Daily Class Assignments

14 APR 11

1. For the final class meeting next week, make sure that you have caught up with all readings and listenings.
2. For relevant music examples next week, listen to the following items in the "Classical Music Library" (UCF Library Databases):
   • Gustav Mahler, Symphony No. 1 in D Major
   • Gustav Mahler, Symphony No. 2 in C minor/E-flat major, "Resurrection"
3. Reminder: Don Juan paper is due next Monday (25 April 2011).

7 APR 11

1. Looking ahead to "Nationalism," begin reading the following articles:
   • Richard Taruskin, "How the Acorn Took Root : A Tale of Russia," 19th-Century Music 6 (1983): 189-212. [available in JSTOR]
   • Michael Beckerman, "Viewpoint: In Search of Czechness," 19th-Century Music 10 (1986): 61-73. [available in JSTOR]
   • Michael Strasser, "The Société Nationale and Its Adversaries : The Musical Politics of L'Invasion germanique in the 1870s," 19th-Century Music 24 (2001): 225-251. [available in JSTOR]
2. For relevant music examples in the next week or so, listen to the following items in the "Classical Music Library" (UCF Library Databases) of elsewhere (YouTube?):
   • Mikhail Glinka, Kamarinskaya
   • Mikhail Glinka, Overture to Ruslan and Lyudmilla
   • Modest Mussorgsky, "Long Live Tsar Boris Feodorovich!" [section 7] from Boris Godunov
   • Pyotr Il'yich Tchaikovsky, Symphony No. 2, 4th mvt

31 MAR 11

1. We begin next week with a brief presentation on Gottschalk (to conclude Paris).
2. Be prepared to discuss the "War of the Romantics" (Alan Walker) and the philosophical questions at stake in that polemic.
3. Listen (via Classical Music Library or other resources) to Brahms' Piano Quintet in F minor, Op. 34, and his Symphony No. 4 in E minor, Op. 98 (especially the 4th mvt).
4. Moving forward, you may work on these tasks (the first of which we should get to this week):
   • Analyze the opening two pages of Wagner's Tristan und Isolde Prelude. [Use the Klindworth piano-vocal score in IMSLP] Specifically, can you identify a key for these beginning measures?
   • [REQUIRED READING] "Artwork of the Future" by Richard Wagner (Item 6, pp. 52-69 in Solie, Strunk's Source Readings)
   • [REQUIRED READING] "Vom Musikalisch-Schönen" by Edward Hanslick (Item 15, pp. 160-168 in Solie, Strunk's Source Readings)
   • Learn the general plot of Wagner's Der Ring des Nibelungen, especially Die Walküre (and especially its third act finale)
5. Instructions for the Paper on Strauss's Don Juan and Hepokoski's article on programmatic music are now posted on the course web site.
6. For next week, listen to Strauss's Don Juan. Download a copy of the score from the IMSLP (which you will need for your paper).

24 MAR 11

1. We begin next week with a brief presentation on Gottschalk (to conclude Paris).
2. Be prepared to discuss the "War of the Romantics" (Alan Walker) and the philosophical questions at stake in that polemic.
3. Listen (via Classical Music Library or other resources) to Brahms' Piano Quintet in F minor, Op. 34, and his Symphony No. 4 in E minor, Op. 98 (especially the 4th mvt).
4. Moving forward, you may work on these tasks (the first of which we should get to this week):
   • Analyze the opening two pages of Wagner's Tristan und Isolde Prelude. [Use the Klindworth piano-vocal score in IMSLP] Specifically, can you identify a key for these beginning measures?
   • [REQUIRED READING] "Artwork of the Future" by Richard Wagner (Item 6, pp. 52-69 in Solie, Strunk's Source Readings)
   • [REQUIRED READING] "Vom Musikalisch-Schönen" by Edward Hanslick (Item 15, pp. 160-168 in Solie, Strunk's Source Readings)
   • Learn the general plot of Wagner's Der Ring des Nibelungen, especially Die Walküre (and especially its third act finale)

17 MAR 11

1. The primary activity for next week will be the "Debate" on the form of Liszt's Sonata in B minor. Make sure that you (and your group) have done the following:
   • Read the instructions for the debate. Follow this link for the Liszt Debate Rules
   • It is important that we be able to communicate about where inthe piece we are discussing, so have at least one copy of the score with the measures numbered.
   • Make sure that you have read all of the relevant articles and analyses of the work. NB. you are free to find any additonal resources of your own choosing.
   • Finally, remember that each group may present only one opinion on the form of the sonata. Even if you disagree personally with your group's ideas, you must understand and be able to support your group's analysis.
2. If we have any additional time, I will present (briefly) on Gottschalk.
3. Also, if time permits, we will begin to discuss the "War of the Romantics" (Alan Walker) and the philosophical questions at stake in that polemic.

3 MAR 11

1. After the break, we will resume looking at music in Paris. If you have not read the items assigned previously, do so now:
   • Paris,[section] VI. 1789-1870" by David Charlton, John Trevitt/Guy Gosselin in the NGD2
   • Hector Berlioz, [Review of] "Rossini's William Tell" (Item 9, pp. 83-99 in Solie, Strunk's Source Readings)
2. We will start with Liszt, so make sure tha you have read these three excerpts first:
   • "A Riot of Pianists" (pp. 161-167) in Alan Walker, Franz Liszt : The Virtuoso Years 1811-1847, rev. ed. (Vol. 2) [NB. email me to request a copy of this item, if you do not have it.]
   • "The Lion Shakes His Mane: Liszt's Duel with Thalberg" (pp. 232-243) in Alan Walker, Franz Liszt : The Virtuoso Years 1811-1847, rev. ed. (Vol. 2) [NB. email me to request a copy of this item, if you do not have it.]
   • "Liszt and the Keyboard" (pp. 285-318) in Alan Walker, Franz Liszt : The Virtuoso Years 1811-1847, rev. ed. (Vol. 2) [NB. email me to request a copy of this item, if you do not have it.]
3. Additionally, you should begin preparing for the "Debate" on the form of Liszt's Sonata in B minor. Do the following:
   • Read the instructions for the debate. Follow this link for the Liszt Debate Rules
   • Form groups or pick a partner, as appropriate.
   • Begin reading the relevant articles and studying the sonata.
4. After looking at Liszt's music, we will turn to Chopin. Make sure that you have read the following sources:
   • Jonathan Bellman, "Frédéric Chopin, Antoine Kontski and the carezzando Touch," Early Music 29 (August 2001): 398-407. [NB. email me to request a copy of this item, if you do not have it.]
   • "The Concert of Monsieur Chopin from Warsaw" by François-Joseph Fétis (Item 8, pp. 8-9 in Solie, Strunk's Source Readings)
   • [OPTIONAL, but useful] Jonathan Bellman, "Chopin and His Imitators: Noted Emulations of the 'True Style' of Performance," 19th-Century Music 24 (August 2000): 149-160. [available in JSTOR]
   • [OPTIONAL, but useful] Jolanta T. Pekacz, "Deconstructing a 'National Composer' : Chopin and Polish Exiles in Paris, 1831-49," 19th-Century Music 24 (August 2000): 161-172. [available in JSTOR]
5. Continue working on major papers. Bibliographies are currently being graded and will be returned in the near future.

24 FEB 11

1. Friendly Reminder / Warning : Listening Quiz # 1 will take place at the beginning of Class on 3 March 2011.
   • Possible composers, whose general style(s) you should know include: Mozart, Haydn, Beethoven, Schubert, Schumann, Mendelssohn, etc.
   • Identifications will be in the form of a close description of the sound ("why") and an informed guess ("who").
2. After the quiz, class discussion goes forward with "Paris" and various composers in the early part of the 19th Century in that city. Make sure you have read the following:
   • Paris,[section] VI. 1789-1870" by David Charlton, John Trevitt/Guy Gosselin in the NGD2
   • "Paganini" (pp. 168-177) in Alan Walker, Franz Liszt : The Virtuoso Years 1811-1847, rev. ed. (Vol. 2) [NB. email me to request a copy of this item, if you do not have it.]
   • Hector Berlioz, [Review of] "Rossini's William Tell" (Item 9, pp. 83-99 in Solie, Strunk's Source Readings)
3. Please note that you will have a few more articles than usual for reading over the next few weeks. Do not be concerned if you are unable to complete all of them immediately, but do try to work your way through the Liszt-related items for next week, before starting on the Chopin items.
   • "A Riot of Pianists" (pp. 161-167) in Alan Walker, Franz Liszt : The Virtuoso Years 1811-1847, rev. ed. (Vol. 2) [NB. email me to request a copy of this item, if you do not have it.]
   • "The Lion Shakes His Mane: Liszt's Duel with Thalberg" (pp. 232-243) in Alan Walker, Franz Liszt : The Virtuoso Years 1811-1847, rev. ed. (Vol. 2) [NB. email me to request a copy of this item, if you do not have it.]
   • "Liszt and the Keyboard" (pp. 285-318) in Alan Walker, Franz Liszt : The Virtuoso Years 1811-1847, rev. ed. (Vol. 2) [NB. email me to request a copy of this item, if you do not have it.]
4. For music examples of Liszt's piano style, listen to some of the Transcendental Etudes, Album d'un Voyageur, Annés de Pèlerinage, or other works in the Classical Music Library.
5. For reading about Chopin and his style, using the following sources:
   • Jonathan Bellman, "Frédéric Chopin, Antoine Kontski and the carezzando Touch," Early Music 29 (August 2001): 398-407. [NB. email me to request a copy of this item, if you do not have it.]
   • "The Concert of Monsieur Chopin from Warsaw" by François-Joseph Fétis (Item 8, pp. 8-9 in Solie, Strunk's Source Readings)
   • [OPTIONAL, but useful] Jonathan Bellman, "Chopin and His Imitators: Noted Emulations of the 'True Style' of Performance," 19th-Century Music 24 (August 2000): 149-160. [available in JSTOR]
   • [OPTIONAL, but useful] Jolanta T. Pekacz, "Deconstructing a 'National Composer' : Chopin and Polish Exiles in Paris, 1831-49," 19th-Century Music 24 (August 2000): 161-172. [available in JSTOR]
6. Reminder: Dichterliebe papers are due 28 February 2011 (or shortly thereafter).
7. Continue working on Major papers, with the bibliography as your next major goal.

17 FEB 11

1. We will begin next week's class with a discussion of Robert Schumann's music. I will present on his piano and orchestral music.
2. Make sure that you have read "From Davidsbündlerblätter" by R. Schumann (Item 10, pp. 99-116 in Solie, Strunk's Source Readings)
3. After those presentations, we will discuss the following two articles, with an emphasis on the place of women in 19th-Century music:
   • Sarah Rothenberg, "'Thus Far, but No Farther': Fanny Mendelssohn-Hensel's Unfinished Journey," The Musical Quarterly 77, No. 4. (Winter 1993): 689-708. [available in JSTOR]
   • Marian Wilson Kimber, "The 'Suppression' of Fanny Mendelssohn: Rethinking Feminist Biography," 19th-Century Music 26, No. 2. (Autumn 2002): 113-129. [available in JSTOR]
4. For the music of Clara Schumann and Fanny Mendelssohn Hensel, listen to any examples you can find in the Classical Music Library, YouTube or elsewhere.
5. Looking to the future (probably not for 24 February, but definitely by 3 March), begin reading:
   • Paris,[section] VI. 1789-1870" by David Charlton, John Trevitt/Guy Gosselin in the NGD2
   • "Paganini" (pp. 168-177) in Alan Walker, Franz Liszt : The Virtuoso Years 1811-1847, rev. ed. (Vol. 2) [NB. see my email to you about this item.]
   • Hector Berlioz, [Review of] "Rossini's William Tell" (Item 9, pp. 83-99 in Solie, Strunk's Source Readings)
6. Reminder: Dichterliebe papers are due 28 February 2011.
7. Continue working on Major papers, with the bibliography as your next major goal.

3 FEB 11

1. Reminder: I will not be present at next week's class meeting (10 Feb 11), but Dr. Sewright WILL be there to oversee your activities.
2. You will begin with the final two presentations on Schubert's music:
   • Jimeniz and Ramirez - Schubert's Chamber Music (15-20 minutes)
   • Adams and DeKeyzer - Schubert's Orchestral Music (15-20 minutes)
3. After those presentations, you will discuss the following two articles, with an emphasis on whether or not (and also why and how) Schubert is (or is not) a "Romantic" figure. The second item is especially important for this question:
   • Otto Biba, "Schubert's Position in Viennes Musical Life," 19th-Century Music 3, no. 2 (Nov. 1979): 106-113. [Available in JSTOR]
   • Otto Erich Deutsch, "The Discovery of Schubert's Great C-Major Symphony: A Story in Fifteen Letters," The Musical Quarterly 38, no. 4 (Oct. 1952): 528-532. [Available in JSTOR]
4. Following the completion of the discussion on Schubert, be prepared to discuss Felix Mendelssohn. Do the following:
   • Using any source(s) of your own choice, make sure that you know the general outline of Mendelssohn's life, the kinds of music he composed, and any other facts about him and his music that help to define him as a "Romantic" figure.
   • Read "An Exchange of Letters (1842)" by Marc-André Souchay and Felix Mendelssohn (Item 14, pp. 156-159 in Solie, Strunk's Source Readings).
   • Listen to any of Mendelssohn's music for a sense of his style. In particular, look at some of his symphonic, keyboard, and chamber music.
5. Reminder: You have been assigned one (or two, if you're a grad student) of R. Schumann's songs from Dichterliebe for next week's class (17 Feb 11) and your paper (later this month) on that song. See the instructions on the course web site, if you have any questions.

27 JAN 11

1. A few of you have still not sent me your email related to the reading of the course syllabus. If you have not done this, please take care of it ASAP.
2. Next week's class will begin with a brief look at few works that are representative of Beethoven's late style. (No special preparation needed.)
3. Make sure that you have a copy of Beethoven's Symphony No. 9 in D minor available for class. In particular, do the following:
   • Analyze the form of the first movement (as best you can) in terms of Classical Sonata-Allegro form (or any other textbook form you care to use).
   • Look at the inner movements (2nd and 3rd) in terms of classical expectations. What are these movements, and what is both expected and unexpected about each. [NB. There is no need to download or print scores, unless you want for your own libraries.]
   • Analyze the fourth movement (at least the beginning several pages), and read the text used. See either of the two links on the course home page or the Wikipedia page on Beethoven's Symphony No. 9 for the text and English translation.
   • For optional background reading on this work, see: Leo Treitler, "History, Criticism, and Beethoven's Ninth Symphony, 19th-Century Music 3, n. 3 (Mar. 1980): 193-210, and/or Leo Treitler, "'To Worship That Celestial Sound' Motives for Analysis," 1, n. 2 (Apr 1982): 153-170. [Both available in JSTOR]
4. Moving forward, we will look at Schubert and his Music. Make sure that you have read
   • Otto Biba, "Schubert's Position in Viennes Musical Life," 19th-Century Music 3, no. 2 (Nov. 1979): 106-113. [Available in JSTOR]
   • Otto Erich Deutsch, "The Discovery of Schubert's Great C-Major Symphony: A Story in Fifteen Letters," The Musical Quarterly 38, no. 4 (Oct. 1952): 528-532. [Available in JSTOR]
5. For the discussion of Schubert's music, prepare a "brief" presentation on the following topics. Do include recorded sounds (CDs, YouTube clips,as you prefer) and if you wish the class to have particular scores or other examples in advance, let me know. Do try to include at least 2-3 examples of Schumbert's "mature" style, remembering that your goal is to show or explain how and why the music "sounds like Schubert." Your assignments are as follows:
   • Clinton, Hyder, Ladd, Loos - A brief (5-8 minutes) summary of Schubert's life.
   • Clinton, Hyder, Ladd, Loos - Schubert's Lieder. (15-20 minutes)
   • Jimeniz and Ramirez - Schubert's Chamber Music (15-20 minutes)
   • Ellison and Skinner - Schubert's Piano Music (15-20 minutes)
   • Adams and DeKeyzer - Schubert's Orchestral Music (15-20 minutes)
6. Reminder: Paper Topic Proposals are due in under two weeks. See the instructions on the web site, if you have questions.

20 JAN 11

1. If you have not yet done so, read the course syllabus (for your level). Send me an email (from your "Knightsmail" account), stating that you have read and understood the syllabus. If you have any questions, ask before you send this email.
2. Purchase / Acquire the course textbook (Strunk) and any other necessary materials. (Bookstore or elsewhere. Remember used or alternate editions are acceptable in some cases, and you may always download scores from the IMSLP.).
3. From last week's assignment's, make sure that you have read
   • R.W.S. Mendl, "Beethoven as a Writer of Programme Music," The Musical Quarterly 14, no. 2 (April 1928): 172-177.
   • Using any resources of your own choice, look for information about the play Egmont by J.W. Goethe.In addition to the background, read Egmont's final lines [Act IV, Scene 4, paragraph 57-end] for clues to what the music might mean.
4. For subsequent discussion, we will listen to (both are available in Classical Music Library) and discuss:
   • Beethoven, Symphony No. 6 in F, "Pastoral" - In particular, note how Beethoven violates or upholds symphonic norms, while also "expressing" some extra-musical content. You may want to read the article by Mendl (below) in conjunction with this listening.
   • Beethoven, Overture to "Egmont" - In particular, note how the recapitulation violates your expectations of the form. Why is this so? Also, can you explain how and why the slow introduction connects to the second theme? [SCore is available in IMSLP]
5. Continue working on a major paper topic for this course. Instructions have been posted on the course web site.

13 JAN 11

1. Familiarize yourself with the course website and its home page. Look especially at the UCF Library links, the IMSLP, and other resources that you might use on a regular basis.
2. Read the course syllabus (for your level). Send me an email (from your "Knightsmail" account), stating that you have read and understood the syllabus. If you have any questions, ask before you send this email.
3. Purchase / Acquire the course textbook (Strunk) and any other necessary materials. (Bookstore or elsewhere. Remember used or alternate editions are acceptable in some cases, and you may always download scores from the IMSLP.).
4. Read the following in preparation for discussion:
   1. "Romanticism" by Jim Samson in The New Grove Dictionary II [Access via UCF Library's "Articles and Databases"]
   2. "Viennese Classical Idiom" (part 1 of "Classical" in the NGD) by Daniel Heartz and Bruce Alan Brown [Access via UCF Library's "Articles and Databases"]
   3. Beethoven's "Heiligenstadt Testament" (use either of the two web pages located on the course web site for English translations)
   4. "Beethoven's Instrumental Music" by ETA Hoffmann (Item 13, pp. 151-155 in Solie, Strunk's Source Readings)
5. Using any resources of your own choice, review Beethoven's biography and the generally accepted view of his life and career, i.e., the three style periods. NB. Several links on the course home page will lead to some reliable online sources.
6. Listen to Beethoven's First and Fifth Symphonies. Use the Library's "Articles and Databases" to access Classical Music Library, which should have these works in its collection of streaming works.
7. For the subsequent readings, find the following in JSTOR and read:
   • [REQUIRED] R.W.S. Mendl, "Beethoven as a Writer of Programme Music," The Musical Quarterly 14, no. 2 (April 1928): 172-177. NB. If this is your first acquaintance with JSTOR, take some time to learn how it works, i.e., how to find articles, how to download and save articles, etc., as a number of future readings will come from this source.
8. Using any resources of your own choice, look for information about the play Egmont by J.W. Goethe (NB., There is one link on the course home page. In addition to the background, read Egmont's final lines [Act IV, Scene 4, paragraph 57-end] for clues to what the music might mean.)
9. For subsequent discussion, we will listen to (both are available in Classical Music Library) and discuss:
   1. Beethoven, Symphony No. 6 in F, "Pastoral" - In particular, note how Beethoven violates or upholds symphonic norms, while also "expressing" some extra-musical content. You may want to read the article by Mendl (below) in conjunction with this listening.
   2. Beethoven, Overture to "Egmont" - In particular, note how the recapitulation violates your expectations of the form. Why is this so? Also, can you explain how and why the slow introduction connects to the second theme? [SCore is available in IMSLP]
10. Begin thinking about a major paper topic for this course. Instructions will be posted within a few days.