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  

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assignment Written Assignments