Introduction to Western Music

Listening

Listening assignments are all on the CDs complementing the course textbook.

Textbook: Kerman, Joseph, and Gary Tomlinson. Listen. 5th brief ed. Boston, MA: Bedford/St. Martin’s Press, 2004. ISBN: 9780312401153.

CDs: Kerman, Joseph, and Gary Tomlinson. A 6-CD Set to Accompany ‘Listen.’ Boston, MA: Bedford/St. Martin’s Press, 2003. ISBN: 9780312411220.

Lec #	TOPICS	Listening Assignments
1	Introduction; Music of the Middle Ages	Anon. Vere Dignum, Plainchant Preface for Mass (on Whit Sunday). [pp. 59-60; CD 1, #1] Anon. In Paradisum, Plainchant Antiphon (part of the Requiem for the dead). [pp. 60-61; CD 1, #2] Hildegard of Bingen (1098-1179) Columba Aspexit, Plainchant Sequence. [pp. 61-62; CD 1, #3] Bernart de Ventadorn (c. 1135-1194) La Dousa Votz, Troubadour Song. [pp. 64; CD 1, #4] Perotin (c. 1170-c. 1236) Alleluia. Diffusa Est Gratia, Organum (c. 1200). [pp. 66-67; CD 1, #5] Guillaume de Machaut (c. 1300-1377) Quant En Moi, Motet. [pp. 68-69; CD 1, #6]
2	Renaissance and Early Baroque Music for Church, Chamber, and Theater	Guillaume Dufay (c. 1400-1474) Ave Maris Stella, harmonized Gregorian Hymn. [pp. 75-77; CD 1, #7] Josquin Desprez (c. 1450-1521) Pange Lingua, Mass, based on a Gregorian Hymn (c. 1510) - Kyrie, complete, and Gloria, second half (= Qui Tollis). [pp. 80-81; CD 1, #8-9] Giovanni Pierluigi da Palestrina (c. 1525-1594) Pope Marcellus Mass (1557) - Gloria, second half (= Qui Tollis). [pp. 83-85; CD 1, #10] Thomas Weelkes (c. 1575-1623) As Vesta Was From Latmos Hill Descending, Madrigal (1601). [pp. 86-87; CD 1, #11] Two anonymous instrumental dance pieces from the late 1500’s: - Galliard, “Daphne” - “Kemp’s Jig” [pp. 88-89; CD 1, #12 and 13] Giovanni Gabrieli (c. 1555-1612) O Magnum Mysterium, Motet (published 1615). [pp. 94-95; CD 1, #14] Claudio Monteverdi (1567-1643) The Coronation Of Poppea, Opera (1642) Excerpt from act I, including an aria for Poppea: “Speranza, tu mi vai. " [pp. 99-102; CD 1, #15-16]
3	Baroque Instrumental Music: Suite, Concerto, and Fugue; Bach	Girolamo Frescobaldi (1583-1643) Suite for organ (1627-1637): Canzona, Balletto, Corrente, and Passacaglia. [pp. 106-107; CD 1, #19-22] Antonio Vivaldi (1678-1741) Violin Concerto in G, “La Stravaganza,” Op. 4/#12 (1712-1713). [pp. 130-135; CD 1, #23-25] Johann Sebastian Bach (1685-1750) Brandenburg Concerto #5 in D: Concerto grosso for Flute, Violin, Harpsichord, and small String Orchestra (before 1721) - Movement 1. [pp. 135-139; CD 2, #1-5] Bach, Orchestral Suite No. 3 in D (c. 1730 - Air and Gavotte). [pp. 121-123, 145-148 (and 173-174); CD 2, #6-7] Bach, The Art Of The Fugue: Contrapunctus IV (published 1751). [pp. 141-142; CD 1, #26-27]
4	Baroque Vocal Music: Opera, Oratorio, and Cantata; Handel	Henry Purcell (1659-1695) Dido and Aeneas: Opera (1689) - Final scene from act II, including the Recitative “Thy hand, Belinda,” the Aria “When I am Laid in Earth” (Dido’s Lament), and the closing Chorus, “With drooping wings.” [pp. 102-104; CD 1, #17-18] George Frideric Handel (1685-1759) Julius Caesar (Giulio Cesare In Egitto): Opera (1724) - Recitative and Aria for Sextus from Act III, “La giustizia.” [pp. 153-154; CD 2, #8] Handel, Messiah: Oratorio (1742) - excerpt from Part I and Hallelujah Chorus from Part II. [pp. 156-159; CD 2, #9-10] Bach, Christ Lag In Todesbanden: Church Cantata based on a Lutheran Chorale (1707) - three movements: - stanza 3; “Jesus Christus, Gottes Sohn” - stanza 4: “Es war ein wunderlicher Krieg” - stanza 7: “Wir essen und leben wohl” [pp. 160-162; CD 2, #11-14] Bach, Christ Lag in Todesbanden: Chorale Prelude for Organ (1715). [pp. 162-163; CD 2, #15]
5	The Classical Symphony and Sonata: Haydn	Wolfgang Amadeus Mozart (1756-1791) Symphony #40 i_n G Minor_ (1788) - Movement 1 (in Sonata Form). [pp. 182-185; CD 2, #15-20] Franz Joseph Haydn (1732-1809) Symphony #95 in C Minor (1791) - All four movements. [pp. 187-196; CD 2, #21-35] Mozart, Piano Sonata in B-Flat Major (K. 570; 1787) - Movement 3 in irregular Rondo Form. [pp. 198-200; CD 2, #36-38]
6	The Classical Concerto and Opera: Mozart	Mozart, Piano Concerto #23 in a Major (K. 488; 1786) - Movement 1. [pp. 202-204; CD 3, #1-5] Mozart, Don Giovanni: Opera buffa (1787) - Excerpt from Act 1, scene iii including Masetto’s Aria, “Ho capito,” and Giovanni and Zerlina’s secco recitative, and Duet, “Là ci darem la mano.” [pp. 207-211; CD 2, #39-41]
7	Midterm Exam
8	From Classic to Romantic: Beethoven	Beethoven, Symphony No. 5 In C Minor, Op. 67 (1808). [pp. 227-232; CD 3, # 6-20; cf. K. 49 + Study Guide; CD-ROM, #14-16] Beethoven, String Quartet No. 16 in F Major, Op. 135 (1826) - Movement 2 (Scherzo). [pp. 232,234; CD 3, #21]
9	Romantic Songs and Piano Pieces: the Art of the Miniature	Franz Schubert (1797-1828) Erlkönig: German Lied (text by Goethe; 1815). [pp. 250-253; CD 3, #22] Robert Schumann (1810-1856) Dichterliebe: German Song Cycle (text by Heine; 1840) - First and Last Songs: - Song #1: “Im wunderschonen Monat Mai” - Song #16: “Die alten bösen Lieder” [pp. 254-255; CD 3, #23-24] Clara Wieck Schumann (1819-1896) Der Mond Kommt Still Gegangen: German Lied (1843). [pp. 256-257 and 259; CD 3, #25] Franz Schubert, Moments Musicals: 6 Character Pieces for piano (1827?) - Nos. 2 and 3. - Moment Musical No. 2 in A-flat Major [pp. 259-260; CD 4, #1] _- Moment Musical No. 3 in F Minor _[pp. 35; Study Guide CD-ROM, #10] Robert Schumann, Carnaval: Cycle of 21 Character Pieces for piano (1833-35) - Nos. 5 and 6, “Eusebius” and “Florestan.” [pp. 260-261; CD 4, #2-3] Frédéric Chopin (1810-1849) Nocturne in F-Sharp Major, Op. 15, No. 2: Character Piece for piano (1831). [pp. 261-262; CD 4; #4]
10	Romantic Program Music and Opera: Fantasies on a Grand Scale	Hector Berlioz (1803-1839) Fantastic Symphony: Episodes in The Life Of An Artist: Program Symphony (1830) - Movements 4 and 5. - Movement 4: “March to the Scaffold” [pp. 2-5 and 267; Study Guide; CD-ROM, #1-3] - Movement 5: “Dream of a Witches’ Sabbath” [pp. 267-270; CD 4, #5-11] Giuseppe Verdi (1813-1901) Aida: Italian Opera (1871) - Act IV, scene ii (“Tomb Scene”). [pp. 275-279; CD 4, #12-15] Richard Wagner (1813-1883) Tristan and Isolde: German Opera (1859) - Two excerpts: - Orchestral Prelude to Act 1 - “Philter Scene” from Act I [pp. 281-287; CD 4, #16-20 and 21-23]
11	Late Romantic Orchestral Music: Looking Forward and Back	Pyotr Ilyich Chaikovsky [Tchaikovsky] (1840-1893) Romeo and Juilet Overture - Fantasy: Symphonic Poem (1869, revised 1880). [pp. 290-293; CD 4, #24-35] Modest Mussorgsky (1839-1881) Pictures at an Exhibition, Piano Cycle (1874), arranged for orchestra in 1922 by Maurice Ravel (1875-1937) - First three pieces, and closing piece Promenade; Gnomus; Promenade [2]; The Great Gate of Kiev. [pp. 295-296; CD 5, #1-4] Johannes Brahms (1833-1897) Violon Concerto in D Major, Op. 77 (1878) - Movement 3. [pp. 300-302; CD 5, #5-10] Gustav Mahler (1860-1911) Symphony No. 1 in D Major (“Titan,” 1888) - Movement 3 (Funeral March). [pp. 303-307; CD 5, #11-18; cf.] [pp. 35 + Study Guide; CD-ROM #12] Claude Debussy (1862-1918) Three Nocturnes: Impressionist Symphonic Poems without program (1899) Nocturne 1: Clouds. [pp. 330-333; CD 5, #19-24]
12	The Twentieth Century: The European Tradition	Igor Stravinsky (1882-1971) The Rite Of Spring: Ballet (1913) - First half of Part I (“The Adoration of the Earth”). [pp. 334-8; CD 5, #25-31] Arnold Schoenberg (1874-1951) Pierrot Lunaire: German Song Cycle for soprano and five players (1912) - Two songs: (8) “Night,” for voice, piano, bass clarinet, and cello; (18) “The Moonfleck,” for voice, piano, piccolo, clarinet, viola, and cello. [pp. 340-342; CD 5, #32-33] Anton Webern (1883-1945) Five Orchestral Pieces (1913) - No. 4. [pp. 369-370; CD 6, #12] Alban Berg (1885-1935) Wozzeck: German Opera (1923) - Act III, scenes iii and iv. [pp. 342-347; CD 5, #34-38] Maurice Ravel (1875-1937) Piano Concerto in G (1931) - Movement 1. [pp. 355-357; CD 5, 39-43] Béla Bartók (1881-1945) Music For Strings, Percussion and Celesta: Symphony (1936) - Movement 2 (in Sonata Form). [pp. 359-362; CD 6, #1-7] Edgard Varèse (1883-1965) Poem Électronique: Electronic Music on tape (1958) - Ending. [pp. 374-375; CD 6, #17] György Ligeti (1923-) Lux Aeterna: Setting of a text from the Requiem Mass, for sixteen solo singers and chorus (1966). [pp. 373-74; CD 6, #13-16] Kaija Saariaho (b. 1952) From The Grammar Of Dreams: Song Cycle for two sopranos (1988) - Three songs (Nos. 1, 3, and 4). [pp. 379-380; CD 6 #23-25]
13	The Twentieth Century: The American Tradition	Charles Ives, 2nd Orchestral Set, Movement 2: “The Rockstrewn Hills…” (1909). [pp. 349-350; CD 4, #36-37] Aaron Copland (1900-1990) Appalachian Spring: Ballet (1944), arranged as a Concert Suite (1945) - Sections 1-2 and 5-6. [pp. 364-365; CD 6, #8-11] John Cage (1912-1992) 4'33”: Silence, to be “played” by any number of performers (1952). [pp. 376; no recording] Sippie Wallace, with Louis Armstrong (1901-1971) and Ensemble “If You Ever Been Down”: blues (recorded 1927; composed by G.W. Thomas). [pp. 390-92; CD 6, #31] Duke Ellington (1899-1974), with Juan Tizol and Ensemble Conga Brava: big band jazz (recorded 1940). [pp. 395-397; CD 6 #32] Charlie Parker (1920-1955) Out Of Nowhere: bebop jazz (song composed by Johnny Green in 1931; recorded in 1948). [pp. 400-402; CD 6, #33] Miles Davis (1926-1991) and Ensemble Bitches Brew: jazz-rock “fusion” (1969) - Excerpt. [pp. 402-403; CD 6, #34] George Gershwin (1898-1937) Piano Prelude No. 1 (1926). [pp. 404-405; CD 6, #35] Leonard Bernstein (1918-1990) West Side Story: Broadway Musical (1957) - Two numbers Meeting Scene (Cha-Cha) and “Cool” (with Fugue). [pp. 407-409; CD 6, #35-36] George Crumb (b. 1929) Black Angels for Electric String Quartet (1970) - No. 1-5. [pp. 377-378; CD 6, #18-22] Steve Reich (b. 1936) Tehillim: Minimalist “Symphony” (of Psalms) with voices (1981) - Fourth section. [pp. 381-383; CD 6, #26-30]
14	Catch-up and Review