Sect 101: MWF 10 am
Sect 102: MWF 11 am
Catalog Course Description:
The course is “designed to increase the variety and depth of a student’s exposure to music and to enhance an understanding and enjoyment of music as an art.” (MSU 2012-2014 Undergraduate Catalog p.199)
Listening to Western Music, by Craig Wright, publ by Cengage,7th ed. This is a required online text and you must have an access card to complete online assignments and to study from the text. Access cards are available in the MSU bookstore and directly from the publisher, Cengage. If you wish to buy it online, using the ISBN number for Listening to Western Music, VII, select the product you wish to purchase (the Access Card) in the CourseMate for this book. Once you have the access card, you will also need to register your Access Card in the following manner.
*The only course key for the 10:00 am MWF class is CM-9781285096582-0000043
*The only course key for the 11:00 am MWF class is CM-9781285096582-0000044
(Note that all listening exercises must be completed under the appropriate course key. No assignments will be received if not sent directly to the Cengage online grade book based on the MSU class in which you enrolled. If you are in the 10 am class, you must register in …43 and complete assignments in …43; if you are in the 11 am class, you must register in …44 and complete assignments in …44, your assignment will not be recorded. If you do not, Cengage will not forward your work. Not good. Please use the correct number if you wish to receive credit for all assignments.)
(The following parts are listed in the table of contents from the required text. Exams dates are tentative and will be confirmed approximately two class periods in advance.)
Basic information on rhythm, melody, acoustics, hearing, perception, copyright, forms (binary, ternary, and rondo), instruments of the orchestra, and related terms. Exam I; 9/13
Part II and Part III
Brief discussion on Medieval and Renaissance music. Majority of the time will be spent in the Baroque period covering vocal and instrumental forms along with stylistic characteristics of the period. Forms will include passacaglia, chaconne, recitative, aria, concerto grosso, cantata, oratorio, French overture, suite, trio sonata, as well as contrapuntal forms and the beginnings of opera. Listening will include works by Monteverdi, Handel, J.S. Bach, and Vivaldi, as well as examples from Mexican Baroque literature. Listening identification will be included on the exam. Exam II; 10/4.
The Classic period. Covered material will include the music of Haydn, Mozart, and Beethoven as well as general characteristics of the period. Forms and genre, as well as listening ,will include the symphony, minuet and trio, sectional variations, concerto for solo and orchestra, opera and sonata form. Listening identification will be included on the exam. Exam III 10/25.
Nineteenth Century Music, the Romantic Era. General characteristics of the period will be introduced as well as the newer forms and genre including the character piece, program symphony, symphonic poem, tone poem, romantic opera, examples of piano literature, and the orchestral song. In class listening will include the works of Schubert, Berlioz, Mendelssohn, Chopin, Schumann, Liszt, Wagner, Verdi, Puccini, Mussorgsky, Borodin, Brahms, Tschiakovsky, Richard Strauss, and Mahler. Listening identification will be included on the exam. Exam IV; 11/18.
Modern and post-modern Music. With the many eclectic styles in the 20th and 21st century, this era will be approached historically by style. After an introduction of Impressionism, twentieth century stylistic characteristics will include primitivism, expressionism, futurism or machine music, experimental music, serial technique, neo nationalism, neo romanticism, and neo classicism. The avant garde will include ultra rational, indeterminate, aleatory, as well as quotation music and minimalism. There will be no listening identification for this period.
Assigned Listening Exercises/Quizzes:
Throughout the semester, there will be approximately ten assigned listening exercises, or possibly quizzes, from the text. Please note that you are not automatically assigned every listening exercise in the text(!); you will be told which two or three that you will be required to complete on the day when each new unit or Part as cited under "Course Schedule," is introduced. These exercises should be completed within a week following the exam covering the period in which the listening was discussed and will not be accepted more than two weeks after the exam. Again, please note that you must complete these exercises within the course key that parallels your enrollment. Please Follow these Instructions to Complete your CourseMate Quizzes and Listening Exercise Assignments:
Current Email Addresses
Please keep your email address with the university up-to-date. The email you listed when you applied to the university is available to instructors under the class in which you enrolled. There are times when I may need to contact the entire class or to send out a timely notice (eg., should I wake at 2 am with the flu and know I won't be able to make it to cancel class that day) and an up-to-date email is helpful to all.
Scantrons (50 questions per side) and a number two pencil will be required for all exams including the final exam.
The final exam will include approximately 12-15 questions covering Part IV as well as a 10-13 questions of a listening exam. You will be required to identify the period in which it was written and to provide a reason for your choice.
The Critical Listening Portion of the Final Exam
The listening exam will contain approximately 10-13 excerpts from music which you have never heard in class. The excerpts will be taken from music written during the Medieval/Renaissance, Baroque, Classical, and Romantic Periods. Over the course of the semester, the stylistic traits will have already been presented and illustrated with musical examples. You will also have had listening identification exercises in class after each period is covered throughout the semester.
On this portion of the final listening exam, you will need to synthesize both factual and aural knowledge to specifically identify the period in which each work was written and then to support your reason for selecting that particular period by writing a short statement explaining what you heard or why you determined the period to which each listening example belonged. You will be expected to include specific stylistic characteristics of the periods covered in class in a coherent, accurate, and clear manner.
Attendance (3 or less unexcused absences) 25 points
Ten assigned Listening Exercises in the Text 100 points
Exams (best three out of four exams) 300 points
Final Exam 200 points
625 points total
The actual final grade submitted will be points earned ÷ 625. For example:
A= 90-100% (560-625 points); B=80-89% (497-559 points); C=70-79% (435-496 points);
D=60-69% (372-434 points); F= 0-59% (0-371 points)
All listening exercises must be completed within a week following the exam covering the period in which the listening was discussed and will not be accepted more than two weeks after the exam. ALL listening must be done using the correct course key and must be submitted online through Cengage only.
No paper assigned at this time.
Basis for faculty initiated drop with a grade of F (or given a final grade of F without being dropped):
Absences in excess of 9 mwf classes (3 weeks of class!).
Academic Dishonesty: submitting any work for a grade which is not the student’s own, including but not limited to, plagiarism; using or permitting others to use unauthorized materials during exams; copying , providing, receiving or using exam answers from other students during exams; viewing, using or allowing others to use electronic devices during exams (eg. cell phones accessed or on top of your desk). If you observe others participating in academic dishonesty and report it to me, I will confront the student according to university policy, however your report will need to be collaborated by another before any action will be taken.
Disruptive behavior, including talking during class.
A student dropped by a faculty member for the reasons defined above has the right to an appeal to the Student Conduct Committee through the Dean of Student’s Office.
Other classroom Policies and Procedures:
Please turn off and put away all cell phones and audio devices before arriving for class. Appropriate classroom etiquette is expected at all times. Examples of inappropriate behavior include talking, texting, listening to iPods or similar equipment, reading newspapers or other material unrelated to this class, the use of laptops for anything other than note taking, and any other activity which is disruptive or distracting to the class or to the professor. (Laptops must be closed during all exams as well as music listening and video presentations.)
Honesty is expected at all times. Cheating (including collaboration) on exams is totally unacceptable, immoral, and should not be tolerated by any university student. Any student who is suspected of cheating will be dealt with in accordance with official university policies on academic dishonesty.
ADDITIONAL STATEMENTS REQUIRED BY THE COLLEGE OF FINE ARTS
Federal Privacy laws prohibit faculty from releasing information about a student’s academic progress to other students or to those outside the university. In this class, no information regarding your grades, exams, or confidential matters can be released to friends or relatives. Friends may not pick up your exams and exam grades cannot be posted unless you provide a confidential 4 digit code on the first exam.
Special Needs Statement
If you need course adaptations or accommodations because of a disability, if you have emergency medical information that needs sharing, or if you need special accommodations in the event that the building must be evacuated, please register with the Disability Support Services and make an appointment with the professor as soon as possible.
The instructor reserves the right to adjust or cancel assignments as the course progresses.
In that I am not too swift in responding to voice mail, thank you for leaving messages only by email and avoiding voice mail altogether.