MUC 323

MUSIC HISTORY AND LITERATURE IV:

MUSIC SINCE 1900
Fall 2014

Instructor

Michael Strasser
Room 211, Kulas
Office Hours: 1:00-2:00 T, Th (or by appointment)
Office Phone: 440/826-2107
Home Phone: 330/225-4641
Cell Phone: 440/539-8439
E-mail: mstrasse@bw.edu


Text

A History of Western Music (8th ed.) by Burkholder, Grout, and Palisca
Study and Listening Guide for Grout/Palisca by J. Peter Burkholder (optional)
Norton Anthology of Western Music (6th ed., vol. 2 and 3), edited by Burkholder and Palisca
Norton Recorded Anthology of Western Music (6th ed., vol. 2 and 3), edited by Burkholder
and Palisca


Additional Course Materials

There will be a copy of the text, anthology, and CDs available in the music library. In addition
to the examples provided in the anthology, there will be a fairly extensive list of additional
listening examples that will provide you with a more complete picture of the rich musical life of
the past two centuries. Recordings of supplemental listening examples and videos of selected
opera and ballet scenes will be placed on the course Blackboard site or, in some cases, on reserve
in the music library. Likewise, additional readings will either be posted on the course
Blackboard site or placed on reserve in the music library.


Course Description

This is the last installment of a four-semester survey which will serve as your introduction to the
history of music in Western civilization. As in previous semesters, we will discuss the
development of musical style and language, and look at changes in the resources and technology
(everything from notation to instruments to performing groups) used by musicians over the past
two centuries. We will examine the changing role that music and musicians have played in
European culture, and look at ways n which music and musical life have reflected social and
political changes, as well as developments in the other arts. By the end of this course, you
should have some familiarity with the major composers, stylistic features, and literature of
Western music from roughly 1900 through the present, a sense of the way in which the language
of music has changed during that period, and a greater appreciation for the connections between
music and the culture that produced it.

Grading

There will be two hourly tests, each of which will be worth 100 points. Each of these tests will
account for a little over 13% of your final grade. The final examination (which will be
comprehensive, but will focus heavily on the final unit) will be worth 150 points, and will
account for 20% of your final grade. There will be two short writing assignments (3-6 pages) in
which you will analyze and discuss specific works or movements. Each of these will be worth
75 points, or about 10% of your final grade. In addition to these, you will write 8-10 very short
(200-250 words) mini-essays in which you will address a question arising from short readings
(most, if not all, from primary sources) that will be assigned in class. Each of these will be worth
5 pts.; collectively, they will account for approximately 5% of your final grade. There will be six
short (5-10 minutes) listening quizzes scheduled between major exams, each worth 20 points; in
total, these will account for 16% of your grade. Finally, you will receive up to 25 points for your
participation in the class wikis, for about 3.5% oif your final grade. (More on these in class.) In
addition to the above criteria, you should be aware that attendance will have some bearing on
your grade. See the next section for amplification.

Thus, the total percentages look like this:

29% - two hourly exams
22% - final exam
22% - two written assignments
6% - mini-essays
18% - six listening quizzes
4% - wiki participation

The grading standard is loosely based on the following guidelines: 90-100 = A; 80-90 = B; 70-80
= C; 60-70 = D. You should note that the number score you earn on any particular test or paper
is just that...a raw number. I do not attempt to turn numbers into letter grades until I add up your
total points for the semester. (So do not fret if you earn a 79 on a particular exam instead of an
80. There is no qualitative difference between these two numbers.) The specific cut-off between
grades will be determined, at least partially, by the way the class performs as a whole. For
example, I might determine that the cut-off for an A should be an 88 instead of a 90. Having
said that, I should add that I am sensitive to the problem of grade inflation and concerned
about the deleterious effect it has had on academic standards. Thus, there are limits to the extent
I will curve grades. In addition, I reserve the right to look closely at anyone who falls right at
the borderline between two grades, evaluating attendance, class participation, progress over the
course of the semester, etc. before making a final determination. In very informal terms, I
consider various letter grades as representative of the following levels of achievement:

A - Truly outstanding work, with few, if any deficiencies - To earn this grade, one would
generally have to put in much more study than that required to get by. In general, a
university student is expected to spend two hours of study for every hour spent in class; if
you put in anywhere close to that much time, and are organized in the way you study, you
should have a reasonable shot at earning an A. Some might be able to operate at this
level without putting that much time and effort into their study, but such people are rare
indeed.
B - Very good work; solid, but with some room for improvement - This signifies much
better than average work, and is certainly nothing to be ashamed of. I would think that
most good students who put in a reasonable amount of good, consistent study would find
that their grades are comfortably in this range, if not higher.
C - Decent work, and average level of achievement; obviously demonstrates a grasp of
the subject at hand, but with some obvious deficiencies and much room for improvement
- Even if you are a good student, if you try to do all your studying a couple of days before
the exam, or begin working on your analysis papers the night before they are due, this is
probably the best grade that you should expect. For some (especially those who have
serious deficiencies in their academic background), much hard work will be required to
attain this level. But I would expect that any student who is enrolled in the Conservatory
should be capable of earning at least a C of some kind.
D - Not too good; some understanding of the subject, but reflecting less than average
effort or ability - This grade indicates that someone is just barely getting by, and is either
not putting much time into his or her studies, or needs to consider ways to make study
more effective.
F - Reserved for those who basically dont have a clue as to what is going on, usually
because of serious deficiencies in background knowledge or study skills, or because they
put no effort into the course.

I will show you how the numbers are distributed when I return each exam and paper in order to
give you at least a general idea of how you are doing in comparison to your classmates. If, at
any time, you have questions or concerns about your progress in the course, please do not
hesitate to see me. I especially urge anyone whose average falls below 60% to set up an
appointment so we can explore ways to improve your understanding of the material.


Attendance

Attendance is, of course, very important. We will be covering a large amount of material and the
textbook is loaded with information that will seem overwhelming to you. It will be very difficult
for you to digest it all if you do not attend lectures regularly. Generally, I expect you to be in
class every day, but will excuse absences for the following reasons: illness, personal or family
crisis (death, serious illness within your family, etc.), or a school-sanctioned performance or trip.
I realize that other situations may occasionally arise that prevent you from attending on a
particular day, and therefore I will allow you to miss as many as two days a semester for
personal reasons. Each unexcused absence beyond that total will result in a reduction of 10
points from your final total. Furthermore, excessive absences for any reason may well affect
your grade, depending upon the circumstances. In other words, I reserve the right to look at your
overall attendance when evaluating your performance in this course, especially when you fall on
the borderline between two grades. Thus, if you have a fairly high number of excused absences,
you should be cautious about using a personal day. You should be aware that chronic
tardiness will also have a negative effect on your grade. Three tardies will equal one
unexcused absence. (Generally, I will mark you tardy if you enter after we have begun
discussion of the days material.)



Academic Integrity

Baldwin-Wallace College is committed to the growth and learning of its students and
believes strongly that such growth and learning prospers best within a community of trust. We
believe that academic honesty--the fair and straightforward representation of what one has
learned, researched, and/or written--is the foundation of a healthy environment for learning.
Instructors, administrators, staff, and students alike are responsible for upholding high ethical
standards of academic honesty in all academic endeavors.
The academic community of Baldwin-Wallace College supports the policy that any form
of academic dishonesty is a serious breach of ethics and shall be dealt with appropriately through
the student judicial system. For a full explanation of the policies and procedures that guide
academic integrity at Baldwin-Wallace College, see the Colleges Academic Honesty Policy
(www.bw.edu/resources/dean/policies/).

Academic dishonesty includes:
Claiming someones work as your own - using answers from someone elses test or
turning in a paper for which someone else did the research and/or writing; quoting from
someone without acknowledging the source, etc. Plagiarism, i.e. presenting someone
elses written or recorded words, arguments, or ideas as your own, falls into this category.
Seeking unfair advantage over other students in taking a test or fulfilling an assignment -
copying from another students paper or communicating with another student during an
exam; allowing others to copy from your exam; copying anothers homework or paper or
allowing another to copy yours, etc.
Claiming for someone else what is, in fact, your own - e.g. forging the signature of an
advisor, professor, or administrator on an official form or document

Plagiarism or other forms of cheating are often illegal and always immoral. Fortunately, I
have rarely had to deal with situations involving academic dishonesty, and I certainly do not
expect any of you to engage in such practices. I would be remiss, however, if I did not remind
you that penalties for cheating, copying, etc. can range from receiving a failing grade for an
assignment to expulsion from the college.


Tutoring

We have compiled a list of upper class students who have agreed to serve as tutors. These
individuals have all survived this class and (gasp!) have actually enjoyed it. They can be a
valuable resource for you either as individuals or in small groups. If you wish to engage the
services of a tutor, please see me or go to the learning center in Ritter Library.



Additional Notes

Please note the following statement from the office of Disability Services:

Any student with a documented disability (e.g., physical, learning, psychological,
vision, hearing, etc.) who feels he or she may need an accommodation based on the impact of
that disability should contact the Disability Services at 440-826-5936 in the Ritter Library, Room
207, to establish eligibility and to coordinate reasonable accommodations. Students will not be
accommodated unless they provide their instructors with a letter from Disability Services
documenting their eligibility and delineating reasonable and appropriate accommodations. The
accommodation letter must be updated each semester. Students are encouraged to meet with each
professor early in the semester to discuss their disability letter regarding how to implement
their accommodations in relation to specific course requirements.

I have listed official office hours, and I can usually be found in my office during those times,
but please feel free to drop by any time to discuss questions or problems you may be having. In
addition, I welcome any comments you might have about the course and any suggestions you
might have for improving it. Of course, there is an official forum for such comments at the end
of the semester, but please do not wait until then if you think any suggestion you might have
would be of immediate benefit. I cannot promise that I will be able to accommodate every
request, or incorporate every suggestion, but I will always do what I can to make your life easier
and your classroom experience more stimulating and enjoyable.







































MUC 323 - Fall 2014 SCHEDULE

Aug. 25 The Early 20
th
Century: Issues and Themes
pp. 772-78
27 Vernacular Music: Popular Music, Silent Film, Band
pp. 778-82
29 Ragtime and Early Jazz
pp. 782-84
Sept. 1 Labor Day
3 Mahler
pp. 743-48
5 Strauss Operas
pp. 785-90
8 Debussy and Impressionism
pp. 790-95
10 Debussy and Symbolism - First Listening Quiz
pp. 790-95
12 Schoenberg and Expressionism
pp. 810-18
15 Scriabin, Rachmaninov, Early Stravinsky
pp. 801-05
17 Stravinsky: The Three Big Ballets
pp. 829-35
19 Bartok
pp. 839-46
22 Ives - Second Listening Quiz
pp. 846-54
24 Spain, England, Janacek, Sibelius
pp. 797-801
26 Popular Music, Musical Theater, and Film Music Between the Wars
pp. 855-63; 874-76
29 First Exam
Oct. 1 Blues and Jazz through the Big Band Era
pp. 864-74
3 Schoenberg and the Twelve-Tone Method
pp. 818-23
6 Berg
pp. 823-26
8 Webern
pp. 826-29
10 Stravinsky and Neo-Classicism
pp. 805-07; 835-39
13 Ravel and Les Six - Third Listening Quiz
pp. 795-97; 877-83
15 Germany Between the Wars
pp. 883-88
17 Fall Break
20 Music in the Soviet Union; Prokofiev
pp. 888-90

22 Shostakovich
pp. 890-92
24 American Experimental Composers - First Paper due
pp. 894-900
27 Gershwin, Copland - Fourth Listening Quiz
pp. 900-902
29 Other American Traditionalists; Latin America
pp. 902-05; 893-94
31 Post-War Trends; Popular Music, Broadway, and Film Music
pp. 906-18
Nov. 3 Second Exam
5 From Be-Bop to Free Jazz
pp. 918-21
7 Olivier Messiaen
pp. 921-26
10 Britten, Barber, and Others
pp. 926-29
12 Cage and Indeterminacy
pp. 930-36
14 Extensions of Serialism
pp. 936-40
17 The New Virtuosity: Berio and Carter
pp. 940-43 - Fifth Listening Quiz
19 New Sounds and Textures
pp. 807-08; 943-45
21 Early Electronic Music
pp. 945-48
24 Textural Composition; Collage; Wind Music
pp. 948-55 - Second Paper due
26 Thanksgiving
28 Thanksgiving
Dec. 1 Minimalism
pp. 957-58; 969-75
3 The New Accessibility, Polystylism - Sixth Listening Quiz
pp. 975-81
5 Neo-Romanticism, Cross-Currents with Popular Music and Non-Western Music
pp. 981-86
11 Final Exam - 11:30-1:30