Dr.

Robert Xavier Rodríguez

Office: JO4.640 (Office Hours Tuesday 2:00 – 7:00 by appointment only); Office Phone: 972-883-2766
RobertXavierRodriguez@tx.rr.com (For messages only; do not e-mail assignments.)

Music, Society and Technology

HUAS 7355.501
Jonsson Performance Hall Tuesday, 7:00 – 9:45

An active composer/conductor will explore the essential musical treasures of Europe and the Americas
over the last thousand years in a survey of musical style from the Middle Ages to the 21st Century. We
will begin by considering two statements:

1) Plato: “Those in power should be wary of changes in musical style, since those changes signal a
new power structure.”
2) Copland: “I write music to show how it feels to be alive today.”

Accordingly, for each musical period, we will identify the “suits” in power, the audiences, and the artists
in both elite and popular culture whose work reflected, enriched and sometimes even changed the society
in which they lived. We will pay particular attention to the effect that technological achievements in the
construction of musical instruments, the creation of performance spaces and the dissemination of music,
both printed and recorded, have had upon the music itself. Topics will include definitions, methods for
verbalizing the non-verbal experience of music, the elements and organization of music, aesthetics, the
extra-musical associations of music, and the role of music in society along with dates, periods, forms,
genres, compositional style, performance style, major figures and their musical personalities,
representative masterworks, schools of thought (isms), political/economic/social climate (power
structure and the marketplace) plus corollaries in literature, theater, the visual arts and technology.

Musical experience is recommended, but not required.

Required Texts: Bonds: A History of Music in Western Culture (text)

Wingell: Writing About Music
Plus additional assigned reading and listening.

Recommended Texts: Sullivan: Words on Music

Bonds: A History of Music in Western Culture (set of 12 CDs and two-volume
Anthology of Scores)
Weiss, Taruskin: Music in the Western World: A History in Documents

Course Requirements/Evaluation Criteria:

Term Paper - 50%
Class Attendance, Discussion, Short Assignments and Class Presentations – 50%

Specific Learning Objectives:

1. Demonstrate an understanding of the terminology and techniques necessary to describe, analyze and
explain the non-verbal phenomenon of music with respect to all of the given topics.
2. Demonstrate an understanding of the terminology and techniques necessary to analyze music in
historical context with respect to all of the given topics.
 Music, Society and Technology
HUAS 7355.501

Syllabus (subject to change)

1. Tues. Aug. 26 – Terminology and Overview

Points of Attack for Verbalization:

reporter, theorist, analyst, historian, judge, companion, independent creator

The Elements of Music:

Location: antiphonal music, performance spaces, environmental music

Intensity: dynamics, crescendo/diminuendo, ppp/fff/balance

Duration: rhythm (regular, irregular), meter (simple/compound, duple/triple), tempo,

accent/stress, syncopation, accelerando/ritardando, beat/pulse, measures,
prestissimo/larghissimo, rubato, articulation, legato/staccato

Timbre: voice types, families of musical instruments, score order, pizzicato, solo, tutti,
electronics

Pitch: note/tone, register (soprano, alto, tenor, bass), voices/texture, pitch class,
interval/unison, harmony, melody, ratios, overtone series, dissonance/consonance,
tension/resolution, musical gravity, common practice, keys/scales, chords, sequences,
parallel/contrary motion, diatonic circle of 5ths, modulating circle of 5ths, pandiatonic,
polytonality, atonality, 12-tone (serial), microtones, clusters, sound mass

The Organization of Music:

Elements of Form: unity/variety, motif, theme/melody, phrase, period, movement, variation,
counterpoint, imitation, texture

Musical Forms: ABA, variations, ground bass (chaconne/passacaglia), ritornello, binary,

ternary, rondo (ABACABA), canon, fugue, sonata-allegro, concerto, cadenza, serial techniques,
open form (aleatoric), improvisation

Dramatic Structure: exposition, conflict, crisis, climax, dénouement

Emotion and Meaning in Music:

Absolute vs. Program Music; Absolute vs. Inherent vs. Referential; Imitation, Symbol, System

Music in Society (Historical Context):

Dates, Periods, Style Characteristics, Schools of Thought (isms), Major Figures and their Musical
Personalities, Representative Masterworks, Political/Economic/Social Climate (Power
Structure and Market), Corollaries in Literature/Theater/Visual Art
Music, Society and Tech.
Syllabus, Page 2

2. Tues., Sept. 2 – Guest Lecture: Dr. Winston Stone – Music and Technology

Reading/Listening: Wingell – entire book; begin listening and reading assignments for Week 3;
Additional reading TBA

3. Tues., Sept. 9 (meet in Jonsson Basement Music Room) – Medieval & Renaissance

Reading/Listening: Sullivan – pp. 3-45; 333-370, 406-434; Bonds – pp. 1-173 + CD examples

4. Tues., Sept. 16 – Early Baroque

Reading/Listening: Sullivan – pp. 46-54; Bonds – pp. 174-275 + CD examples

5. Tues., Sept. 23 – Late Baroque

Reading/Listening: see above + Sullivan – pp. 55-84

6. Tues., Sept. 30 – The Classical Style

Reading/Listening: Sullivan – pp. 85-110; Bonds – 276-347 + CD examples

7. Tues., Oct. 7 (meet in Jonsson Basement Music Room) – Mozart and Haydn

Reading/Listening: see above

8. Tues., Oct. 14 (meet in Jonsson Basement Music Room) – Mozart and Beethoven

Reading/Listening: see above + Sullivan – pp. 111-138, 371-386

9. Tues., Oct. 21 – 19thCentury – Classical Forms (Schubert, Schumann, Brahms)

Reading/Listening: Sullivan – pp. 139-205, 241-244, 256-266, 391-405; Bonds – pp. 348-471 + CD
examples
Music, Society and Tech.
Syllabus, Page 3

10. Tues., Oct. 28 – 19th Century - Freer Forms (Liszt, Berlioz, Wagner, Mahler, Strauss,
Debussy)
Topic for Term Papers Due

Reading/Listening: see above + Sullivan – pp. 206-240, 245-255, 267-276, 285-293

11. Tues., Nov. 4 – 20th Century – Exploding the System (Schönberg and his legacy)

Reading/Listening: Sullivan – pp. 276-279, 283-285; Bonds – pp. 472-602 + CD examples

12. Tues., Nov. 11 – 20th Century – Expanding Within the System (Stravinsky and his legacy)
Outline of Term Papers Due

Reading/Listening: see above + Sullivan – pp. 279-281

13. Tues., Nov. 18 – Music Today – Modern vs. Post-Modern I

Reading/Listening: see above + Sullivan – pp. 294-332

14. Tues., Nov. 25 - Music Today – Modern vs. Post-Modern II

First Draft of Term Papers Due

15. Tues., Dec. 2 – Summary/Overview

Oral Presentations of Term Papers

Friday, Dec. 5 – Musica Nova Concert – UTD Performance Hall - 8:00

Term Papers Due
Dr. Robert Xavier Rodríguez

Music, Society and Technology

Listening/Discussion Worksheet

For each example, please provide as much information as you can in the following categories,
giving reasons for your answers:

Musical Style Period (list characteristics of more than one style, if necessary)

Country and Approximate Date of Composition

Composer (may list more than one possibility)

Genre

Form (cite interesting features of organization)

Intended Audience and Performance Venue

Observations Re: Social and Political History and Corollaries in Other Art Forms
 Bibliography
* = special recommendation
I. General Reference

Apel, Willi, ed. Harvard Dictionary of Music. Cambridge: Harvard Univ. Press, 1970

Crabtree, Phillip D. and Foster, Donald H. Sourcebook for Research in Music: A Bibliography of
Bibliographies. Indiana Univ. Press, 1999

Dorian, Frederick. The History of Music in Performance: The Art of Musical Interpretation from the
Renaissance to Our Day. New York: Norton, 1966

Duckles, Vincent H. and Reed, Ida. Music Reference and Research Materials. Wadsworth
Publishing, 1997

Hitchcock, H. Wiley and Sadie, Stanley, eds. The New Grove Dictionary of American Music.
London: McMillan, 1986 (4 volumes)

Grout, Donald J. A History of Western Music. New York: Norton, 1980

Grout, Donald J. A Short History of Opera. New York: Columbia Univ. Press, 1965

Sadie, Stanley, ed. The New Grove Dictionary of Music. London: McMillan, 1980 (20 volumes)

*Strunk, William and White, E.B. The Elements of Style. New York: McMillan, 1979

II. Source Documents

Chip, Herschel B. Theories of Modern Art, A Source Book by Artists and Critics. Berkeley: Univ. of
California Press, 1971

Davison, Archibald T. and Apel, Willi, eds. Historical Anthology of Music. Cambridge: Harvard
Univ. Press, 1949 (2 volumes)

Kolodin, Irving, ed. The Composer as Listener. New York: Horizon Press, 1958

Morgenstern, Sam, ed. Composers on Music: An Anthology of Composers’ Writings from Palestrina
to Copland. New York: Pantheon Books, 1956

Parrish, Carl and Ohl, John F., eds. Masterpieces of Music Before 1750. New York: Norton

Strunk, Oliver, ed. Source Readings in Music History. New York: Norton, 1965 (5 volumes)

*Weiss, Piero and Taruskin, Richard, eds. Music in the Western World, A History in Documents.
New York: Schirmer Books, 1984
 III. Humanities/Interdisciplinary/Arts in Society

*Attali, Jacques. Noise: The Political Economy of Music. Manchester: Manchester Univ. Press, 1977

Blaukopf, Kurt. Musical Life in A Changing Society. Portland: Amadeus Press, 1992

Cantor, Norman. The American Century: Varieties of Culture in Modern Times. New York:
HarperCollins, 1997

Dowling, W. Jay and Harwood, Dane L. Music Cognition. San Diego: Academic Press, 1986

Huizinga, Johan. Homo Ludens: A Study of the Play Element in Culture. Boston: Beacon Press,
1955

Huizinga, Johan. The Waning of the Middle Ages. New York: Anchor, 1954

*Hutcheon, Linda. A Theory of Parody. New York: Mathuen, 1985

Lebrecht, Norman. Discord: Conflict and the Making of Music. New York: Universe Books, 1983

Lebrecht, Norman. The Maestro Myth: Great Conductors in Pursuit of Power. New York: Birch
Lane Press, 1991

Leppert, Richard and McClary, Susan, eds. Music and Society. Cambridge: Cambridge Univ.
Press, 1987

Meyer, Leonard B. Music, the Arts and Ideas: Patterns and Predictions in 20th-Century Culture.
Chicago, Univ. of Chicago Press, 1967

Shattuck, Roger. The Banquet Years: The Origins of the Avant-Garde in France, 1885 to World War I.
New York: Random House, 1968

Shepherd, John. Music as Social Text. Cambridge: Polity Press, 1991

Treitler, Leo. Music and the Historical Imagination. Cambridge: Harvard Univ. Press, 1989

Watkins, Glenn. Pyramids at the Louvre: Music, Culture and Collage from Stravinsky to the
Postmodernists. Cambridge: Harvard Univ. Press, 1994

Winternitz, Emanuel. Musical Instruments and their Symbolism in Western Art. Newhaven: Yale
Univ. Press, 1979
 IV. Musical Period/Composer Studies
Medieval/Renaissance

Brown, Howard M. Music in the Renaissance. Englewood Cliffs: Prentice-Hall, 1976

Reese, Gustave. Music in Middle Ages. New York: Norton

Reese, Gustave. Music in the Renaissance. New York: Norton

Seay, Albert. Music in the Medieval World. Englewood Cliffs: Prentice-Hall, 1965

Baroque

Arnold, Dennis and Fortune, Nigel, eds. The Monteverdi Companion. New York: Norton, 1968

Bukofzer, Manfred F. Music in the Baroque Era. New York: Norton, 1947

David, Hans T and Mendel, Arthur, eds. The Bach Reader. New York: Norton

Hogwood, Christopher. Handel. London: Thames and Hudson, 1984

Palisca, Claude V. Baroque Music. Englewood Cliffs: Prentice-Hall, 1968

Classical

Dent, Edward J. Mozart’s Operas. : London: Oxford Univ. Press, 1970

Einstein, Alfred. Mozart. New York: Oxford Univ. Press, 1979

Geiringer, Karl and Geiringer, Irene. Haydn: A Creative Life in Music. Berkeley: Univ. of
California Press, 1983

Pauly, Reinhard G. Music in the Classic Period. Englewood Cliffs: Prentice-Hall, 1965

*Rosen, Charles. The Classical Style: Haydn, Mozart, Beethoven. New York: W.W. Norton & Co.,
1972

19th Century

Berlioz, Hector. Evenings with the Orchestra. Chicago: Univ. of Chicago Press, 1973

Einstein, Alfred. Music in the Romantic Era. New York: Norton

Geiringer, Karl. Brahms. London; Da Capo Press, 1982

Rosen, Charles. The Romantic Tradition. Cambridge: Harvard Univ. Press, 1995
 20th Century

*Austin, William W. Music in the 20th Century. New York: Norton

Copland, Aaron. The New Music. New York: Norton

*Kowalke, Kim H., ed. A New Orpheus: Essays on Kurt Weill. New Haven: Yale Univ. Press,
1986

Griffiths, Paul. Modern Music: The Avant-Garde Since 1945. New York: George Braziller, 1981

Sanders, Ronald. The Days Grow Short: The Life and Music of Kurt Weill. New York: Limelight
Editions, 1985

Schebera, Jürgen. Kurt Weill: An Illustrated Life. New Haven: Yale Univ. Press, 1995

*Smith-Brindle, Reginald. The New Music. London: Oxford Univ. Press, 1977

White, Eric Walter. Stravinsky. Berkeley: Univ. of California Press, 1979

V. Music Criticism

Copland, Aaron. What to Listen for in Music. New York: McGraw-Hill, 1967

Graf, Max. Composer and Critic: Two Hundred Years of Music Criticism. New York: W.W. Norton
& Co., 1946

Pleasants, Henry. The Agony of Modern Music. New York: Simon and Schuster, 1955

Rosen, Charles. The Frontiers of Meaning: Three Informal Lectures on Music. New York: Hill and
Wang, 1994

Shaw, Bernard. The Great Composers. Berkeley, Univ. of California Press, 1978

Shaw, Bernard. Music in London. New York: Horizon Press, 1973 (4 volumes)

Slonimsky, Nicolas. Lexicon of Musical Invective: Critical Assaults on Composers since Beethoven’s
Time. Seattle: Univ. of Washington Press, 1984

Stravinsky, Igor. Poetics of Music. Cambridge: Harvard Univ. Press, 1970

Student Conduct & Discipline

The University of Texas System and The University of Texas at Dallas have rules and regulations for the orderly and efficient conduct
of their business. It is the responsibility of each student and each student organization to be knowledgeable about the rules and
regulations which govern student conduct and activities. General information on student conduct and discipline is contained in the
UTD publication, A to Z Guide, which is provided to all registered students each academic year.

The University of Texas at Dallas administers student discipline within the procedures of recognized and established due process.
Procedures are defined and described in the Rules and Regulations, Board of Regents, The University of Texas System, Part 1, Chapter
VI, Section 3, and in Title V, Rules on Student Services and Activities of the university’s Handbook of Operating Procedures. Copies
of these rules and regulations are available to students in the Office of the Dean of Students, where staff members are available to
assist students in interpreting the rules and regulations (SU 1.602, 972/883-6391).

A student at the university neither loses the rights nor escapes the responsibilities of citizenship. He or she is expected to obey federal,
state, and local laws as well as the Regents’ Rules, university regulations, and administrative rules. Students are subject to discipline
for violating the standards of conduct whether such conduct takes place on or off campus, or whether civil or criminal penalties are
also imposed for such conduct.

Academic Integrity

The faculty expects from its students a high level of responsibility and academic honesty. Because the value of an academic degree
depends upon the absolute integrity of the work done by the student for that degree, it is imperative that a student demonstrate a high
standard of individual honor in his or her scholastic work.

Scholastic dishonesty includes, but is not limited to, statements, acts or omissions related to applications for enrollment or the award
of a degree, and/or the submission as one’s own work or material that is not one’s own. As a general rule, scholastic dishonesty
involves one of the following acts: cheating, plagiarism, collusion and/or falsifying academic records. Students suspected of
academic dishonesty are subject to disciplinary proceedings.

Plagiarism, especially from the web, from portions of papers for other classes, and from any other source is unacceptable and will be
dealt with under the university’s policy on plagiarism (see general catalog for details). This course will use the resources of
turnitin.com, which searches the web for possible plagiarism and is over 90% effective.

Email Use

The University of Texas at Dallas recognizes the value and efficiency of communication between faculty/staff and students through
electronic mail. At the same time, email raises some issues concerning security and the identity of each individual in an email
exchange. The university encourages all official student email correspondence be sent only to a student’s U.T. Dallas email address
and that faculty and staff consider email from students official only if it originates from a UTD student account. This allows the
university to maintain a high degree of confidence in the identity of all individual corresponding and the security of the transmitted
information. UTD furnishes each student with a free email account that is to be used in all communication with university personnel.
The Department of Information Resources at U.T. Dallas provides a method for students to have their U.T. Dallas mail forwarded to
other accounts.

Withdrawal from Class

The administration of this institution has set deadlines for withdrawal of any college-level courses. These dates and times are
published in that semester's course catalog. Administration procedures must be followed. It is the student's responsibility to handle
withdrawal requirements from any class. In other words, I cannot drop or withdraw any student. You must do the proper paperwork to
ensure that you will not receive a final grade of "F" in a course if you choose not to attend the class once you are enrolled.

Student Grievance Procedures

Procedures for student grievances are found in Title V, Rules on Student Services and Activities, of the university’s Handbook of
Operating Procedures.

In attempting to resolve any student grievance regarding grades, evaluations, or other fulfillments of academic responsibility, it is the
obligation of the student first to make a serious effort to resolve the matter with the instructor, supervisor, administrator, or committee
with whom the grievance originates (hereafter called “the respondent”). Individual faculty members retain primary responsibility for
assigning grades and evaluations. If the matter cannot be resolved at that level, the grievance must be submitted in writing to the
respondent with a copy of the respondent’s School Dean. If the matter is not resolved by the written response provided by the
respondent, the student may submit a written appeal to the School Dean. If the grievance is not resolved by the School Dean’s
decision, the student may make a written appeal to the Dean of Graduate or Undergraduate Education, and the deal will appoint and
convene an Academic Appeals Panel. The decision of the Academic Appeals Panel is final. The results of the academic appeals
process will be distributed to all involved parties.

Copies of these rules and regulations are available to students in the Office of the Dean of Students, where staff members are available
to assist students in interpreting the rules and regulations.
Incomplete Grade Policy

As per university policy, incomplete grades will be granted only for work unavoidably missed at the semester’s end and only if 70%
of the course work has been completed. An incomplete grade must be resolved within eight (8) weeks from the first day of the
subsequent long semester. If the required work to complete the course and to remove the incomplete grade is not submitted by the
specified deadline, the incomplete grade is changed automatically to a grade of F.

Disability Services

The goal of Disability Services is to provide students with disabilities educational opportunities equal to those of their non-disabled
peers. Disability Services is located in room 1.610 in the Student Union. Office hours are Monday and Thursday, 8:30 a.m. to 6:30
p.m.; Tuesday and Wednesday, 8:30 a.m. to 7:30 p.m.; and Friday, 8:30 a.m. to 5:30 p.m.

The contact information for the Office of Disability Services is:

The University of Texas at Dallas, SU 22
PO Box 830688
Richardson, Texas 75083-0688
(972) 883-2098 (voice or TTY)

Essentially, the law requires that colleges and universities make those reasonable adjustments necessary to eliminate discrimination on
the basis of disability. For example, it may be necessary to remove classroom prohibitions against tape recorders or animals (in the
case of dog guides) for students who are blind. Occasionally an assignment requirement may be substituted (for example, a research
paper versus an oral presentation for a student who is hearing impaired). Classes enrolled students with mobility impairments may
have to be rescheduled in accessible facilities. The college or university may need to provide special services such as registration,
note-taking, or mobility assistance.

It is the student’s responsibility to notify his or her professors of the need for such an accommodation. Disability Services provides
students with letters to present to faculty members to verify that the student has a disability and needs accommodations. Individuals
requiring special accommodation should contact the professor after class or during office hours.

Religious Holy Days

The University of Texas at Dallas will excuse a student from class or other required activities for the travel to and observance of a
religious holy day for a religion whose places of worship are exempt from property tax under Section 11.20, Tax Code, Texas Code
Annotated.

The student is encouraged to notify the instructor or activity sponsor as soon as possible regarding the absence, preferably in advance
of the assignment. The student, so excused, will be allowed to take the exam or complete the assignment within a reasonable time
after the absence: a period equal to the length of the absence, up to a maximum of one week. A student who notifies the instructor and
completes any missed exam or assignment may not be penalized for the absence. A student who fails to complete the exam or
assignment within the prescribed period may receive a failing grade for that exam or assignment.

If a student or an instructor disagrees about the nature of the absence [i.e., for the purpose of observing a religious holy day] or if there
is similar disagreement about whether the student has been given a reasonable time to complete any missed assignments or
examinations, either the student or the instructor may request a ruling from the chief executive officer of the institution, or his or her
designee. The chief executive officer or designee must take into account the legislative intent of TEC 51.911(b), and the student and
instructor will abide by the decision of the chief executive officer or designee.

Off-Campus Instruction and Course Activities

Off-campus, out-of-state, and foreign instruction and activities are subject to state law and University policies and procedures
regarding travel and risk-related activities. Information regarding these rules and regulations may be found at the website address
given below. Additional information is available from the office of the school dean. (http://www.utdallas.edu/Business
Affairs/Travel_Risk_Activities.htm)