This course is designed for students who wish to deepen their enjoyment of music through better understanding. A study of the evolution of musical style as revealed in major compositions of representative composers of each major period is offered. No prior knowledge of music is required. This course is not intended for music majors.

As a result of completing this course, the student will be able to:
Identify from an aural example the probable style periods (Middle Ages, Renaissance, Baroque, Classical, Romantic, and Twentieth-Century), composer, and performance genre of a music composition (Selected examples of these works appear as the Core Listening List in the Course Content below.)
Identify from aural examples the instruments of the orchestra, both individually and by instrument family within the orchestra
Identify monophonic, polyphonic, and homophonic textures from aural examples
Demonstrate knowledge of the following musical topics:
a. Form: Ternary, binary, sonata-allegro, rondo, theme and variations, fugue, concerto grosso, and minuet
b. Vocal genre: Opera, recitative, aria, oratorio, cantata, art song
c. Notation, melody, harmony, rhythm, dynamic indications (pianissimo, piano, mezzo piano, mezzo forte, forte, fortissimo, crescendo, decrescendo)

After completion of this course, the student will have a better understanding of:
The elements of music and how these affect the sound and style of music
Sound quality of orchestral instruments
Musical styles and their historic context and relation to other arts (visual and theatre)
Major composers and their contributions to music
Major compositions and their stylistic signif~cance

1. This course is a survey of the musical forms from the Middle Ages to the present. Instruction will be given through the use of lectures, discussion, recordings, video tape and attendance at concerts by the students. Music Appreciation explores the historical, cultural, political, religious, social climates and other influences on composer's lives and their work through the ages.
2. The following musical examples shall constitute the Core Listening List for this course. Individual instructors are encouraged to add other examples to this core.

Anonymous: Alleluia: Vidimus stellam from Mass of The Epiphany
Bach: Brandenburg Concerto No.5, Mvt. I & Little Fugue in G-Minor
Bach: Cantata No. 140, 4th & 7th Mvts.
Bartok: Concerto for Orchestra, Mvt. II
Beethoven: String Quartet in C-Minor, Op. 18,# 4, Mvt. IV & Sym. No. 5, Mvt. I
Benjamin Britten: The Young Persons Guide To The Orchestra
Berlioz: SymphonieFantastique, Mvt.IV
Bizet: Farandole from L'Arlesienne Suite No. 2
Brahms: Symphony No. 4 in E minor, Op. 98, 4th Mvt.
Chopin: NocturneInE-FlatMajor&EtudeinCMinor, Op. 10,No. 12
Copland: Appalachian Spring, Section 7, Variations on Simple Gifts
Debussy: Prelude To The Afternoon of A Faun
Desprez: Ave Maria...virgo serena
Handel: Ev'ry Valley & Hallelujah Chorus from Messiah
Haydn: Symphony No. 94 in G Major, 2nd Mvt.
Hildegard of Bingen: O, Successors
Machaut: Agnus Dei from The Notre Dame Mass
Monteverdi: Tu, Se Morta from Orfoo
Mozart: Part I, Don Giovanni & Piano Concerto #23 in A Major, K. 488, 1St Mvt.
Mozart: Symphony No. 40, Mvt. I & Eine Kleine Nachtmusik, Mvt. III
Palestrina: Kyrie from Pope Marcellus Mass
Puccini: La Boheme, Act 1
Reich: Sextet, 3rd mvt.
Schoenberg: A Survivor From Warsaw
Schubert: Erlkonig
Smetana: The Moldau
Stravinsky: The Rite of Spring, Part I
Strayhorn: Take The A-Train
Tchaikovsky: Romeo and Juliet, Overture-Fantasy
Tchaikovsky: Dance of the Reed Pipes from Nutcracker Suite
Vivaldi: La Primavera from The Four Seasons
Wagner: Prelude and Act III to Lohengrin & Die Walkure, Act 1
Webern: Five Pieces for Orchestra, (;~o. 3)
Weelkes: As Vesta Was Descending
Zwilich: Concerto Grosso 1985

3. The following people will be examined as to their respective historical period and principal musical accomplishments:
Pope Gregory I, Guillaume de Machaut, Josquin Desprez, Giovanni da Palestrina, Johann Sebastian Bach, George Frederic Handel, Antonio Vivaldi, Franz Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Schubert, Frederic Chopin, Franz Liszt, Hector Berlioz, Peter Tchaikovsky, Johannes Brahms, Giuseppe Verdi, Richard Wagner, Claude Debussy, Igor Stravinsky, Arnold Schoenberg, Bela Bartok, Charles Ives, Aaron Copland, George Gershwin, Louis Armstrong, Edward Kennedy Ellington, Charlie Parker

4. Additional attention will also be directed at American Jazz and will cover topics such as ragtime, swing, blues, improvisation, scat singing, 12-bar blues form, front line, New Orleans style, Big band, Bebop, Cool, Fusion, riff.

A. COURSE GRADE
The course grade shall be based on tests, the final examination, and other assignments such as concert reports. All tests including the final examination will include questions based on aural examples. Each instructor shall require either a series of brief written reports on concert performances or reports on topics related to the course. Each instructor shall include in the course syllabus information on the grading criteria and weight assigned to grades of tests or reports.

B. DEPARTMENTAL ASSESSMENT

This course will be assessed during the fall semester every three years. Each student that is enrolled in the course shall be required to complete an Assessment Examination consisting of selected multiple choice and/or matching questions on the content specified above.

The evaluation of this examination shall be the responsibility of the Department Chair with the results for the class given to each instructor and reported to the Academic Dean or Coordinator.

USE OF ASSESSMENT FINDINGS
During the semester following the administration of the exam, the chairman and faculty will receive the results and consider modifications in course content, instructional improvement and curriculum changes. All recommendations will be documented and used for strengthening the course.