Bi-Weekly Class Assignments

2 SEP 10

1. We will begin next week's classes with a bit on Mahler's symphonies, and that will conclude Ross's Chapter 1.
2. For next week's classes, read the following:
   • Chapter 2 of Alex Ross, The Rest is Noise, concerning Debussy, and early Schoenberg, Berg and Webern.
   • Arnold Schoenberg, "Two Letter to Ferruccio Busoni," Item # 1 in Morgan, The Twentieth Century
   • Claude Debussy, "Three Articles for Music Journals," Item # 28 in Morgan, The Twentieth Century
3. For next week's class, do the following: for each of the works below, acquire scores of these works via the IMSLP (link on the course home page), study the works, and listen to them in Classical Music Library (UCF Library Articles & Databases) (or elsewhere):
   • Debussy, Prelude to the Afternoon of a Faun [Listen especially to the 5 appearances of the opening flute melody.]
   • Debussy, Préludes, Book I, Nos. 2 "Voiles" and 8 "La fille aux cheveux de lin" [try to analyze these in terms of any harmonic language or techniques that you wish]
   • Schoenberg, Five Pieces for Orchestra, Op. 16, Mvt I.
   • Berg, Three Orchestra Pieces, Op. 6, Mvt 1
   • Webern, Five Pieces for Orchestra, op. 10, Mvts. 1 & 4
4. For next week's class, complete the following additional tasks:
   • Learn some very basic background on Claude Debussy, Arnold Schoenberg, Alban Berg and Anton Webern. You need know only the basic outline of each man's life, but do know something about each.
   • Know the plots of Debussy's Pelléas et Mélisande and Berg's Wozzeck. NB. The entire score of Wozzeck can be heard on Classical Music Library.
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   • Read the instructions for your major paper (now posted on the web) and begin to think of a topic for it.

24 AUG 10

1. Use the web to read through the Course Syllabus. Do not simply skim through these items. Be certain that you understand all aspects of the syllabus, as the syllabus constitutes a contract between you and me.
2. Purchase / Acquire course textbooks and other materials. (Bookstore or elsewhere. Remember used or alternate editions are acceptable in some cases).
3. Once you have read the syllabus, send an email to me at my email address. Use the current active account that you wish me to use to contact you. In your email, state that you have read and understood the syllabus (or if you have a question about anything on the syllabus, ask NOW). If you do not have an active email account, contact the User Services Help Desk (Computer Center 1, Rm 109; phone [407] 823-5117) for help in establishing the UCF account that you already have.
4. For next the class meeting, do the following:
   • Read Chapter 1 of Alex Ross, The Rest is Noise, concerning the premiere of Strauss's Salome. For those who have not yet acquired ths text, some significant excerpts of this particular chapter are available on Ross's personal blog (see the link on the course web site), the publisher's web site, and elsewhere.
   • Using any resources of your own choosing, learn the plot of Strauss's Salome. NB. OperaGrove is a good resource, as is the web site of many major opea companies, e.g. the NY Met, or even the eBook in the UCF Library by Burton Fisher.
   • Listen to as much of Strauss's Salome as you can, focusing especially on the beginning (through Salome's entrance) and the end (from "Salome's Dance" to the last notes of the opera. [Remember, Ross's web site has streaming music examples of many passages discussed in his book.]
   • Acquire some basic background on Richard Strauss and Gustav Mahler. Who were these two musicians, what were their careers like, what kind(s) of music did they compose, and what is the style of each like? NGD is good for this sort of information.
   • Use the NAWM (Norton Anthology of Western Music) to study items 133 and 137, as examples of the styles of Strauss and Mahler
5. Begin thinking of potenial subjects for your major paper and people for living composer project. You need not declare your topics immediately, but some topics may be limited to "first come" status.