MUS 2B: GREAT COMPOSERS & MUSIC MASTERPIECES OF WESTERN CIVILIZATION
Foothill College Course Outline of Record
|Hours:||4 lecture, 3 laboratory per week (84 total per quarter)|
|Advisory:||Not open to students with credit in MUS 2BH.|
|Degree & Credit Status:||Degree-Applicable Credit Course|
|Foothill GE:||Area I: Humanities|
|Grade Type:||Letter Grade (Request for Pass/No Pass)|
Student Learning Outcomes
- A successful student will demonstrate an understanding of Western music between the years 1750 CE to 1825 CE as a reflection of its societal/historical context.
- A successful student will discriminate - via an understanding of such musical elements as melody, harmony, rhythm, and form - between various musical styles (Classical, Romantic).
The student will be able to:
A. demonstrate detailed knowledge of the historical development of musical style in Western culture in relation to the political, economic, social, and religious developments of the time.
B. apply knowledge of musical style, historical periods and genres from Western culture to representative examples of music.
C. compare and contrast repertoire of concert music through familiarity with a broad sampling of works, composers, styles and genres.
D. critique good performance from bad, from the perspectives of artistic quality and appropriate historical performance practice.
E. discuss, with insight and understanding, the social and personal implications of the development of musical style in Western culture.
F. demonstrate self-managed learning in a comprehensive journal, in which they reflect upon, evaluate, and describe their own learning process.
A. Music fundamentals: melody, rhythm, harmony, texture, timbre, ornamentation.
B. Style characteristics and function of music, from the beginning of the Classical period through the works of Beethoven.
1. Vocal music (opera, masses, lieder).
2. Instrumental music forms (theme and variations, minuet and trio, scherzo, rondo, sonata-allegro).
3. Composer biographies (Gluck, Haydn, Mozart, Beethoven, Schubert, Weber).
C. Compare and contrast to music of other world cultures.
D. Identification of major themes of the culture at each period in history (divine authority, redemption, freedom, artistic creativity and originality, political, social, religious ideologies, gender roles), their definition in other periods in Western culture and their parallels in other world cultures.
Laboratory activities are provided for students to practice and apply their theoretical knowledge regarding each topic area's structural characteristics (rhythm, melody, form, instrumentation, and harmony), style, genre, and important composers. Activities consist of online laboratory worksheets correlated with listening examples. Examples for Classical era music and transition into Romanticism illustrate the quantity and quality of music examples provided.
A. Representative listening examples for Classical era:
1. Sonata in D Major, K. 492 (ca. 1750?), Domenico Scarlatti
2. Symphony in D Major, Op. 3, No. 2, first movement (ca.1752-1755), Johann Stamitz
3. Sonata in D Major, Op. 5 No. 2, first movement (1766), Johann Christian Bach
4. Piano Sonata in C Minor, Hob. XVI:20, first movement (1771), Joseph Haydn
5. String Quartet in C Major, Op. 33, No. 3 (1781), Joseph Haydn
6. Symphony No. 103 in Eb Major, first movement (1795), Joseph Haydn
7. Piano Concerto in D Major, K. 107, No. 1, first movement, Wolfgang Amadeus Mozart
8. La serva padrona: "Aspettare e non venire" (1733), Giovanni Battista Pergolesi
9. Orpheo ed Euridice, Excerpts (1762), Christoph Willibald Gluck
10. Piano Concerto in C Major Op. 21, all movements, Wolfgang Amadeus Mozart
11. Symphony No. 40 in G Minor, K. 550, all movements, Wolfgang Amadeus Mozart
12. Don Giovanni, K. 527, Act 1, Scenes 1-5 (1787), Wolfgang Amadeus Mozart
13. Requiem, K. 626 Introit (1791), Wolfgang Amadeus Mozart
B. Representative listening examples for transition into 19th century and early Romantic era:
1. Symphony No. 3 in Eb Major ("Eroica"), Op. 55, all movements (1803), Ludwig van Beethoven
2. Piano Concerto No. 4 in G Major, Op. 58, second movement (1806), Ludwig van Beethoven
3. Piano Sonata in C Major, Op. 53 ("Waldstein," first movement) (1804), Ludwig van Beethoven
4. Symphony No. 9 in D Minor, Op. 125, fourth movement, Ludwig van Beethoven
5. Three Lieder, Franz Schubert
a. Erlk�nig, D. 328
b. Prometheus, D. 674
c. Wanderers Nachtlid, D. 769
6. Two Settings of Goethe's "Kennst du das Land"
a. Kennst du das Land (Mignons Gesang), D. 321 (1814), Schubert
b. Kennst du das Land (Mignon) (1849), Robert Schumann
7. Der Freisch�tz, Op. 77, J.177, excerpts (1921), Carl Maria von Weber
Special Facilities and/or Equipment
B. Access to comprehensive digital music library for representative listening examples.
C. When taught via Foothill Global Access: On-going access to computer with email software and capabilities, email address.
Method(s) of Evaluation
The student will demonstrate:
A. detailed knowledge of the historical development of musical style in Western culture in relation to the political, economic, social, religious developments and values of the time in module/chapter-level quizzes and a comprehensive examination.
B. ability to apply knowledge of musical style, historical periods and genres from Western culture to representative examples of music in module/chapter laboratory worksheets and quizzes.
C. ability to compare and contrast repertoire of concert music in module/chapter-level quizzes and a comprehensive examination.
D. ability to critique good performance from bad, from the perspectives of artistic quality and appropriate historical performance practice through participation in on-campus and/or online discussions.
E. ability to discuss, with insight and understanding, the social and personal implications of the development of musical style in Western culture through participation in on-campus and/or online discussions and in brief essays posted in a comprehensive journal (see below).
F. self-managed learning in a comprehensive journal, in which they reflect upon, evaluate, and describe their own learning process by writing two reflections on each module/chapter-level topic area: a pre-reflection that includes what the student already knows about the topic and a post-reflection in which students summarize what they learned and want to remember, clarify, or pursue in more depth.
For the face-to-face class, students will also demonstrate the above through a portfolio of lecture notes and summaries of discussion in conjunction with in-class quizzes.
Method(s) of Instruction
During periods of instruction the student will be:
A. listening (on-campus) or reading (online) lecture information
B. listening to representative examples of music that illustrate concepts related to the historical/social context, stylistic categories, structural characteristics and important composers for the varied topic areas
C. participating in discussion (on-campus and/or online)
D. completing laboratory worksheets that provide additional information, as well as ask application questions correlated with listening examples
E. learning from feedback on quizzes, examinations, discussion postings, and comprehensive journal writing delivered via email or Canvas
Representative Text(s) and Other Materials
Barkley, E., and R. Hartwell. Great Composers and Music Masterpieces of Western Civilization. Dubuque, IA: Kendall Hunt, 2018.
Burkholder, J.P., D.J. Grout, and C.V. Palisca. A History of Western Music. New York: W.W. Norton and Company, 2014.
Types and/or Examples of Required Reading, Writing, and Outside of Class Assignments
A. Reading assignments: Textbook chapters.
B. Writing assignments: Comprehensive journal, in which students first reflect upon what they already know about the topic, and then after they have completed all the learning activities associated with that topic, summarize what they have learned, what they need to clarify, and what they wish to pursue in more depth.
C. Participation in formal threaded discussion, that includes written responses to prompts for each topic.
1. Example: Biographies offer quite a lot of insight into why a composer's career evolved as it did, why certain pieces were composed or commissioned, and so forth. Before we get too comfortable connecting biography to musical compositions or musical preferences, what might be some pitfalls of interpreting music based on the composer's biography?
2. Example: Upon hearing of his death, Mozart's great contemporary Franz Joseph Haydn commented: "posterity will not see such a talent for a hundred years." To which musicologist H. C. Robbins Landon adds: "Posterity has not seen it in two hundred." Do you agree with Landon's comment? Why or why not. Who in the contemporary music field (from any genre) do you believe has as much (or is closest) to Mozart's musical talent. Explain your choice.
3. Discussion postings are assessed on the following criteria:
a. Appropriateness: Did the student "answer" the question and address all components of the question?
b. Thoughtfulness and accuracy: Does the posting include correct information and demonstrate that the student is thinking about and understanding the material?
c. Overall organization: Does the student's posting form a coherent paragraph with main statements, support statements, conclusion, and so forth?
d. "ESWE" (edited standard written English): Does the student's posting contain correct grammar and spelling?