The Master's College

Music and Art for Musicians Fall, 2014

MU 295 MWF, 12:50-1:45 MC 104 3 units
Dr. Carolyn Simons, Professor

TEXT
1. Kamien, Roger. Music: An Appreciation. 7th Brief Edition. Boston: McGraw-Hill, 2011. (ISBN: 978-0-07802509-9)
2. Course Outline (available on course home page)

COURSE DESCRIPTION
This course surveys the history of music and art in Western civilization from the Middle Ages to the present. The
student will be introduced to the main styles and forms of the day, as well as the primary artists and composers and
their work for each major stylistic period. The course also includes a field trip to the Getty Center and a section on
non-Western music.

COURSE GOALS
1) Understanding of the main elements of music and art.
2) Ability to recognize major musical forms.
3) Familiarization with major works of music and art.
4) Familiarization with major composers and artists.
5) Exposure to music unique to the United States.
6) Experiencing music and art firsthand through the classroom, concerts, and museum visits.
7) Ability to evaluate music and art from a Christian perspective.

COURSE REQUIREMENTS
1) Reading of the required book, listening to and studying the musical examples.
2) Minimum 2-hour visit to a Getty Museum, the L.A. County Museum of Art, or The Huntington Library.
3) Five exams as indicated on the course schedule.
4) Written assignments
a) Composer/Artist paper
b) Philosophy of Music and Art paper
c) Reponses to 4 music selections and the book Mademoiselle

GRADING
Five exams given @ 10% each
Composer/Artist paper
Philosophy of Music and Art paper
Responses to 4 music selections and book Mademoiselle

= 50%
= 20%
= 10%
= 20%
100%
Note: Semester grade penalty for requirements not completed:
Art field trip: 10 points off final grade

WRITTEN WORK (NO late work accepted!)

1) All papers must be done on a word processor. The composer/artist paper must also be e-mailed.
2) Bibliographies must include in correct format: author, title, city of publication, publisher, and year of publication.
MLA documentation form is preferred.
4) Parenthetic citations or footnotes/endnotes are required if direct quotes and/or an author's original idea is used.
SEE ADDENDUM ON PLAGIARISM

5) NOTE: YOU MAY NOT USE PUBLIC INTERNET SOURCES; YOU MUST USE ONLY THE ONLINE
SOURCES AVAILABLE THROUGH OUR LIBRARY (These are the best ones, anyway). That means you may
not merely surf the web, you may not use Wikipedia, or similar general reference tools. Our library has good online
encyclopedias and web sources, as well as excellent hard copy sources. You should not use general encyclopedias
(such as the Brittanica), but use music encyclopedias; The New Grove Dictionary is your definitive source on music.
Also, research goes beyond the classroom: do not use your textbook as a reference.

CLASS DISRUPTIONS
Except for cases of medical emergency, do not disrupt the class by coming in late or leaving early. If a doctors
appointment, for example, requires an early exit, please consult with the professor before class begins. Cell phones
must be turned off. If your phone rings during class, your will lose credit for attendance that class period. The use
of computers in class is not allowed.

EXTRA CREDIT OPPORTUNITIES

Up to four points extra credit on the final grade can be earned. Additional visits to museums and additional response
papers on music selections will raise the final grade by a point.

DETAILED DESCRIPTION OF COURSE REQUIREMENTS

1) Required Reading: Music: An Appreciation should be read in its entirety. The content goes along with the
Course Outline. Mademoiselle must also be read. Copies are on reserve in the library, but NOTE: there are only a
few copies of the book so it is important to your classmates that you read it within a few days and return your copy
to the library ASAP.
2) Getty Center visit or another museum is done on your own. You must spend a minimum of 2 hours in the
museum. You may see whatever you like; no paper is required. Enjoy!
3) Exams may include multiple choice, essay, and music and art identification, as well as listening requirement in
addition to the recordings given with the book Music: an Appreciation. The list is located later in the syllabus.
4a) Composer/Artist paper should be turned in both as hard copy and uploaded on Joule. You must choose a
composer and an artist from the SAME style period. Be sure to choose a composer and artist from those studied
or of equal stature. If you are unsure, get the professors approval. This is to be a 1500-word composition
(approximately 5-6 pages, typed, double-spaced), and is to be divided fairly equally between your composer and
your artist. It MUST contain in-text documentation and an additional page of proper bibliography listing at least
3 references. The paper must include the following and will be graded as indicated:
a) biographical information (brief, but complete synopsis)-- 40%
b) musical or artistic contribution (their style, major works, output, innovations) -- 40%
c) brief description and impression/reaction to a work observed (artist) AND heard (composer) -- 10%
d) proper grammar and language usage/bibliography/citations) -- 10% (more may be deducted for improper
documentation)
NOTE: YOU MAY NOT USE PUBLIC INTERNET SOURCES; YOU MUST USE ONLY THE ONLINE
SOURCES AVAILABLE THROUGH OUR LIBRARY (These are the best ones, anyway). That means you may
not merely surf the web, you may not use Wikipedia, or similar reference tools. You should not use general
encyclopedias (such as the Brittanica), but use music encyclopedias; The New Grove Dictionary is your definitive
source on music. Use some hard copy sources in the reference section. Also, DO NOT use your textbook as a
source. This paper should begin beyond the classroom.
Plagiarism will result in an F. See addendum on plagiarism (Academic Dishonesty).
4b) Philosophy of Music and Art paper. In this paper you will expresses in a 1000-word composition
(approximately 3-4 pages): a) your philosophy of music and of art. Opinions must be supported; biblical support is
primary. The following questions concern topics you may want to address, but you are not required to respond to all
or even any of them.

For the philosophy of music section, you may want to consider such questions as: What place should
music have in the life of a Christian? What determines the type of music you listen to? Is it acceptable for a
Christian to listen to "secular" music? What about purely instrumental (ex. orchestral) music? etc.
For the philosophy of art section, some questions to consider might be: What is the biblical approach to
art? What is your view of beauty and how do you determine this? Must art be beautiful? How do you determine
whether or not a work is sacred or secular; is subject matter the only criteria? Are nudes in art sinful? (See the
attachment on
Even though there could be some overlap, make sure to specifically address BOTH of these issues!
Philosophies of music and of art will be worth 40% each of the grade of the paper, with another 10% reflecting
proper grammar and language usage (and footnotes, if needed), and the final 10% based on the bibliography.
The bibliography must reflect a minimum of THREE different sources (other than the Bible) with a
minimum total of 40 pages read including the article on the course home page, A Biblical Approach to
Objectionable Elements in Christian Education. You MUST include the actual number of pages read from
each source in your bibliography or you will lose points. The purpose of your readings is not to give you material
you can quote extensively from. Rather, the various sources should help to stimulate and shape your own thinking
so you may come up with a personal philosophy of music. (A list of suggested material follows)
4c) Responses to 4 music selections and Mademoiselle. You will listen to all the musical works listed on page 5
and write a minimum 2-page response paper on four of them. Responses should be on one work from 4 of the 5
eras, Renaissance, Baroque, Classical, Romantic, 20th Century. The papers should include a brief paragraph
introducing the composer, a paragraph introducing the entire work, a paragraph or two describing some or all of the
music in more detail, and a paragraph of your personal response to the work.
For the book Mademoiselle, you will write a one- to two-page response paper giving a brief overview of the
book (one paragraph), two specific ideas or incidents or aspects of the book that you found noteworthy (2
paragraphs, and your response to the book (one paragraph).

SUGGESTED SOURCES FOR PHILOSOPHY OF MUSIC AND ART PAPER

(All sources on reserve in the library)
783.609 B176c Baker, Paul - Contemporary Christian Music: Where It Came From, Where It Is, Where It Is
Going
246.75 B464m Best, Harold Music through the Eyes of Faith
783.709 El59c Ellsworth, Donald P. - Christian Music in Contemporary Witness
261.57 G118c Gaebelein, Frank E. - The Christian, the Arts, and Truth
Ch. 3 - "Toward Biblical Views of the Arts"
Ch. 4 - "The Relation of Truth to the Arts"
Ch. 12 - "On Behalf of Music"
Ch. 13 - "Music in Christian Education"
780.1 H198b Hanslick, Eduard The Beautiful in Music
Holmes, Arthur (editor) - The Making of a Christian Mind (Ch. 5 - "The Creative Arts")
701 K551c 1961 Kilby, Clyde Christianity and Ethics
261.1 M118t 2003 MacArthur, John, editor - Think Biblically
Ch. 10 - Enjoying Spiritual Worship and Music (Paul T. Plew)
Ch. 17 - Glorifying God in Literary and Artistic Culture (Grant Horner)
709 R673m Rookmaaker, Hans Modern Art and the Death of a Culture
246 Sch13ar Schaeffer, Francis Art and the Bible
239 Sch13c v. 1 Schaeffer, Francis - The Complete Works of Francis A. Schaeffer

Book 1: The God Who Is There section I, chapters 3 (pp. 27-34) and 4 (pp. 35-36)
Book 1: The God Who is There section II, chapter 4 (pp. 75-79)
Book 2: Escape From Reason chapters 1 (pp. 209-216) and 5 (247-249)
239 Sch13c v. 5 Schaeffer, Francis The Complete Works of Francis A. Schaeffer
Book 2: How Should We Then Live?
Chapter 2 The Middle Ages (pp. 99-105)
Chapter 3 The Renaissance
Chapter 4 The Reformation (pp. 126-134)
Chapter 10 Modern Art, Music, Literature, and Films
780.904 Sch95c Schwartz, Elliot and Childs, Barney (eds.) - Contemporary Composers on Contemporary
Music
Papers:
Best, Harold - "The Arts and Evangelicalism: Questions, Dilemmas, Prospects" (18 pp.)
Best, Harold - "What Music Best Communicates God" (3 pp.)
Best, Harold - Whats Ahead for the Evangelical Church (5 pp.)
Dixon, Dr. Paul - "Christians and Their Music" (2 pp.)
Gabelein, Frank - Towards a Christian Philosophy of Education (6 pp.)
MacArthur, John - With Hearts and Minds and Voices (8 pp.)
Mays, Kenneth - "A Clarification of a Christian View of Music" (14 pp.)
Mays, Kenneth - Church Music Education in 2005 (3 pp.)

ADDITIONAL REQUIRED LISTENING: LISTEN TO ALL, WRITE RESPONSES TO FOUR

(EACH FROM A DIFFERENT ERA)
Selections may be found in the library stacks, on reserve in the library (marked with an asterisk),
or on the library website in databases or web sources such as Classical Music Library &
NAXOS. You may also use YouTube, but be sure you listen to the entire work named below
unless otherwise directed. Note that sometimes the databases and web sources offer only one
movement. You are not limited to the performances listed; if you find the specific work
somewhere else, that will suffice. These selections may appear on tests as listening examples.
Medieval and Renaissance
*1) Chantchoose 3 different examples from: Christmas with the Tallis Scholars; The Offering
of the Apostles; Voice of Deep Silence
*2) Dunstable, Preco Preheminenciae and one other selection of your choice (Dunstable
Motets, Hilliard Ensemble)
*3) Gombert, Magnificat 5 Quinti toni (Nicolas Gombert, Magnificats 5-8, Tallis Scholars),
*4) AllegriMiserere (Carmina Sacra; The Best of the Renaissance; The Essential Tallis
Scholars
*5) Anonymous 4 (performing group) On Yoolis Night: Medieval carols & motets (listen to 2 or
3 selections)
Baroque
*6) Heinrich Schtz, Psalmen Davids, Alleluja! Lobet den Herren (Psalm 150) (Schtz,
Psalmen Davids)
*7) J. S. Bach, Toccata and Fugue in D Minor (Virgil Fox; J. S. Bach, 24 Preludes and Fugues)
8) G. F. Handel, Concerto Grosso op. 6, No. 10, HWV 328 (NAXOS 8.550158)
Classical

*9) Haydn, Symphony No. 31 Hornsignal (Haydn)

10) Mozart, Piano Concerto No. 23 (Klavierkonzerte nr. 21 und 23: CD call no. 784.262
M877k)
*11) Beethoven, Symphony No. 9, Movement 4
Romantic
12) Schubert, The Trout Quintet (Forellenquintett: CD call no. 785.715 Sch78f)
13) Brahms, Academic Festival Overture (Festouvertre: CD call no. 784.272 B73f)
*14) Richard Strauss, Also Sprach Zarathustra listen to at least 4 movements (Newport
Classic, The Pasadena Symphony, or in the Classical Music Library)
20th Century
*15) Ralph Vaughan Williams, Songs of Travel: The Vagabond, Let Beauty Awake, The
Roadside Fire, Bright is the Ring of Words. (Songs of Travel)
*16) Shostakovich, Symphony No. 5 (Shostakovich: Symphony No. 5; Prokofiev . . .
Essential Classics)
17) Ernst Bloch, Concerto Grosso 1 (NAXOS)
18) Bartok, String Quartet No. 4 (CD call no. 785.714 B285s, 1988)