Music of the Twentieth Century

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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
Home Page: http://www.coe.edu/bands
Office: Marquis 203
Hours:  M 3:00 – 4:00, W 2:00 – 3:00, Th 1:30 – 2:20, or by appointment


Dr. Carson's Schedule
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MUS-458: Music History and Literature III - Music of the Twentieth Century

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

Texts:

  • Eric Salzman, Twentieth-Century Music, Englewood Cliffs, NJ: Prentice Hall, 2002

  • Handouts for Music of the Twentieth Century, Cedar Rapids, IA:  Privately Published, 2010  (these materials may be downloaded by clicking HERE – or purchased from the instructor for a modest duplication fee)

Reserve Materials:  Supplementary reading, listening, and videotape viewing as assigned.

Special Events:

·    Wozzeck Viewing Party:  Sunday, Sept. 19, 4:00 – 6:00, Dr. Carson’s house (ask for directions).  Chip in $5 for pizza, we provide beverages, chips, dessert.

·         History III Student Recital, Sunday, Dec. 12, 2:00 p.m., Daehler-Kitchin Auditorium. (setup at 1:15), pot-luck reception after

·         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 .


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    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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    GRADING DETAILS
     
     
     

    REQUIRED WORK:

    Points

    X

    Number

    =

    Total

    Daily in class performance (25%)

    5

    X

    50

    =

    250

    Concert Reviews (5%)

    10

    X

    5

    =

    50

    Tests (15%)

    50

    X

    3

    =

    150

    Final Exam (10%)

    100

     

     

    =

    100

    Recital Performance and Program Notes (10%)

    100

     

     

    =

    100

    Notebook  (10%)

    100

     

     

    =

    100

    *Essays/Web Assignments (10%)

    50

    X

    2

    =

    100

    *Research Paper - rough draft -  hard copy (5%)

    50

     

     

    =

    50

    *Research Paper - final draft -  electronic version (10%)

    100

     

     

    =

    100

    TOTAL Required Points (100%)

     

     

     

     

    1000

     

     

     

     

     

     

    EXTRA CREDIT WORK:

     

     

     

     

     

    Extra Course Meetings

    5

    X

    3

    =

     15

    Extra Concert Reviews

    5

    X

    3

    =

    15

    Perfect Attendance

    20

     

     

    =

    20

    TOTAL Points Possible

     

     

     

     

              1050

    Grading Scale:
     

    900 -  1050 =  A

    850 - 899  =  B

    800 - 849  =  C

    750  - 799  =  D

    0 - 749 =F

     


    Students who miss ONE test or in class assignment will be allowed to make up their work, but ONLY the FIRST time!
    After that any make up work must be done in the form of extra credit assignments.
    Assignments will lose 25% in value each day that they are late, including weekends and holidays.
     

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    The Fine Print

    • 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: 

      Sunday, December 12, at 2:00 p.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 (by that point in the term), and perform it as a member of a small ensemble (no groups larger than 6, please, non smaller than 2).  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, composers, performers and their instruments, must be submitted in writing no later than Monday, Oct. 4.  Program notes and a copy of the score will be due on Thursday, Oct. 28.  Sometime between Oct. 29 and Nov. 18 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.
     

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    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.  

  • ·         Wozzeck Viewing Party:  Sunday, Sept. 19, 4:00 – 6:00, Dr. Carson’s house (ask for directions).  Chip in $5 for pizza, we provide beverages, chips, dessert.

    ·         History III Student Recital, Sunday, Dec. 12, 2:00 p.m., Daehler-Kitchin Auditorium. (setup at 1:15), pot-luck reception after

    ·         Other concert attendance TBA

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: Wednesday, 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: Wednesday, 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. 18(paper copy only)

Web Pages and Links Due: Monday, Dec. 6 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)

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Grading final paper

 

100 points

 

 

possible

earned

content and organization

50

 

corrections

10

 

improvement

20

 

formatting and proper footnotes

5

 

3 print sources and source newer than 5

5

 

quote

5

 

3 links per composer

5

 

subtract one point for each misspelled word

 

 

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.

  • You can't use first person because no one cares what you think -  we know you're biased.  We want evidence.

  • You can't say anything that you don't know from first-hand experience without first saying from whom you got the information.

  • Don't use hyperbole -  use facts and quotes.

  • Have someone play the devil's advocate -  where are the holes in your reasoning?  Then find a way of overcoming any possible objections to your conclusion.

  • Like a good lawyer, you should probably start with an opening statement (introduction) and finish with a closing statement (conclusion).  Your opening statement should not only say that you're going to prove your client significant, but how.  Perhaps you should even define what you mean by significant.  At the conclusion you need to summarize how you reached the conclusion and restate the most important evidence or at least refer to the evidence listed previously.

  • Avoid the vernacular. Imagine that your jury has some stuffy old Bostonians in it, and you need a unanimous verdict.  Use language that won't put off anyone.

  • While you might discuss your composers in order of importance, you need to present the case for each composer in chronological order.  No point in describing the murder first, then going back to explain how your client got to the location of the murder.

  • It is doubtful that the composer's birthdate or birthplace will be significant to your case.  Even her or his training is not likely to be relevant.  If you were defending someone accused of murder, would you need to tell the jury where and when she was born?

  • Don't be shy about stating your conclusion.   A good lawyer would say, at the end of a presentation of a series of facts (also known as a paragraph) that "my client is innocent!" You should do the same -  and then have a closing statement that shows the clients innocence and summarizes the facts you presented in earlier paragraphs.

 

Other advice:

  • Spell out numbers that are lower than 101.

  • Don't use contractions in formal writing.

  • Use "who" or "whom" when referring to people, use "that" when referring to non-humans.

  • Don't use very.  It's a very weak word.  Your sentence is almost always just as strong without it.

  • Always double-check any information you get from Wikipedia -  anyone can write an article on Wikipedia!

  • Don't split infinitives




 

The quote in the background, ""Life Without Music Would be a Mistake," is from The Birth of Tragedy by Friedrich Nietzche


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