As a result of completing this course, the student will be able to perform the following:
- 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:
- Form: Ternary, binary, sonata-allegro, rondo, theme and variations, fugue,
concerto grosso, and minuet.
- Vocal genre: Opera, recitative, aria, oratorio, cantata, and art song.
- Notation, melody, harmony, rhythm, and dynamic indications (pianissimo, piano,
mezzo piano, mezzo forte, forte, fortissimo, crescendo, and decrescendo).
- 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, videotape, and attendance at concerts by the students. Music Appreciation (Honors) explores through time the historical, cultural, political, religious, and social influences as well and other factors influencing composers’ lives and work.
- 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: Symphonie Fantastique, Mvt.IV
Bizet: Farandole from L'Arlesienne Suite No. 2
Brahms: Symphony No. 4 in E minor, Op. 98, 4th Mvt.
Chopin: Nocturne in E-Flat Major & Etude in C Minor, 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
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
- The following people will be examined in the context of their respective historical period
and their 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, and Charlie Parker.
- Additional attention will also be directed towards 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, and riff.