiherr von Eichendorff, Liederkreis Op. 39: "Waldgespräch" (Score) and "Im Walde" (Score) [1840]
              Text and translation
• Carl Maria von Weber/Johann Friedrich Kind, Der Freischütz, Act II, Finale, Wolf's Glen scene (NAWM 120: CD 10:11-21) [1821]
• Richard Wagner, Der fliegende Holländer, Overture; Act II, Sc. 1 Ballad (Score) [1840/1]
              Text and translation

            Section: Franz Liszt, Trois Études de concert, no. 3. "Un sospiro" (A Sigh) (NAWM 110; CD 9:20-24) [1849]

Wagnerian music drama

Background reading: GP 621-28

Contemporary documents: Wagner on Wagner (WT 108)

                                         Wagner on Beethoven (WT 109)

• Richard Wagner, Die Walküre, Act I, Scene 3  (Score) [1852/6]
           Text and translation

            Section: Richard Wagner, Tristan und Isolde, Prelude ("Vorspiel") (Score ["Einleitung"]); Act I, Sc. 5 (excerpt) (NAWM 121, CD 10:22-30) [1857/9]

Nationalist music

Background reading: GP 644-660

Contemporary documents: On Smetana (WT 112)

                                         On Russian composers (WT 113)

                                         From Mussorgsky's writings (WT 114)

• Modest Musorgsky/Musorgsky after Pushkin, Boris Godunov, Prologue, scene 2  (Score) [1869]
            Text and translation  •  Melody
• Bedrich Smetana, “Moldau” from Má Vlast  (Score)  [1880]
• Edward MacDowell, Woodland Sketches, Op. 51 (1896): 1. To a Wild Rose; 5. From an Indian Lodge; 7. From Uncle Remus (No score) [1896]

Brahms and the burden of the past

Background reading: GP 558-61, 597-602

Contemporary documents: Schumann on Brahms (WT 103, p. 362)

                                         The music of the future (WT 110)

                                         On Brahms's Symphony No. 1 (WT 117)

• Johannes Brahms, Symphony No. 1 in C minor op. 68  (Score) [1862-76]

            Section: Smetana, "Moldau"

Classic ballet

• Pyotr Il'yich Tchaikovsky/[scenario anonymous], Swan Lake, Act II  (Score) [1875/6]
              Outline  •  Diagrams

            Section: Brahms, Ein deutsches Requiem, IV. "Wie lieblich sind deine Wohnungen" (NAWM 116, CD 9:38-41) [1868]

New Music in France

Background reading: GP 660-67, 669

Contemporary documents: On and by Debussy (WT 122)

• Claude Debussy, Prélude à l'après-midi d'un faune (Score) [1891–4]
          Mallarmé's poem

• Debussy, Nocturnes, I: Nuages (NAWM 128, CD 11: 11-16) [1899]

• Debussy, Images (Book I)  (Score)  [1901-05]

Mahler and the world of the symphony

Background reading: GP 631-38

Contemporary document: From Mahler's writings (WT 120)

• Mahler, Symphony No. 1: 1st mvt. and 3rd mvt. (Score)  [1889]
• Mahler, Symphony No. 4: 4th mvt.  (Score)  [1901]
                  Text and translation

            Section: Gustav Mahler, "Nun will die Sonn' so hell aufgehen," from Kindertotenlieder (NAWM 123, CD 10:39-40) [1901-1904]

Strauss and the program problem (again)

Background reading: GP 638-41

Contemporary document: From Strauss's writings (WT 121)

• R. Strauss, Don Quixote  (Score)  [1897]
              [excerpts (NAWM 124; CD 10:41-46)]

            Section: Strauss, Don Quixote

Expressionism

Background reading: GP 713-16

Contemporary documents: Schoenberg and others on Expressionism (WT 125)

                                         Berg on Wozzeck (WT 140)

• Arnold Schoenberg/Otto Erich Hartleben, Pierrot lunaire, Nos. 8-14  (Score) [1912]
      [excerpts NAWM 135, CD 11:45-50]
              Text and translation

• Alban Berg/Berg after Georg Büchner, Wozzeck, Act I, scene 4 and  Act III, scene 3  (score) [1922]
      [excerpt Act III, scene 3 (NAWM 137, CD 11:53-55)
              Text and translation

The 12-tone method and musical destiny

Background reading: GP 716-25

Contemporary documents: Webern on tonality (WT 127)

                                          Schoenberg on composition with 12 tones (WT 128)

                                          From Webern's writings (141)

• Arnold Schoenberg, Suite for Piano Op. 25 (score)  [1921-3]

              Row chart

• Arnold Schoenberg, Variations for Orchestra Op. 31 (score) [1928]
      [excerpts (NAWM 136, CD 11:51-2)]
             Row chart

                      Nifty on-line row chart generator: http://www.geocities.com/dan_cavanagh/matrix.htm

            Section: Anton Webern, Symphony Op. 21 (score) [1928] [excerpt, 1st movment, NAWM 138, CD 11:56-60]

                Row chart

Popular song and jazz

Contemporary documents: Cowell and Ravel on jazz (WT 142)

• Claude Debussy, “Golliwogg’s Cakewalk” from Children’s Corner: Petit Suite Pour Piano Seul (score) [1908]

• Geroge Gershwin, Prelude II, “Andante con moto e poco rubato” from Preludes for Piano (score) [1926]

• Darius Milhaud, La Creation du monde (score) [1923]

            Blues conventions

            Section: Exam review

[Second hour exam]

Stravinsky and ballet tradition

Background reading: GP 702-3

• Igor Stravinsky, Petrushka (score) [1911]

              Outline     First tableau

            Section:  Darius Milhaud, La Creation du monde

Modernism

Background reading: GP 704-5

Contemporary documents: Stravinsky and others on The Rite of Spring (WT 129)

• Igor Stravinsky, The Rite of Spring (score) [1911-13]
      [Excerpt, "Danse des adolescents" (NAWM 134, CD 11:41-44)]

            Outline of "Ritual actions of the ancestors"

            Section: Stravinsky, The Rite of Spring

Objectivity and the usable past

Background reading: GP 705-9

Contemporary documents: Roger Sessions on musical style (WT 133)

                                         Stravinsky on his Octet (WT 134)

                                         Stravinsky on the musical past (WT 135)

• Igor Stravinsky/C.F. Ramuz, The Soldier's Tale (score) [1918]
              Outline

• Igor Stravinsky, Octet  (score) [1923]

              Diagram of first movement

        Comparative examples played in class:

            Stravinksy, Tango

            Stravinsky, Ragtime

Are these guys serious?

Background reading: GP 667-8

Contemporary documents: Satie and others on music (WT 137)

• Erik Satie, Parade  (score) [1916-19]

• Willam Walton/Edith Sitwell, Façade, Nos. 1-7  (score)  [1922-29/1942. . .]

              Text

            Section: Stravinsky, Octet, 1st movement

Charles Ives, American

Background reading: GP 740-48t, 754t-57

Contemporary document: From Ives's writings (WT 124)

• Charles Ives, Three Places in New England  (score)  [1912-21]

• Charles Ives/R.U. Johnson, "The Housatonic at Stockbridge" [song]  (score)  [1921]

            Text

• Charles Ives, The Unanswered Question  (score)  [1908/1930]

            Section: Ives, The Unanswered Question

Still searching for an American music

Background reading: GP 760-1

Contemporary document: From Copland's writings (WT 145, pp. 392-5)

• Aaron Copland, Appalachian Spring  (score) [1943-4]
  [excerpt, orchestral version (NAWM 143, CD 12:17-24)

    Comparative examples played in lecture:

                    Copland, Fanfare for the Common Man
                    Copland, Billy the Kid (The open prarie; cowboy tune)

                    Copland, Rodeo (Hoedown)

                    Copland, El salon Mexico

                    Copland, Piano Variations

Bartok

Background reading: GP 680-84

Contemporary documents: Bartok on the use of folk music (WT 131 through p. 448)

• Bela Bartók, Music for Strings, Percussion, and Celeste  (score)  [1936]
      [excerpt, 3rd mvt. (NAWM 130, CD 11:23-28)]

    Comparative example played in lecture:

                    Bartok, Out of doors suite (Night music)

            Section: Bartok, Music for Strings, Percussion and Celeste, 3rd mvt

Noise/Silences

Background reading: GP 776-7

Contemporary documents: Busoni on a new musical esthetic (WT 123)

                                         A Futurist on noise (WT 130)

                                         From Cage's writings (WT 153)

• John Cage, Aria  (score)  [1958]

• John Cage, Aria with Fontana Mix  [1958]

• John Cage, 4' 33"  (score) [1952]

    Comparative examples played in lecture:

                Wagner, Tristan und Isolde (prelude)

                Debussy, Prelude to the afternoon of a faune

                Mahler, Symphony No. 1/1

                Cage, Bacchanale

            Section: Cage, 4'33"

Tape music

Background reading: GP 729-31; 734-37; 773-4

• PierreSchaeffer/Pierre Henry, Symphonie pour un homme seul, movements 1, 2, 3, 7, 9, and 12 [1950]
• Edgard Varèse, Poème électronique  [1957/8]
• Milton Babbitt/John Hollander, Philomel, section 1 (NAWM 147, CD 12:37-41) [1964]
• Karlheinz Stockhausen, Gesang der Jünglinge  [1955/6]
              Translation of source text

Minimalism

Background reading: GP 777-80

• Steve Reich, Tehillim, 4th. mvt. (score) [1981]
      Text

• Steve Reich, Different Trains (score) [1988]
      Text

• John Adams/A. Goodman, Nixon in China, Act II, scene 1 (score) [1987]
      Text

            Section: Babbitt, Philomel

Serialisms

Contemporary documents: Boulez and Babbitt on serialism (WT 149)

                                         From Stravinsky's writings (WT 150)

• Olivier Messiaen, Four rhythmic etudes: No. 3: Modes of values and intensities (no score)  [1949]
              The modes
• Pierre Boulez, Structures I  (score) [1952]
• Igor Stravinsky/Dylan Thomas, In Memoriam Dylan Thomas  (score) [1954]
      Text
• Pierre Boulez/René Char, Le marteau sans maître  (score) [1954]

            Section: Stravinsky, In Memoriam Dylan Thomas

Modern opera/Postmodern opera

• Igor Stravinsky/W.H. Auden and C. Kallman, The Rake's Progress, Act I, scene 1 (score  vocal score) [1951]

• Ellen Taafe Zwillich, Concerto Grosso, 4th and 5th mvts. (NAWM 150, CD 12:53-54) [1985]

• Lukas Foss, Baroque Variations, 1st mvt. [1967]

        To be covered in lecture: John Corigliano/William M. Hoffman after Beaumarchais, The Ghosts of Versailles [1987] [no recording available]

Film music I

• Casablanca (Warner Bros., 1942); music by Max Steiner.
  
  Copies available at B-Main [PN1997 .C35 2003 (DVD); PN1997 .C35 1998 (DVD); PN1997 .C35 1989 pt. 1/2 (Laserdisc); PN1997 .C35 1984 (VHS). Copies also available at BH-COLLINS; BH-EIGENMN; BH-FOREST; BH-TETER;BH-WILLKIE; BH-APTLIB; BH-READ.
                Script

            Section: Exam review

Film music II

• Casablanca (Warner Bros, 1942).

            Section: Optional exam review

Music and society today

Contemporary documents: The Society for Private Musical Performance (WT 126)

                                         Babbitt on the Composer as Specialist (WT 155 through p. 534)

        To be covered in lecture: William Kraft, "Sky's the limit" [1987]

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