In-depth study of the lives and musical styles of great composers. No knowledge of music is required and students are not expected to perform in front of the class.
Course Rotation for Day Program:
No text required. It is suggested that the instructor acquire copies of the music studied. An extensive recorded library is needed.
• To know the various periods of music. • To recognize the styles of each of these periods through the masterpieces studied. • To know the most important terminologies and musical forms. • To be familiar with the lives and styles of individual composers. • To know intimately the masterpieces studied. • To know in great detail the life, style and music of the composer chosen for an in-depth research project. • To experience music performances in it’s intended setting, live and in-person.
• Identify the elements and vocabulary of music for mastery of discussion of music of all styles. • Make judgments and critical observations about music works based on the elements and concepts of music: pitch, melody, rhythm, timbre, harmony, musical texture, musical form, notation, tempos and dynamics. • Identify various musical instruments and ensembles: strings, woodwinds, brass, percussion, and vocal. • Articulate understanding of the historical periods of music, including the Middle Ages, Renaissance, Baroque, Classical, Romantic, Impressionism, Twentieth Century and Post-modern. • Describe the role of music within historical, artistic, and cultural traditions. • Recognize the styles of each of the historical periods by aurally identifying standard masterpieces. • Demonstrate familiarity with technical aspects of selected pieces: orchestration, instrumentation, form and musical texture. • Evaluate through successful research the characteristic style of an individual master composer and design and present findings in an in-class multi-media presentation.
Fundaments of music listening - Introduction - Rhythm, melody and harmony - Musical color, texture, and forms - Hearing musical styles
Plainsong - “Gloria” from Missa Aeterna Christi munera by Giovanni Pierluigi da Palestrina - “Credo” from Miss Pange Lingua by Josquin Des Prez
Dances - French Suite No. 6 in E major by Johann Sebastian Bach - Waltz in C# minor, Op. 64, No. 2 by Frederic Chopin - “Introduction” and “Dance of the Adolescents” from the Rite of Spring by Igor Stravinsky
Music and poetry - Flow, My Tears by John Dowland - Five songs from Frauenliebe und Leben, Op. 42 by Robert Schumann - St. Louis Blues by William Christopher Handy
Music and drama - Excerpt from Rodelinda by George Frederic Handel - Excerpt from La Traviata by Guiseppe Verdi - Excerpts from Die Meistersinger von Numberg by Richard Wagner
The Virtuoso - “Possente Spirito” from Orfeo by Claudio Monteverdi - Hungarian Rhapsody No. 2 by Franz Liszt - Weatherbird by Louis Armstrong
The Grand Manner - Symphony No. 9: Fourth Movement by Ludwig van Beethoven - “Dies irae” and “Quid sum miser” from Requiem - “Behold, all flesh is as the grass” from A German Requiem
Parlor music - Matona mia cara by Orlando di Lasso - La Livri by Jean-Philippe Rameau - Quarterttsatz in C minor by Franz Schubert
The Sonata Idea - Piano Concerto No. 23 in A major, K. 488 by Wolfgang Amadeus Mozart - Classical Symphony: First Movement by Serge Prokofiev - String Quartet No. 1: Third Movement by Bela Bartok
Looking forward - Violin Concerto: First Movement by Arnold Schoenberg - The Banshee by Henry Cowell - Rhapsody for Flute & Computer by Leland Smith - Jabba the Hutt from Star Wars - Return of the Jedi by John Williams
Recommended maximum class size for this course: 25
NOTE: The intention of this master course syllabus is to provide an outline of the contents of this course, as specified by
the faculty of Columbia College, regardless of who teaches the course, when it is taught, or where it is taught. Faculty members teaching this
course for Columbia College are expected to facilitate learning pursuant to the course objectives and cover the subjects listed in the topical
outline. However, instructors are also encouraged to cover additional topics of interest so long as those topics are relevant to the course's
subject. The master syllabus is, therefore, prescriptive in nature but also allows for a diversity of individual approaches to course material.