MUH 3001: Nineteenth Century Music 

Course Requirements
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1. Attendance at all sessions
2. Listening Assignments
3. Reading Assignments
4. Mid-Term Exam 
5. Final Exam during finals week
6. Outline and Bibliography for Research Paper (due March 26)
7. Research Paper (due April 25)

Required Texts:
Leon Plantinga, Romantic Music, (New York, 1984);
Leon Plantinga, Anthology of Romantic Music, (New York, 1984);
C. Comberiati, Supplemental Study Guide for 19th Century Music.

Useful Online Bibliography Reference: Towson University has an online guide in the style of Irvine's Writing about Music, which can be accessed here.

Required Listening:
The Listening materials for this class are available on line through the  Manhattanville College Blackboard site: http://blackboard.mville.edu. Sign on procedures will be described in class. 

Research Paper:
The research paper is a thorough, well-researched, and properly documented investigation, including your personal critical insight. The topic may be on any aspect of Romantic music in which you are particularly interested; however, various topics will be suggested in class. A detailed outline with bibliography is due March 26.

This course will partially fulfill Manhattanville's College-wide writing requirements as a "W/R" course.

The completed paper will be accepted no later than Friday, April 25. A severe grade penalty will be applied to any outline or paper not in on time. Extensions will be granted only with the confirmation of the Dean of Studies in case of a serious health or personal problem. (Not getting started and other campus activities are not "serious" excuses.)

Conduct of the Course: MuH 3001 is a selective survey of high points (time does not permit a comprehensive survey), in which the student is expected to gain a basic knowledge of the major developments of the period ca. 1800 - ca. 1890, and at least an initial exposure to the principal composers of that time. The course consists of lectures, readings, listening and score study. You will be responsible for the following material for examination purposes: lecture material, the assigned listening (including recognition of pieces from the listening and the identification of styles similar to those pieces). The assigned readings in the text are required for continuity, but no examination questions will be drawn from the readings alone. Since listening to music is an acquired skill, I will require extensive listening. To ensure that the listening be done, I reserve the option to spring surprise quizzes, often.

"What should I be listening for?" This question cannot be answered specifically, because as musicians you should be listening to all stylistic factors that will help you form a critical judgment about a composer and his or her work. As initial guidelines, however, you may wish to consider the following questions to ask yourself. Remember that a majority of the pieces assigned for listening are famous works that deserve to be part of your knowledge as musicians whatever your specialty.

1. What performing forces are present? Do these help to identify the work (e.g., string quartet, piano and voice, etc.)?
2. How would you characterize the texture of the music--contrapuntal? imitative? dense? chordal? melody and accompaniment?
3. What role does repetition play in the formal pattern? Does the piece adhere to a traditional formal structure (sonata-allegro, variations, etc.)?
4. Is the piece composed idiomatically for the performing forces?
5. In vocal music, what is the meaning of the text? What language is being sung? What does the composer do to project or enhance the meaning of the text?
6. In instrumental music, are there distinctive elements of scoring present (many passages for solo instruments, separation of choirs of different sonority, etc.)?
7. How would you characterize the harmony? Chromatic? Diatonic?
8. What other techniques, or striking details of any kind, give the piece its identity (e.g., dynamic contrasts, leitmotifs, rhythmic detail, etc.)?
   

Before listening to an assignment, review your reading and lecture notes, and make sure, in the case of vocal music, to read the text carefully. While listening, take note of things that strike your interest, of characteristic features, or of any questions you have about the piece.
Some students find it helpful to study with the use of 3" x 5" study cards: one per piece with significant features noted for each piece. Shuffle the cards and associate expectations for what you will hear in a piece.
To get the most from the course it is essential that you prepare for lectures by reading the required assignments and by listening in advance of lectures to a given week's pieces. You should make every attempt not to fall behind in this weekly work. If there is anything, in either the reading or the lectures that you do not understand, ask me about it. See me after lecture or make an appointment. I have regularly scheduled office hours.

Course Outline and Reading Assignments

January 16 and 23, Unit I: Norms of Romanticism