Jonathan Shull
Office: Simon Center M325J [3rd floor, across from Auer Hall]
Phone: 855.7166
Email: jshull@indiana.edu
Office Hours: MW 1-3PM (and by appointment)

Required Materials

Donald Jay Grout and Claude V. Palisca, A History of Western Music, 6th ed.*
Piero Weiss and Richard Taruskin, eds., Music in the Western World: A History in Documents
Claude V. Palisca, ed., Norton Anthology of Western Music, 4th ed., v. 2*

J. Peter Burkholder, Study and Listening Guide for A History of Western Music and Norton Anthology of Western Music*
Recordings for Norton Anthology of Western Music, 4th ed., v. 2 (CDs or cassettes)*

About M542

M542 is one of several review classes offered by the Musicology and Music Theory departments designed to prepare students for Graduate study at the Indiana University School of Music.  This course corresponds roughly with the undergraduate survey of Western Music History, M402: History and Literature of Music II , an intensive introduction to the music and musical culture of Europe and the United States from about 1750 to the Present.  M542, though taking its cue from this undergraduate course, diverges from it in two important respects.  First, there is no term paper requirement.  Second, there are no discussion sections.  As such, the responsibility for careful, thoughtful study of the music and ideas presented in this course falls more heavily upon you as graduate students.  By the end of the course, you will have knowledge of a sizable body of repertoire of musical works from the art and vernacular traditions.  You will also be able to place these works in their social contexts and to trace important trends in composition, as well as music in society.  Finally, you will be able to recognize works not on the assigned listening, to discuss their salient stylistic features, and to place them in their appropriate contexts based upon your experience with assigned works.

Since this is a review course, some previous knowledge and experience with the general materials and concepts central to our discussion are assumed.  Certain liberties will, therefore, be taken with the structure of the course.  These will allow us to examine the materials from a variety of perspectives not always available in an introductory survey.  Such topics and alternative perspectives may involve the relationship of music and theory, performance practice, music and ideas, venues and geographic locales, and issues of race, gender and politics, among others.  While many of these matters are indeed addressed in the course texts, the treatment is often peripheral and sometimes lacking entirely.  It is therefore essential not only to have read the course texts and listened to the assigned works, but also to attend class regularly, since our discussions will frequently diverge from the general plan and contents of the readings.  Furthermore, much of the assigned listening is not covered by the texts or is addressed only in tangential fashion.  The volume of assigned works likewise bolsters the importance of daily attention to the course materials.  If you fall behind in your listening, it will prove most difficult to catch up, especially in the compressed time frame of the summer session.  All reading and listening for a given day should be completed before lecture.