Weekly Class Assignments

7 FEB 12

1. Reminder: Copland book reviews are due in eight (8) days. Do read the instructions carefully, as I have revised them to emphasize certain elements of the style and presentation, which will be graded more closely than was the first round of reviews.
2. For next week (14 Feb 12), we will conclude with a general discussion of Gershwin, his achievements, his reputation and his impact as a composer of "American" music.

NEW ASSIGNMENTS FROM HERE FORWARD

3. The second half of the evening will focus on Aaron Copland, so you should begin working with the following basics:
   • Read the article on "Copland, Aaron," in the New Grove Dictionary of Music Online (or in hard copy)
   • Look at the Library of Congress's "American Memory" Website for Copland. Note the general contents and how to access various items.
   • Learn the basics of Copland's life, career and output.
4. Be prepared to discuss Copland's early years, from birth up to about 1930 or so. Ephasize the following:
   • Family background, early education, etc.
   • Beginnings of his professional career in music.
   • Impact of his study in France with Nadia Boulanger
5. Look for examples of Copland's music up to about 1930/32 (do not reach El salón México) in any resources you care to use (Classical Music Library, YouTube, etc.). What is Copalnd's early music like, and what styles and influences do you hear?
6. For reading, look at the following:
   • REQUIRED: Howard Pollack, "Copland in Paris," Tempo, New Series, No 212, "French Music Issue" (April 2000): 2-7. [Available in JSTOR]
   • REQUIRED: Anagret Fauser, "Aaron Copland, Nadia Boulanger, and the Making of an 'American' Composer," The Musical Quarterly 89, Nr. 4 (Winter 2006): 524-554. [Available in Oxford University Press Journals]
   • SUGGESTED: Lawrence Starr,"Copland's Style," Perspectives of New Music 19, Nr. 1/2 (Autumn 1980-Summer 1981): 67-89 [available in JSTOR]
7. SUGGESTED: For a useful background article to the entire course, see Alan Howard Levy, "The Search for Identity in American Music, 1890-1920," American Music 2, Nr. 2 (Summer 1984): 70-81 [available in JSTOR]

31 JAN 12

1. Final Reminder:Instructions for the Major Paper are posted on the course web site. Your proposal is due to me this coming Friday, 3 Febrary 2012, or shortly thereafter.
2. NEW ASSIGNMENTS - for next week (7 Feb 12):
   • The entire evening will be devoted to a discussion of Gershwin's Porgy & Bess, with the following activities roughly in the announced order.
   • Be prepared to begin with a general (everyone for him/herself) discussion of this work and its orgins. In particular:
     • Know the history and composition of this work. Use any appropriate sources of your own choice.
     • Know the characters and plot of this opera. NB. There is a link on the course home page to hypertext of the original DuBose Heyward novel, Porgy, on which the opera is based.
     • NB The entire recording of Porgy & Bess by the Glyndbourne Festival and the LPO under Simon Rattle is available as streaming audio via Classical Music Library (UCF Library Articles & Databases)
   • For basic reading on Porgy & Bess, look at:
     • Richard Crawford, "It Ain't Necessarily Soul: Gershwin's "Porgy and Bess" as a Symbol," Anuario Interamericano de Investigacion Musical 8 (1972): 17-38 [available in JSTOR]
     • Charles Hamm, "The Theatre Guild Production of 'Porgy and Bess'," Journal of the American Musicological Society 40, No. 3 (Autumn, 1987): 495-532. [available in JSTOR]
     • Lawrence Starr, "Toward a Reevaluation of Gershwin's Porgy & Bess," American Music 2, no. 2 (Summer 1984): 25-37. [available in JSTOR]
   • Following the general opening discussion, each of three groups will present a short (20-25 minute) presentation on one of the three acts of Porgy & Bess, in order:
     • ACT I - Briseno, Martinez, McCoy, McLeod, & Quinn
     • ACT II - Clinton, Drexler, Keel, PEnfield, & Purser
     • ACT III - Coleman, Gustafson, Ladd, Li, & Sakson
   • NB. The presentation is not simply a plot summary. Rather, you are to do the following:
     • Provide a very brief (1-2 minute) verbal summary of the action in your assigned act.
     • Describe the musical highlights of the act, i.e., its most important arias/songs, choral passages, or other selections, that might define the wowrk as either an "opera" or a "musical" (or some other genre).
     • Provide a focused demonstration of 2-3 musical highlights of the act that support your descriptions. NB. Do not simply play music. Rather describe and show how the musical examples define the genre.
     • NB. You may divide and assign work as you see fit. It is not necessary for all five of the group to speak in the presentation, but the group grade will be shared equally by all members.
3. This portion of the course will conclude with a general discussion of Porgy & Bess and its "genre." In support of that topic, read about the current NYC production of the work, begininng with the following items:
   • A Letter to the New York Times, written by Stephen Sondheim and published 14 August 2011
   • Any additional commentary related to the announcement of this production last summer/fall.
   • Reviews and subsequent commentary on the production that opened in New York (on 12 January 2012 at the Richard Rodgers Theater). See especially Ben Brantley, "A New Storm's Brewing Down on Catfish Row" New York Times (13 January 2012).
   • A search of the New York Times (UCF Articles & Databases), using the terms "Porgy & Bess" and "Sondheim", and the time limit of "past 12 months" will raise a number of items. You are free, as always to include other sources.

24 JAN 12

1. Note that I have added links to the Library of Congress' "American Memory" web sites for both Copland and Bernstein, and to a few other relevant web sites. See the course home page for these useful resources.
2. NEW ASSIGNMENTS - Note the following items, which will be covered in their listed order over the next week or two. Prepare each in turn, i.e., be best prepared with the first item(s) and worry less about later items which may not be covered until the following week (31 Jan 12):
   • Piano Concerto in F
     • Investigate the history of this work, focusing on who commissioned it, the critical reception at its premiere, etc. (Again, "NY Times Historical" database [UCF Library] is one of the better starting points for this information.)
     • Know the general formal expectations of a "Concerto" (especially in the later 19^th or early 20^th century). What are its contents and formal outlines, and what might a listener expect of such a work?
     • Acquire a score of this work, either a full score or a two-piano reduction, which you may mark up for your own analysis. (Do NOT mark any library copy in any way.)
     • Do a complete "formal" analysis of this work, focusing on the first movement, accounting for all large structural events, i.e. the broad three parts of a "classical" first movement (exposition, development and recapitulation), as well as the large-scale tonal design. In short, what is the "form" of this work, and does it bear any resemblance to the standard concerto genre?
     • Note that recordings of this work are available through Classical Music Library [UCF Library articles & databases].
     • Read: Wayne Shirley, "Scoring the Concerto in F: George Gershwin's First Orchestration," American Music 3, no. 3 (Autumn 1985): 277-298 [available in JSTOR]
     • Read: Wayne Shirley, "The Trial Orchestration of Gershwin's 'Concerto in F'," MLA Notes [Second series] 39, no. 3 (March 1983): 570-579 [available in JSTOR]
   • An American in Paris
     • Investigate the history and origins of this work, as you have done with previous Gershwin compositions.
     • See "Produce Gershwin Opus," New York Times (9 December 1928), for a preview of this work (including its "program"). [Available in NY Times Historical]
     • See Olin Downes, "Music: Gershwin's New Score Acclaimed," New York Times (14 December 1928), for a review of the premiere of this work. [Available in NY Times Historical]
     • Acquire a score of this work, which you may mark up for your own analysis. (Do NOT mark any library copy in any way.)
     • Do a complete "formal" analysis of this work, accounting for all large structural events, i.e. thematic materials and areas, transitions, developments and variations of earlier ideas, recapitulation(s) and closing section(s), as well as the large-scale tonal design. In short, what is the "form" of this work, and does it resemble any standard genres?
     • A streaming recording of this work is available through Classical Music Library [UCF Library articles & databases].
3. [OPTIONAL] For a useful look at Gershwin's harmonic language and compositional style, see Stephen E. Gilbert, "Gershwin's Art of Counterpoint," The Musical Quarterly 70, no. 4 (1984): 423-456. [available in JSTOR]
4. [OPTIONAL] As mentioned by Ms. Sakson, for general background in this era, see Carol Oja, "Gershwin and American Modernists of the 1920s," The Musical Quarterly 78, no. 4 (Winter 1994): 646-668. [available in JSTOR]
5. [OPTIONAL] For a contemporary view of Gershwin, see S.J. Woolf, "Finding in Jazz The Spirit of His Age," New York Times (20 January 1929) [Available in NY Times Historical]
6. Looking ahead about one week, we will begin discussing Porgy And Bess, so begin the following:
   • Look for background information on the history and composition of this work.
   • Look for any plot summaries, and learn the story of this opera. NB. There is a link on the course home page to hypertext of the original DuBose Heyward novel, Porgy, on which the opera is based.
   • Listen to as much of the opera as you can find (or acquire a recording or video of your own) to learn this work for discussion in about 1 week.
   • NB The entire recording of Porgy & Bess by the Glyndbourne Festival and the LPO under Simon Rattle is available as streaming audio via Classical Music Library (UCF Library Articles & Databases)
   • For basic reading on Porgy & Bess, look at:
     • Richard Crawford, "It Ain't Necessarily Soul: Gershwin's "Porgy and Bess" as a Symbol," Anuario Interamericano de Investigacion Musical 8 (1972): 17-38 [available in JSTOR]
     • Charles Hamm, "The Theatre Guild Production of 'Porgy and Bess'," Journal of the American Musicological Society 40, No. 3 (Autumn, 1987): 495-532. [available in JSTOR]
     • Lawrence Starr, "Toward a Reevaluation of Gershwin's Porgy & Bess," American Music 2, no. 2 (Summer 1984): 25-37. [available in JSTOR]
   • For a discussion of the question of whether Porgy & Bess is an "opera" or a "musical," look for writings about the current revivial of this work on Broadway. Specific articles will be identified in the near future. Send me suggestions of any items that you find.
7. Instructions for the Major Paper are now posted on the course web site. Reminder that your proposal is due on 3 Febrary 2012.

17 JAN 12

1. Book reviews for Gershwin items are due on Wednesday, 18 Jan 12 at 5:00 pm. Please remember to return your item to me ASAP, so it may go to the UCF Library reserve for all to access.
2. Note that I have added a link to the IMSLP on the course home page.
3. If you have not yet read the syllabus and sent me an email to that effect, please do so ASAP (see 10 Jan 12 instructions for specifics).
4. We will begin next week (24 Jan 12) with a discussion of Gershwin's songs, their characteristics and his early compositional style. Make sure that you have completed your study and analysis of your own chosen Gershwin song, and be prepared to contribute to the discussion. NB. If possible, acquire on your own or try to identify via YouTube or other streaming resources a representative recording of your song for use in the discussion.
5. NEW ASSIGNMENTS - Note the following items, which will be covered in their listed order over the next week or two. Prepare each in turn, i.e., be best prepared with the first item(s) and worry less about later items which may not be covered until the following week (31 Jan 12):
   • Rhapsody in Blue
     • Investigate the history of the "Experiment in Modern Music," on which this piece was first heard. Know the principals who organized and ran this concert, their reasons for doing so, how and why Gershwin was involved, the critical reception, etc. ("NY Times Historical" database [UCF Library] is one of the better starting points for this information, but you are free to use any other resources [as the books are placed on reserved].)
     • Locate a good working definition of the musical genre: "Rhapsody." What is this sort of work, what are its contents and formal outlines, and what might a listener expect of such a work?
     • Acquire a score of this work, preferably something closer to the original Whiteman band version or a two-piano reduction, which you may mark up for your own analysis. (Do NOT mark any library copy in any way.)
     • Do a complete "formal" analysis of this work, accounting for all large structural events, i.e. thematic materials and areas, transitions, developments and variations of earlier ideas, recapitulation(s) and closing section(s), as well as the large-scale tonal design. In short, what is the "form" of this work, and does it resemble any standard genres?
     • Note that recordings of this work are available through Classical Music Library [UCF Library articles & databases]. Beware that there are multiple versions with various cuts and other changes in the form available.
   • Piano Concerto in F
     • Investigate the history of this work, focusing on who commissioned it, the critical reception at its premiere, etc. (Again, "NY Times Historical" database [UCF Library] is one of the better starting points for this information.)
     • Know the general formal expectations of a "Concerto" (especially in the later 19^th or early 20^th century). What are its contents and formal outlines, and what might a listener expect of such a work?
     • Acquire a score of this work, either a full score or a two-piano reduction, which you may mark up for your own analysis. (Do NOT mark any library copy in any way.)
     • Do a complete "formal" analysis of this work, focusing on the first movement, accounting for all large structural events, i.e. the broad three parts of a "classical" first movement (exposition, development and recapitulation), as well as the large-scale tonal design. In short, what is the "form" of this work,a nd does it bear any resemblance to the standard concerto genre?
     • Note that recordings of this work are available through Classical Music Library [UCF Library articles & databases].
6. Looking to the future, we may repeat this analysis with the An American in Paris, so the ambititious might acquire a score, etc., and begin the same process.
7. Further ahead, we will be looking at Porgy And Bess, so begin the following:
   • Look for background information on the history and composition of this work.
   • Look for any plot summaries, and learn the story of this opera. NB. There is a link on the course home page to hypertext of the original DuBose Heyward novel, Porgy, on which the opera is based.
   • Listen to as much of the opera as you can find (or acquire a recording or video of your own) to learn this work for discussion in about 2 weeks.
8. Instructions for the Major Paper are now posted on the course web site. Read them and begin working on your proposal.

10 JAN 12

1. Locate the Course web site at http://pegasus.cc.ucf.edu/~swarfiel/MUH6935/6935home.html and bookmark this site for future reference.
2. Read the course syllabus carefully to make sure that you understand what we will be doing.
3. Send me an EMAIL from your knightsmail account, and in that message indicate that you have READ and UNDERSTAND the course syllabus.
4. SUGGESTED: For those not very familiar with music in the United States around the era 1880-1920, look for general textbooks by authors such as Richard Crawford, Gilbert Chase, Wiley Hitchcock, etc. [Look for books in the ML200 classification in the UCF Library.]
5. SUGGESTED: For a discussion of American classical music, c. 1900, complete with audio examples, listen to the MTT files (Program 2), which may be found via the link on the home page of this course.
6. SUGGESTED: For background information on the sheet music industry, Tin Pan Alley songs, etc., see the websites for "Parlor Songs," "Walter Donaldson," and the "Lester Levy Sheet Music Collection," all accesible via links on the course home page.
7. REQUIRED: Be prepared to discuss the life, career, works, and reputation of George Gershwin in next week's seminar meeting. Use the article on GG in the New Grove Online (or the hard copy in the UCF Library). Additionally, read the article on Gershwin by Charles Schwartz in the 1980 edition of the NGD (hard copy only in the UCF Library).
8. REQUIRED: Be prepared to begin discussing Gershwin's musical style, starting with some of his better known songs, in the following way:
   • Know the background of your chosen song, including any important information about the song's history (when and why composed, published, first performed [and by whom], or otherwise used).
   • Know the broad formal outlines of the song, e.g., where are the verse and chorus, what is the phrase structure like (measure counts, cadences and strengths of same, repetitions of material, etc.).
   • Examine the details of the harmonic language (preference for certain types of chords and progressions?) and melodic construction (motivic fragments vs. longer lines, range, contours, etc.).
   • Note the structure of the lyrics and their relation to the music (or vice versa).
   • Note any particularly interesting or original aspects of the song.
   • [SUGGESTED] For background and purposes of comparison, look for other songs of the day by OTHER composers and examine in the same way.
9. REQUIRED: Prepare a general descriptive review of your chosen "Gershwin" book. More specific instructions will be posted separately on the course web site within 48 hours. This assignment will be due on Wednesday, 18 January 2012, of next week.
10. Begin thinking about possible topics for a major paper for the semester. The topic should connect with or cover one or more of the three major figures in this seminar, and it may include or relate to other figures important to American music of the same era. Again, more specific instructions will be posted on the course web site in the near future.