Cultural analysis of composers’ settings and stylistic analysis of compositions of the Classical and Romantic eras and the 20th century. Topics include sonata form, Romanticism, dodecaphony, the development of such vocal and instrumental genres as the symphony, opera and lied and the works of such central composers as Beethoven, Wagner, and Schoenberg.
(This course, MS 402, is offered for 3 credits. MS 402A is offered for 4 credits and requires an additional paper and occasional extended meeting times.)
Prerequisites:
Music major or equivalent skills in analysis and listening
Learning outcomes:
By the end of the course, students should have an understanding of musical developments of the Classical, Baroque, and 20th Century periods, and be able to place these developments within a wider historical, cultural, and aesthetic context.
Method of presentation:
Lectures and discussions
Required work and form of assessment:
Reading, writing, and listening assignments for each lecture are listed below. CDs of the required listening and copies of the required readings are on reserve in the library. There will be a midterm and a final exam as well as two listening quizzes. Students will also be given journal assignments. The course is graded as follows:
class participation, Study Guide 20%
listening quizzes (2 x 10%) 20%
midterm exam 25%
journals 10%
final exam 25%
content:
The following is a list of class meetings by week giving topics, major works, readings, and listening assignments. For full reference on the readings, see the Required Readings list below.
Week 1: Course Introduction
European Music and Society, 1750-1800
Eighteenth-Century Opera: Comic, Serious, Reform
Week 10: American Music in the 20th Century
Jazz and Pop Music
Composers, Performers, and Technology
Reading: HWM 747-55, 836-43, 883-91, 844-64, 893-908, 916-35
Listening: NAWM 148, 157, 152, 159, 163, 164
The Beatles, “A Day in the Life”
Required readings:
Burkholder, J. Peter, Donald J. Grout, and Claude V. Palisca. A History of Western Music. 7th ed.
New York: Norton, 2006. (HWM)
Burkholder, J. Peter and Claude V. Palisca. Norton Anthology of Western Music, Vol. II. 5th ed.
New York: Norton, 2006. (NAWM)
Burkholder, J. Peter and Jennifer L. King. Student & Listening Guide for a History of Western Music.
New York: Norton, 2006.
Turabian, Kate. A Manual for Writers. 6th ed. Chicago: University of Chicago Press, 1996.
Weiss, Piero and Richard Taruskin. Music in the Western World: A History in Documents. New York: Schirmer, 1984.
Recommended readings:
Heartz, Daniel. Haydn, Mozart and the Viennese School. New York: Norton, 1995.
Morgan, Robert P. Twentieth-Century Music. New York: Norton, 1991.
Rosen, Charles. The Romantic Generation. Cambridge, MA: Harvard University Press, 1995.
Samson, Jim. The Cambridge History of Nineteenth-Century Music. Cambridge: Cambridge University
Press, 2002.
Brief Biography of Instructor:
John Moraitis earned a Ph.D in Musicology from the University of Wisconsin-Madison. His teaching experience includes courses in Music History, Music Theory, Music Appreciation, and Piano at the University of Georgia and the University of Wisconsin-Madison, as well as private harpsichord lessons and master classes on Baroque performance practice. Current research areas include twentieth-century Modernism and Baroque performance practice. He has been teaching at IES Vienna since 2004.
Music from the Classical Period to the 20th Century
Cultural analysis of composers’ settings and stylistic analysis of compositions of the Classical and Romantic eras and the 20th century. Topics include sonata form, Romanticism, dodecaphony, the development of such vocal and instrumental genres as the symphony, opera and lied and the works of such central composers as Beethoven, Wagner, and Schoenberg.
(This course, MS 402, is offered for 3 credits. MS 402A is offered for 4 credits and requires an additional paper and occasional extended meeting times.)
Music major or equivalent skills in analysis and listening
By the end of the course, students should have an understanding of musical developments of the Classical, Baroque, and 20th Century periods, and be able to place these developments within a wider historical, cultural, and aesthetic context.
Lectures and discussions
Reading, writing, and listening assignments for each lecture are listed below. CDs of the required listening and copies of the required readings are on reserve in the library. There will be a midterm and a final exam as well as two listening quizzes. Students will also be given journal assignments. The course is graded as follows:
The following is a list of class meetings by week giving topics, major works, readings, and listening assignments. For full reference on the readings, see the Required Readings list below.
Week 1: Course Introduction
European Music and Society, 1750-1800
Eighteenth-Century Opera: Comic, Serious, Reform
Reading: HWM 416-23, 438-40, 472-85, 485-500
Listening: NAWM 93, 94, 96
Week 2: Early Classical Music; Symphony
Haydn
Mozart
Reading: HWM 506-21, 525-46, 546-65
Listening: NAWM 101, 104, 106, 107
Week 3: Beethoven
Reading: Listening:
HWM 567-594
NAWM 108-110
Week 4: Romanticism: German Lieder and Song Cycles
Piano Music: Poetry and Virtuosity
Reading: HWM 595-630
Listening: NAWM 111-113, 116-119
Week 5: Symphony and Symphonic Poem to the mid-1800s
Italian and French Opera
Reading: HWM 631-45, 657-58, 659-72, 683-89
Listening: NAWM 121, 125, 127
Week 6: German Romantic Opera
The Wagnerian Music Drama
The Search for National Identity
Reading: HWM 673-75, 690-98, 679-83, 698-711, 741-47
Listening: NAWM 126, 128
Week 7: The French Tradition
Brahms and Late Romanticism
Reading: HWM 737-41, 780-86, 714-36
Listening: NAWM 138, 132
Week 8: Strauss, Mahler, and the Turn of the Century
Schoenberg: Expressionism and Atonality
Reading: HWM 770-80, 786-800, 757-64, 801-10
Listening: NAWM 133, 141, 143
Week 9: The Second Viennese School and Dodecaphony
Music Between the World Wars
Reading: HWM 810-19, 819-37, 865-80
Listening: NAWM 142, 144, 145, 147, 154
Week 10: American Music in the 20th Century
Jazz and Pop Music
Composers, Performers, and Technology
Reading: HWM 747-55, 836-43, 883-91, 844-64, 893-908, 916-35
Listening: NAWM 148, 157, 152, 159, 163, 164
The Beatles, “A Day in the Life”
Burkholder, J. Peter, Donald J. Grout, and Claude V. Palisca. A History of Western Music. 7th ed.
New York: Norton, 2006. (HWM)
Burkholder, J. Peter and Claude V. Palisca. Norton Anthology of Western Music, Vol. II. 5th ed.
New York: Norton, 2006. (NAWM)
Burkholder, J. Peter and Jennifer L. King. Student & Listening Guide for a History of Western Music.
New York: Norton, 2006.
Turabian, Kate. A Manual for Writers. 6th ed. Chicago: University of Chicago Press, 1996.
Weiss, Piero and Richard Taruskin. Music in the Western World: A History in Documents. New York: Schirmer, 1984.
Heartz, Daniel. Haydn, Mozart and the Viennese School. New York: Norton, 1995.
Morgan, Robert P. Twentieth-Century Music. New York: Norton, 1991.
Rosen, Charles. The Romantic Generation. Cambridge, MA: Harvard University Press, 1995.
Samson, Jim. The Cambridge History of Nineteenth-Century Music. Cambridge: Cambridge University
Press, 2002.
John Moraitis earned a Ph.D in Musicology from the University of Wisconsin-Madison. His teaching experience includes courses in Music History, Music Theory, Music Appreciation, and Piano at the University of Georgia and the University of Wisconsin-Madison, as well as private harpsichord lessons and master classes on Baroque performance practice. Current research areas include twentieth-century Modernism and Baroque performance practice. He has been teaching at IES Vienna since 2004.