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1220 First Avenue Northeast
Cedar Rapids, IA
52402
E-Mail: wcarson@coe.edu
Telephone and Voicemail: 319-399-8520
or contact Bernadette Tiede (Bernie), Music Department Administrative
Assistant: 319-399-8521
Fax: 319-399-8209
Home Page: http://www.coe.edu/bands
Office: Marquis 203
Hours: 10:00
- 11:00 MWTF, or by appointment
Dr. Carson's
Schedule
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Course Description: Study of the composers and musical developments in European and American Art Music in the 20th century with an introduction to music from other world cultures. Samples of a broad spectrum of musical life in the twentieth century, including Art Music in common practice: orchestral, choral, band, chamber music, and solo repertoire, both instrumental and vocal; Musical Theater; Jazz; Pop; Music of Europe, Asia, Africa, North and South America, Australia and New Zealand. Compositional techniques, style characteristics, and relationships will be emphasized. This course will also introduce some computer applications for musicians.
Prerequisite: Music History and Literature II (MU-355) or consent of instructor.
Class Schedule: Monday, Wednesday, Friday, 9:00 - 9:50 a.m., Thursday, 11:00 - 11:50 a.m.
Location: Marquis Hall Ray Rehearsal Room, Room 201
Eric Salzman, Twentieth-Century Music, Englewood Cliffs, NJ: Prentice Hall, 2002
Handouts for Music of the Twentieth Century, Cedar Rapids, IA: Privately Published, 2008
Reserve Materials: Supplementary reading, listening, and videotape viewing as assigned.
Wozzeck Viewing Party: Sunday, Sept. 7, 4:00 - 6:00, Marquis 201
History III Student Recital, Wednesday, Dec. 3, 9:15 a.m., Daehler-Kitchin Auditorium.
Other concert attendance TBA
Notebook: A notebook of all course materials is required. When this notebook is turned in at the final exam, it must contain every test, every assignment, every handout, etc., or you will not get credit for them, even though they were submitted earlier in the term. Everything from this class goes in your notebook! Your notebook must also include notes on the required listening.
Grading: This is a very demanding class, requiring a large amount of preparation outside of class. The grading scale is high, and there is little room for error. Approximately one quarter of your grade is based on attendance, one quarter on tests, one quarter on writing and web assignments, and one quarter on your other assignments. Please see grading details below .
COURSE OBJECTIVES
Upon
successful completion of this course, the student will have:
(1)
A basic knowledge of the major works of art music in the twentieth
century
(2)
A basic knowledge of the major composers of art music in the twentieth
century
(3)
A basic knowledge of the major stylistic developments of art music in the
twentieth century
(4)
An increased awareness of different compositional styles
(5)
A more open attitude toward unfamiliar musical styles
(6)
An understanding of the interrelationship between different musical
genres
(7)
A structure for making qualitative judgements
(8)
Opinions based on reason
(9)
An increased awareness of the presence of twentieth-century music in her
or his life
To
demonstrate the above competencies, the student will:
(1)
Recognize compositions at sight
(2)
Recognize compositions aurally
(3)
Answer questions about composers and performers
(4)
Answer questions concerning stylistic differences
(5)
Compose exercises for various instruments
(6)
Listen to and evaluate performances and recordings
(7)
Analyze musical compositions
(8)
Perform music in a stylistically appropriate manner
(9) Prepare cogent arguments concerning the significance of various musics and musicians
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Daily in class performance: A great portion of the value of this class will come from the lectures and the materials sampled in class. I could not possibly test you over everything we will discuss in class, nor every musical example I will play for you in class. I therefore attach great importance to attendance.
Concert Reviews:
During the course of the semester,
as I become aware of them, I will inform you of concerts which include music
pertinent to the course. You may select three additional concerts for extra
credit from among many opportunities during the term. If you become aware of
such a concert, please make sure that I hear about it. Whether attending a
required performance or one for extra credit, the next time the course meets
you need to submit a program and a one-page description of the music that
pertains to this course. Listen not only for the quality of the performance,
but also for how the piece meets your expectations. Compare it to other pieces
we have discussed in the course. Explain how the piece seems similar to and
different from other pieces by the same composer or in the same style or
genre. These concerts MAY be used for other classes (recital hour, for
example). Please create a separate, labeled section in your notebook
for the five required (and any extra-credit) concert reviews.
Tests and Final Exam: These tests offer me the opportunity to assess your progress in the listening lab and your attentiveness in class and during your reading sessions. The tests will include listening questions, and may contain some mixture of multiple choice, true/false, matching, fill-in-the-blank, short answer, and/or essay questions.
Recital
Performance and Program Notes:
Wednesday, December 3, at 9:15
a.m., we will present a brief, informal recital of music based on
compositional techniques from the late twentieth-century. Each of you will be
required to collaborate on the composition of a piece in the style of one (or
more) of the composers whom we have studied (or will study later in the term),
and perform it as a member of a small ensemble (no groups larger than 6,
please). Each piece will require program notes (about one paragraph in
length, explaining how the piece is related to the style of the composer(s)
they are emulating. You will be responsible for scheduling and preparing the
musicians for your own piece, and for preparing all technical requirements.
Your selections - title, composer, performers and their instruments, must be
submitted in writing no later than Thursday, Oct. 2. Program notes and a copy
of the score will be due on Monday, Oct. 27. Sometime between Oct. 27 and
Nov. 17 you will need to schedule a ten-minute appointment for me to hear your
piece (NO pieces longer than five minutes!).
Notebook: See above.
Essays/Web-Based Projects: See below about writing assignments.
* Because MU-458 is a Writing Emphasis Course, students who do not earn at least a C (74%) average on the writing portion of the course will not earn a final grade any higher than C, regardless of their scores for the remainder of the course.
A hard copy of
these materials may be purchased for a copying fee of $2.
Music History and Literature III: Music in the Twentieth Century
Writing Assignments/Web-Based Projects
MU-458 is a Writing Emphasis Course. Students must earn at least a C (74%) average on the writing portion of the course to ensure a final grade higher than C, regardless of their scores for the remainder of the course.
One of my goals for this course is to assist you in the development of critical and persuasive skills in music listening. I know that you will hear new music for decades after completing this course, and you will be some of the musicians who will shape the way we listen to and appreciate music in the rest of this century. For this reason, I consider it important to aid you in the development of skills to help you assess the significance of music and composers, and of the ability to be persuasive in presenting your analysis. This course is also one of the courses where we test your knowledge of computer applications (an NASM requirement), thus the use of web-pages for assignment delivery, email for communication, and the requirement of web-page design. This is also a writing emphasis course, so we will be working on strengthening and refining your writing skills during the course of the term as well.
Essay #1 - Due: Monday, Oct. 6, Essay length: 1000 - 1500 words (50 points)
Most musicologists agree that Bach was the most important composer of the early 18th century, while Mozart dominates the later half. Beethoven's contributions were undeniably significant in the early 19th century, while Wagner and Brahms are often debated as the major figures later in the century (Remember the three B's? Bach, Beethoven, and Brahms?). As we get closer to the present, though, it becomes more difficult to decide which innovations are most important. Your assignment is to do just that: List the three most significant musicians (based on your research and analysis) of the first half of the twentieth century (AFTER Debussy, please). Cite specific compositions and compositional techniques and discuss influences. Then select one of the three and explain why this person is the SINGLE most important musician of the first half of the twentieth century. Begin by writing too much and then editing down to a more reasonable length. In that way, only the most important information will remain in your completed essay. Post your results on the internet and then e-mail me the web address. You do not need to hand any PAPER in (except a marked rough draft and an outline) - I can grade your web site - simply email me your URL Not knowing how to use the web is no excuse. Learn how! I would be glad to have one demonstration day for those of you who have never done this before - we'll figure out a schedule during class. Your site should include a link for sending e-mail to the author, in case we have comments or suggestions. Complete documentation and bibliography are required. This is a writing emphasis course, and you need to read, proofread, and revise your paper. You will be docked one point for every incorrectly spelled word that my spellchecker can catch on this and subsequent writing assignments. You will also be docked for obvious grammar errors. You will find that one of my main criticisms of your writing will be gaps in your logic. Read through your paper, before you submit it, as if you were someone who completely disagreed with the points you are trying to make, and see what holes are present in your argument so that you can remove any objections. Become persuasive and authoritative. Using quotes from impressive sources is good - but when you use a quote - make sure you explain where you got it - you must acknowledge the author in the text and in a footnote. This is not an opinion paper, which might allow first-person writing, but a persuasive paper, which should use formal writing.You must have a rough draft and outline, and these are to be turned in (in hard copy) when the paper is due. You must have a meeting with a Coe Writing Center Consultant before submitting your paper. Document this meeting with a two-paragraph summary and description of the meeting (including date, time, location, who, etc.). All of these rules apply to all of the following writing assignments.
Essay #2 - Due: Monday, Nov. 3, Essay length: 1000 - 1500 words
If you thought Essay #1 was hard, now try to make the same evaluation of the second half of the twentieth century - even before we have discussed it in class! List the three musicians whom you consider the most significant (they do not have to be someone we discuss in class!). Again, cite specific compositions and techniques and discuss influences. Choose one of the three and explain why this person is the most important musician of the second half of the century. Again, begin by writing too much and editing down to a more reasonable length, and post your results on the internet, and provide me with the web address (you have to send the address to me again).
Research Paper based on the first two essays - Rough Draft Due: Thursday, Nov. 13(paper copy only)
Web Pages and Links Due: Friday, Dec. 5 Essay length: 2000 - 3000 words plus bibliography, footnotes and links
And now comes the real challenge - narrowing down from what you wrote earlier, and backing it up: Discuss the three musicians of the entire twentieth century whose contributions you consider the most significant. (Again, they might not be people we have discussed in class.) In light of our study since the other essays were written, you will need to re-evaluate the positions you took in the first two papers and either select new musicians or explain your reasons for not changing your selections. For each musician, cite at least three print-media (not internet) sources. At least one of your sources must be no more than five years old. Our textbook may be used, but does not count among the three sources required for each musician. Use proper footnotes and bibliography forms. I also require that you quote some authors whose opinions support your contentions, or who disagree and need to be refuted. It would surprise me if your conclusions about the second half of the century haven't changed since the second essay was written. I will expect very strong reasons for those of you whose opinions did not change, and in any case I expect your arguments to be different from those you used in the first two papers, and this time they must be even more strongly supported by statements made by experts. Finally, to finish, select one of the three and explain why this person is the SINGLE most important musician of the twentieth century! Your rough draft must include your bibliography, but your Web formatting may be done after the rough draft is turned in. Post your final product on the internet (and e-mail me the URL), including links to at least three sites relating to each of the musicians discussed in your essay. (see grading chart below)
Grading final paper
100 points
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possible |
earned |
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content and organization |
50 |
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corrections |
10 |
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improvement |
20 |
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formatting and proper footnotes |
5 |
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3 print sources and source newer than 5 |
5 |
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quote |
5 |
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3 links per composer |
5 |
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subtract one point for each misspelled word |
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Total |
100 |
0 |
Advice for Writing Assignments
Imagine that you are a lawyer trying to prove a case:
Don't say anything that might make the other lawyer shout "objection, irrelevant!" If it doesn't prove your point, don't say it. Never state a fact (or use a quote) without justifying how it helps prove your point.
You can't have an opinion that the person is significant, you need expert witnesses and evidence. Your opinion doesn't matter - but a published author's opinion does.