A Real Syllabus would go here.  

 

Santiago Canyon College Arts, Humanities & Social Sciences Division Fall 2018

Instructor: Professor Beach Email: Beach_Nancy@sccollege.edu Office: TBD as needed Office Hours: By Appointment Music 101 – Section 40528 Online

 

MUSIC APPRECIATION (MUSIC 101) SYLLABUS

 

1. TEXT: The Enjoyment of Music, 12^th edition, Shorter Version, by Forney/Dell’Antonio/Machlis. New price ~$115, rental options available (see Bookstore). If you purchase a new textbook, you will have access to Norton Total Access, and all listening examples and additional material online. RECOMMENDED: You may purchase an eBook version from Norton, which also includes access to the additional material. Visit https://digital.wwnorton.com/enjmusic12s for more information.

 

2. CATALOG DESCRIPTION: Designed to increase awareness and appreciation of music from the European classical tradition in relation to general culture and history. Develops a basic understanding of musical elements and deepens students' experience of music. This course is recommended for, but not limited to non-music majors.

 

3. COURSE CONTENT: An introduction to the music, musicians, and instruments of the modern symphony orchestra. Then, a chronological introduction to the history and development of music through the major historical time periods: A. Middle Ages (AD 450-1450), B. Renaissance (1450-1600), C. Baroque (1600-1750), D. Classical (1750-1825), E. Romantic (1800-1900), F. Impressionism (1880-1920), G. 20^th and 21^st

 

4. STUDENT LEARNING OUTCOMES: A. Students will acquire an understanding and knowledge of basic significant western musical styles. Students will be able to aurally identify the most important composers and their representative compositions from each major music era. These two outcomes will be assessed by a faculty-developed examination. Each student must complete the pre and post-test assessments. Failure to take the post-test without withdrawing from the course will result in a grade of INCOMPLETE.

 

5. EXAMS: There will be examinations during the semester. Each exam will contain a written component and/or multiple choice, and a listening component. Each exam will be worth 10 points. The lowest five will be dropped from consideration of your final course grade.

6. MAKE-UP EXAMS: Subject to the availability of the professor and the student, and of a suitable room for the administration of the test. You are responsible to notify your professor immediately when you suspect you will need to schedule a make-up exam.

CONCERT REQUIREMENTS: Attendance and written review of a minimum of three concerts is required for this course.A maximum of 100 points per review are available.25 bonus points will be available for extra credit if you attend one additional concert (maximum of four total reports).Reports must be written and submitted no later than two weeks following the attendance of the concert.Due dates are as follows: October 23, November 27, and December 11, 2017. NO LATE REPORTS WILL BE ACCEPTED! Reports must be typed in 1.5 space Arial 12-point font, must have the ticket stub and concert program stapled to the back, and be no longer than 1 page. If you are submitting your reports via Canvas, you will still need to turn in the proof of attendance. See the attached sample for guidelines on how to author your reports. Each concert report must include the following information on the headline:

1- MUS101 – Music Appreciation Class

2- Name of student

3- Date and time of class (MW 3:30)

4- Concert report number (1 to 4)

5- Name of the concert

6- Date and time of the concert 

Students may find information regarding concerts in town from the following sources:

• Orange County Concerts: SparkOC.com,
• Google: Pacific Symphony Orchestra or LA Philharmonic
• goldstar.com

7. Participation Credits: Participation Credits will be given to students who give presentations, lead or actively participate in discussion sessions during class. Each student will have opportunities to earn up to 26 Participation Credits in a semester.  Each Participation Credit is worth 2 points.  The Participation Points total will be included in the calculation of final grade at the end of the semester.  Student is expected to come to class on time.  A reduction of 1 point in the Participation Points for every tardy.

 

8. TERM PAPER (HONOR STUDENTS): Each student will write a research paper on a topic relevant to this course description. Potential topics will be discussed during the first week of class. Each student must have their topic approved by the instructor no later than the OCTOBER 2^nd class date. Papers must be turned in no later than the December 11^th class date. NO LATE PAPERS WILL BE ACCEPTED! Papers must be typed in 1.5 space Arial 12-point font and may be handed in or submitted via Canvas. A works-cited page in MLA format must accompany this paper.

 

9. GRADING: Grades will be averaged to determine the course grade: four of the five examination grades (100 points each), three concert reports (100points each) with the option to do a fourth for extra credit, participation credits (up to 26) and the optional Term Paper (100 points).END OF CHAPTER 10 POINT QUIZZES MAY BE INCLUDED IN GRADE, TBD. Grades are not weighted **NOTE: For the lowest test grade drop to be implemented, students are required to attend the last 2 weeks of instruction. More than one absence during these weeks will disqualify you from using Test 5 as your dropped test.

 

SCALE: 100-81% = A | 80-61% = B| 60-41% = C| 40-21% = D | 20-0% = F

 

10. ABSENCE POLICY: Students are expected to report on time for every class meeting. Please notify your instructor via email if you have a planned absence or extenuating circumstance. As per SCC Policy, as noted in the Catalog, it is the student’s responsibility to withdraw officially from a course. However, because of enrollment demand, a student may be dropped by the instructor for excessive absences. As quoted from the catalog:

 

“A student may be dropped for not attending the first class meeting or for excessive absences when the total hour’s of absence exceed 10% of the total scheduled hours of the class.”

 

11. ACCOMMODATIONS FOR DISABILITIES: Students with disabilities who want to request academic accommodations are responsible for informing their instructors and Disabled Students Programs and Services (DSPS) as early in the semester as possible, or at least two weeks before the accommodation is needed. To have accommodations authorized, students must provide DSPS with verification of disability and meet with a DSPS professional for an evaluation of needs. Students may schedule a DSPS appointment by coming to the DSPS office in E-105, by phoning us at (714) 628-4860 or by emailing us at DSPS@sccollege.edu.

 

12. STUDENT CODE OF CONDUCT STANDARD – BP 5201: All students are responsible for maintaining appropriate conduct while enrolled in classes through the Rancho Santiago Community College District (RSCCD).Guidelines for student conduct set forth in the RSCCD “Standards of Student Conduct” policy.The detailed information regarding student discipline and rights within this policy is available in the college catalog and student handbook. Students who violate the Standards of Conduct are subject to disciplinary action which includes, but is not limited to, removal from class, suspension, and expulsion.

 

13. STATEMENT ON ACADEMIC INTEGRITY: Any test, paper or report submitted by you and that bears your name is presumed to be your own original work that has not previously been submitted for credit in another course unless you obtain prior written approval to do so from your instructor.

 

In all of your assignments, including your homework or drafts of papers, you may use words or ideas written by other individuals in publications, web sites, or other sources, but only with proper attribution. “Proper attribution” means that you have fully identified the original source and extent of your use of the words or ideas of others that you reproduce in your work for this course, usually in the form of a footnote or parenthesis.

 

As a general rule, if you are citing from a published source or from a web site and the quotation is short (up to a sentence or two) place it in quotation marks; if you employ a longer passage from a publication or web site, please indent it and use single spacing. In both cases, be sure to cite the original source in a footnote or in parentheses.

 

If you are not clear about the expectations for completing an assignment or taking a test or examination, be sure to seek clarification from your instructor or beforehand.

 

Finally, you should keep in mind that as a member of the campus community, you are expected to demonstrate integrity in all of your academic endeavors and will be evaluated on your own merits. So be proud of your academic accomplishments and help to protect and promote academic integrity at SCC. The consequences of cheating and academic dishonesty – including a formal discipline file, possible loss of future internship, scholarship, or employment opportunities, and denial of admission to graduate school – are simply not worth it.

 

14. ELECTRONIC DEVICE POLICY: Absolutely NO electronic devices are to be used during class at any time for any reason without the expressed permission of the instructor. This includes, but is not limited to cellular telephones, smart phones, tablets, phablets, laptops, iPods, iPads, etc. Absolutely NO electronic device of ANY kind will be permitted on the tables during examinations.

 

15. INSTRUCTOR CONFIDENTIALITY (Title IX): Please be assured that I, as your instructor, will uphold the confidentiality if your coursework and grades, and will not disclose any of this information to anyone. I also extend this confidentiality to any other matters you wish to discuss with me, but please be aware that under Title IX and as an employee of the Rancho Santiago Community College District, I am required to report any allegations of sexual misconduct to ensure the safety of our students and the community. If you do not wish to formally report an incident to me but wish to speak to someone confidentially about an unwelcome sexual encounter, you can speak to the College Psychologist who is not legally bound to report your conversation. The College Psychologist is located in the Student Health & Wellness Center in T-102 or call (714) 628-4773.

 

16. IMPORTANT DATES:

 

Term Start Date	September 11, 2017
Last Day to Add (add code required)	September 24, 2017
Last Day to Drop without “W”	September 24, 2016
Last Day to Obtain a Refund	September 18, 2016
Last Day to Drop with “W”	November 15, 2017
Term End Date	December 13, 2017

 

17. This syllabus represents a contract between the student and the instructor and is not open to interpretation or question.

18. Welcome to class.

Concert Report #1, Sample to Follow

Name: Peggy Skipitaris
Course: Music 101, Music Appreciation MW 3:30
Date: December 9, 1991
Concert: New York Philharmonic (December 3, 1991)

Type of concert: Symphony orchestra

General reaction: I was impressed with the construction of the concert hall—Avery Fisher Hall at Lincoln Center—and with its wonderful acoustics. The visual grandeur of the orchestra and the attentiveness of the audience heightened my sense of excitement.

Composition I liked best: The piece I enjoyed most was Till Eulenspiegel's Merry Pranks, Op. 28, by Richard Strauss, a one-movement work in rondo form, with various tempos. This symphonic poem was written in 1895—during the romantic era when program music was prominent—and is based on a German folk tale about a famous prankster. Strauss uses the rondo form as a framework for the episodes of Till's adventures: after each prank, Till laughs at his pursuers and saunters off. When he is finally caught and hanged, his last gesture is to thumb his nose at his executioners. Although the piece deals with death, and such unhappy programs are usually in minor, I hear this composition start in minor but end in major. The meter varies, as does the tempo—which is basically very lively but at times becomes moderate, slower, or even faster.

 

This work can be compared with another one-movement symphonic poem that deals with the death of its protagonists: Tchaikovsky's Romeo and Juliet. Tchaikovsky chose sonata (rather than Rondo) form; his composition is in minor, the meter is duple, and—as in Till Eulenspiegel—the tempo varies. The basic mood of the two works differs significantly: in Romeo and Juliet, it is love—rather than mischief—that triumphs over death.

 

Strauss introduces his hero with a lyrical opening theme (the horn). But the second theme reflects agility, deviltry, energy, and unpredictability. Both themes return often as we hear Till get into and out of "hide and seek" and "catch me if you can" situations. The ending is a grander, more exciting version of Till's first theme. Throughout, Strauss conveys the story and mood by contrasting solo and orchestral passages. The funeral after Till's hanging is interrupted several times by Till's horn theme, suggesting his refusal to die.

 

In Romeo and Juliet, the slow introduction is a hymn-like melody (Friar Lawrence's theme) which leads to a violent, fast theme that identifies the warring families; Romeo and Juliet themselves are identified by a lovers' theme.

 

In both works, funeral music indicates death. Tchaikovsky used Romeo's theme as a dirge but follows it by the gentle lovers' theme which implies that these lovers will be reunited in death. Strauss, on the other hand, concludes Till Eulenspiegel with Till's nose-thumbing theme. Till's spirit—like Romeo's and Juliet's—lives on, but it is obviously a very different kind of spirit.

 

Listening to Romeo and Juliet brought me to tears, while Till Eulenspiegel made me smile.

 

Performance of this work: Wonderful! I was glad that Till Eulenspiegel was the final work on the program, as it left me in a very uplifted mood. I marveled at the fact that, through his music, Strauss enabled me to see the actions described in the program.

 

Overall performance: Totally professional in every respect.

 

TENTATIVE CLASS SCHEDULE (Fall 2017)

Schedule subject to change at the discretion of the instructor!

 

WEEK	DATE	TOPIC	TEXT
1	9/11	Intro/Overview/Syllabus–Explain Norton Total Access. What is music? Why/how is it relevant? Prelude 1: Concerts	4-7,
	9/13	Chpt 1: Melody: Musical Line, Chpt 2: Rhythm and Meter: Musical Time, Chpt 3: Harmony: Musical Depth	8-16
2	9/18	Chapter 4: The Organization of Musical Sounds, Chpt 5: Musical Texture,  Chpt 6: Musical Form	17-29
	9/20	Chpt 7: Musical Expression: Tempo and Dynamics,  Chpt 8: Music & Words Chpt 9: Voices and Instrument Families	30-38
3	9/25	Chpt 10: Western Musical Instruments, Chpt 11: Musical Ensembles Chpt 12: Style and Function of Music in Society	39-59
	9/27	Music in the Middle Ages & Medieval Period Chpt 13 Voice & Worship: Tradition & Individuality, Chpt 14 Layering Lines: Polyphony @ Notre Dame	60-73
4	10/2	Chpt 15: Symbols & Puzzles: Machaut & the Medieval Mind, Chpt 16: Singing in Friendship: The Renaissance Madrigal, Chpt 17: Remember Me: The Motet TERM PAPER TOPICS DUE (Honor Students)	74-84
	10/4	Chpt 18: Glory Be: Music for the Renaissance Mass,  Chpt 19: Instrumental Movements: Medieval & Renaissance Exam Review	85-99
5	10/9	EXAM #1 – Materials, Instruments, Medieval & Renaissance Music Intro to Baroque Music: Baroque Sacred Music Chpt 20: Voicing the Virgin: Cozzolani & Italian Baroque Chpt 21: Performing Grief: Purcell & Early Opera	100-117
	10/25	Chpt 22: Musical Sermons: Bach & the Lutheran Cantatas, Chpt 23: Textures of Worship: Handel & Oratorio,  Chpt 24: Independent Study: Billings & N. America START NEW SCHEDULE HERE - REVISED	118-133
8 REVISED	10/30	Chpt 25: Grace & Grandeur: Baroque Dance Suite, Chpt 26: Sounding Spring: Vivaldi & Baroque, Chpt 27: Process as Meaning: Bach & the Fugue	134-149
	11/6	Chpt 28: Musical Conversations: Haydn & Classical, Chpt 29: The Ultimate Instrument: Haydn & the Symphony Chpt 30: Expanding the Conversation: Mozart Chamber Music & Larger Forms Chpt 31: Conversations with a Leader: Classical Concerto Chpt 32: Personalizing the Conversation: Beethoven & Classical Sonata   CONCERT REPORT #1 DUE!	150-165 redo pages from here
9	11/8	Chpt 33: Disrupting the Conversation: Beethoven & the Symphony in Transition, Chpt 34: Making It Real: Mozart & Classical Opera Chpt 35: Mourning a Hero: Mozart & the Requiem Chpt 36: Musical Reading: Schubert, Schumann, & the Early Romantic Lied	166-199
		Chpt 37: Marketing Music: Foster & Early “Popular” Song Chpt 38: Dancing @ the Keyboard: Chopin & Romantic Piano Music Chpt 39: Musical Diaries: Hensel & Programmatic Piano Music
10	11/13	Chpt 40: Piano Triumphant: Gottschalk & Romantic Virtuosity Chpt 41: Personal Soundtracks: Berlioz & the Program Symphony Chpt 42: Sounding a Nation: Grieg & Orchestral Nationalism Chpt 43: Absolutely Classic: Brahms & the 19th Century Symphony	217-236
	11/15	Chpt 44: Multimedia Hits: Verdi & Italian Romantic Opera Chpt 45: Total Art: Wagner & German Romantic Opera Chpt 46: Poetry in Motion: Tchaikovsky & the Ballet Chpt 47: Exotic Allure: Puccini & the Italian Verismo Tradition	237-272
11	11/20	Thanksgiving Break – Go See A Concert
	11/22	Thanksgiving Break – Go See Another Concert
12	11/27	Chpt 48: Accepting Death: Faure & the Requiem Chpt 49: Mythical Impressions: Program Music at the End of the 19th Century Chpt 50: Jubilees & Jubilation: The African American Spiritual Tradition Chpt 51: A Good Beat: Amer. Vernacular Music the Close of an Era	273-293
	11/29	Chpt 52: Anything Goes & Musical Expressionism Chpt 53: Calculated Shock: Stravinsky & Modernist Multimedia Chpt 54: Still Sacred: Religious Music in the 20th Century Chpt 55: War Is Hell: Berg & Expressionist Opera	294-314
13	12/4	Chpt 56: American Intersections: Jazz & Blues Traditions Chpt 57: Modern America: Still & Musical Modernism in the United States Chpt 58: Folk Opera? Gershwin & Jazz as “Art”  CONCERT REPORT #2 DUE Chpt 59: Sounds American: Ives, Copland & Musical Nationalism	315-336
	12/6	Chpt 60: Also American: Revueltas & Mexican Musical Modernism Chpt 61: Classic Rethinking: Bartok & the “Neo-Classical” Turn Postmodernism: The 20th Century & Beyond Chpt 62: New Sound Palettes: Mid 20th Century American Experimentalist Chpt 63: Staged Sentiments: Bernstein & American Musical Theater	337-359
13	12/11	Chpt 64: Less Is More: Reich & Minimalist Music Chpt 65: Returning with Interest: Dylan, Corigliano, & Postmodern Reworking Chpt 66: Neo-Romantic Evocations: Higdon & Program Music into the 21st Century Chpt 67: Underscoring Meaning: Music for Film	360-409
	12/13	CONCERT REPORT #3 DUE! OPTIONAL CONCERT REPORT #4 DUE! TERM PAPER DUE (Honor Students Only)! Chpt 68: Icons in Sound: Tavener & Postmodern Orthodoxy –not on the exam Chpt 69: Reality Shows: Adams & Contemporary Opera – not on the exam FINAL EXAM - SLO POST-TEST – Bring ParScore Answer Form!	410-418