University of Massachusetts, Amherst

Department of Music
Music 301: History of Music from 1700-1900
Fall Semester 2015

Instructor: Erinn E. Knyt

eknyt@music.umass.edu
Fine Art Center, Room 366
Teaching Assistant: Allison Smith
allisonsmith@umass.edu
Meeting Times: Mon., Wed., Fri., 9:05-9:55
Location: Fine Arts Center, Bezanson Recital Hall
Office Hours:
Mon./Fri. 10-11
Other times by appt.
Course Goals and Objectives: The main goal of this course is to provide an overview
of the development of Western Music from 1700-1900. The lecture-based course, which
is organized by genre, will focus on changes in musical style throughout the time period,
as well as on correlations between music, culture and art. By the end of the course,
students should be able to aurally and visually distinguish among different styles, genres,
and forms of music, relate them to cultural and artistic trends or manifestos, and identify
basic compositional techniques used in representative compositions.
Required Textbook: J. Peter Burkholder, Donald J. Grout, and Claude V. Palisca. A
History of Western Music, 9th ed. N.Y.: W.W. Norton and Co., 2014.
Prerequisites:
MUS 101 and MUS 113. Contact the instructor if you have not met the prerequisites and
would still like to take the class.
Honors:
An optional honors colloquium is available for this course. Contact the instructor for
details.
Assignments:
Complete the reading and listening assignments by the indicated dates in the course
schedule. In addition, there will be:

1. Two Midterms (short answer, essay, and score identification)

2. Four Listening Quizzes (identify composer, title, movement, and date)
3. One Research Paper (5-7 pages), or other Creative Project that involves some research
and writing. This, for instance, could include the design of an educational website, the
critique of a cinematic representation of a composer or his music, a video of a
performance-lecture accompanied by extensive program notes, or the creation of a lesson
plan for teaching a class in music. Contact me if you would like to propose an alternate
Creative Project. Turn in the project to the Moodle Course Website (under assignments).
4. One Oral Report (max. 5 minutes)
5. One Final Exam (short answer, essay, and score identification)
Grading:
Midterms, 30%
Listening Quizzes, 20%
Final Exam, 20 %
Final Paper/Creative Project, 20 %
Oral Report, 5 %
Attendance, 5 %
Grading Scale:
A+: 98-100
A: 93-97
A-: 90-92
B+: 88-89
B: 83-87
B-: 80-82
C+: 78-79
C: 73-77
C-: 70-72
D+: 68-69
D: 63-67
D-: 60-62
F: 0-59
Grading Criteria:
More detailed criteria will be provided in class in relation to specific assignments.
However, the following criteria will be used when evaluating assignments:
Clarity
Originality
Accuracy
Organization
Presentation
Style

Extra Credit:
Extra credit opportunities will be offered throughout the semester.
Late Assignments:
Late assignments will de docked one grade increment (i.e. A to A-) for every class period
(or portion thereof) that they are late. You are responsible for selecting an appropriate oral
presentation time. Missed oral presentations cannot be made up (except in the case of
documented medical emergency).
Missed Exams:
Only three of the four listening quizzes will count toward your final grade. I will throw
out the lowest grade of the four quizzes, which, in the case of a missed quiz, will be a 0.
Midterms, the final exam, and listening quizzes may only be made up due to a medical
emergency or conflict with another academic event.
Attendance:
Attendance is an important part of the learning process in this course. You may miss up
to three class sessions without penalty. If you miss additional classes, except under
special circumstances (i.e. documented medical crisis, etc.), your attendance grade will be
docked one grade increment (i.e. from A to A-) for each skipped class session. Please
notify Allison Smith in writing (by e-mail) of all excused absences and cc me.
Course Schedule
Week 1, Wed. (Sept. 9) Course Introduction
Overview of Syllabus and Course.
Introduction to music and culture of the 18th Century.
Week 1, Fri. (Sept. 11) The Height of Italian Dominance: The Sinfonia, the Cantata,
and Opera Seria
Reading: 379-405.
Listening: Alessandro Scarlatti, Andate, o miei sospiri (1712) [No score]
Johann Adolph Hasse, Tu, sprezzator di morte (Attilio Regolo) (1750) [No Score]
Ricardo Broschi, Son qual nave qu'agitata (c. 1734) [No Score]
Week 2, Mon. (Sept. 14) Italian Instrumental Music: The Trio Sonata and the
Concerto
Reading: 406-422.
Listening: Arcangelo Corelli (16531713), Trio Sonata in G minor, op. 3, no. 11 (1689)
[IMSLP]
Antonio Vivaldi (16781741), Violin Concerto in E, RV 269, La primavera, from Il
cimento dell'armonia e dell'inventione, op. 8 (1725) [IMSLP]
Week 2, Wed. (Sept. 16) The Class of 1685: Bach, Handel, and ScarlattiThe
Chorale Prelude and Fugue
Reading: 432-437.
Listening: Two Chorale Preludes on Durch Adams Fall ist ganz verderbt:
1. Dietrich Buxtehude, BuxWV 183 (c. 1690) [IMSLP]

2. Johann Sebastian Bach, BWV 637, from Orgel-Bchlein (c. 1715) [IMSLP]
Bach, Fugue in G minor, BWV 578 (before 1707?) [IMSLP]
Week 2, Fri. (Sept. 18) Keyboard MusicThe Well Tempered Clavier and Tuning
Systems
Reading: 437-442.
Listening: Bach, two pieces from Das wohltemperirte Clavier, Book 1 (1722): Prelude
and Fugue no. 1 in C, BWV 846/Prelude and Fugue no. 24 in B minor, BWV 869
[IMSLP]
Bach, Goldberg Variations (Aria plus variations 3-5) (1741) [IMSLP]
Week 3, Mon. (Sept. 21) Keyboard Music (cont.)--The Suite
Reading: 422-424
Listening: Bach, French Suite no. 5 in G, BWV 816 (172223, rev. 1725) [IMSLP]
Franois Couperin (16681733), Le rossignol en amour and Double de rossignol from
Quartorzime Ordre, from Troisime Livre de Pices de Clavecin (Paris, 1722) [IMSLP]
Week 3, Wed. (Sept. 23) The Concerto Grosso
Reading: 442-443
Listening: Bach, Brandenburg Concerto no. 5 in D, BWV 1050 (1721)
[IMSLP]
George Frederic Handel, Concert Grosso in D major, Op. 6 No. 5 (1739) [IMSLP].
Week 3, Fri. (Sept. 25) The Class of 1685: Vocal MusicBaroque Opera
Reading: 425-431.
Listening: Jean-Philippe Rameau, Hippolyte et Aricie, Act IV (1733) [IMSLP]
Handel, Giulio Cesare in Egitto, HWV 17, Act 1, scene 3 (London, 1724), [IMSLP]
Week 4, Mon. (Sept. 28) The English Oratorio
Reading: 449-459.
Listening: Handel, Israel in Egypt, HWV 54, selections from Part 2 (London, 1739),
[IMSLP]
Handel, an example of self-borrowing:
a. No, di voi non vo' fidarmi, HWV 189 (1741), movement 1
b. "For unto us a Child is born? from Messiah, HWV 56 (Dublin, 1742),
[IMSLP]
Week 4, Wed. (Sept. 30) Baroque Sacred Music
Reading: 443-449.
Listening: J.S. Bach, Nun Komm, der Heiland, BWV 62 [NAWM].
Bach, St. Matthew Passion, BWV 244 (1727, rev. 1736), opening chorus [IMSLP]
Week 4, Fri. (Oct. 1) LISTENING QUIZ 1
The Enlightenment and the Classical Style
Reading: 462-476.
Listening: C.P.E. Bach, Sonata in A Major, H. 186, Wq. 55 no. 4, II (1765) [NAWM].
Week 5, Mon. (Oct. 5) Early Classic Opera and Opera Reform
Reading: 477-498.
Listening: Giovanni Battista Pergolesi, Ah, quanto mi sta male and Son imbrogliato
io, La Serva Padrona (1733) [NAWM].

Johann Adolf Hasse, Digli chio son fedele [Tell him I am Faithful], Cleofide, Act II,
Scene 9 (1731) [NAWM].
John Gay Airs XV and XVI from The Beggars Opera (1728) [NAWM].
Christof Willibald Gluck, Oreo et Euridice, Act II, scene 1 (1762) [NAWM].
Week 5, Wed. (Oct. 7) Sonata Form
Reading: Grout, 499-512, 538-547.
Listening: Domenico Scarlatti, Sonata in D Major, K. 119 (c. 1740) [NAWM].
Wolfgang Amadeus Mozart, Piano Sonata in F Maj., K. 332, I (1781/1784) [NAWM].
Return of Listening Quizzes
Week 5, Fri. (Oct. 9)
MIDTERM #1
Week 6, Tues. (Oct. 13) The Sonata (cont.) and Beethovens Early Period
Reading: 563-567.
Listening: Haydn, Sonata no. 53 in E Minor, Hob. XVI: 34, I, (1781/1784) [NAWM].
Beethoven, Piano Sonata in C Minor, Op. 13, I (Pathetique) (1797-1798) [NAWM].
Week 6, Wed. (Oct. 14) The Symphony
Reading: 512-518, 528-538.
Listening: Giovanni Battista Sammartini, Symphony in F Maj., I (c. 1740) [NAWM].
Johann Stamitz: Sinfonia a 8 in E-flat Major, Op. 11, No. 3, I (mid 1750s) [NAWM].
Joseph Haydn, Symphony no. 92 in G Maj. (Oxford) (1789) [NAWM].
Return of Midterms
Week 6, Fri. (Oct. 16) No Class (Multi-Band Pops)
Week 7, Mon. (Oct. 19) The Symphony (cont.) and Beethovens Middle Period
Reading: 570-578.
Listening: Mozart, Symphony No. 41 in C Major, K. 551 (Jupiter), Finale (1788)
[NAWM].
Beethoven, Symphony No. 3 in E-flat Major, Op. 55 (Eroica), I (1803-1804) [NAWM].
Week 7, Wed. (Oct. 21) The Concerto
Reading: 550-552.
Listening: Johann Christian Bach, Concerto for Harpsichord or Piano and Strings in Eflat Major, Op. 7 no. 5, I (1770) [NAWM].
Mozart, Piano Concerto in A Major, K. 488, I (1786) [NAWM].
Week 7, Fri. (Oct. 23) Chamber Music and Beethovens Late Period
Reading: 519-528, 547-550, 578-585.
Listening: Beethoven, Quartet in C-sharp Minor, Op. 131, I and II (1826) [NAWM].
Haydn, String Quartet in E-flat Major, Op. 33 no. 2, IV (1781) [NAWM].
Week 8, Mon. (Oct. 26) Classical Opera and Sacred Vocal Music
Reading: 552-557.
Listening: Haydn, The Creation: No. 2, In the Beginning God (1797-1798) [NAWM].
Mozart, Don Giovanni, Act I: Scenes 1-2 (1787) [NAWM].
Week 8 Wed. (Oct. 28) Romanticism and Music
Reading: 560-563, 586-596.
Week 8, Fri. (Oct. 30) Lied
Reading: 596-606.

Listening: Franz Schubert, Gretchen am Spinnrade (1814) [NAWM].

Schubert, Der Lindenbaum (from Die Winterreise, D. 911, No. 5) (1827) [NAWM].
Schumann, Im wunderschnen Monat Mai (from Dichterliebe, Op. 48, No. 1) (1840)
[NAWM].
LISTENING QUIZ NO. 2
Week 9, Mon. (Nov. 2) Piano Music
Reading: 606-613, 618-623.
Listening: Mendelssohn, Songs Without Words no. 1, Op. 19 no. 1 (1830) [IMSLP].
Schumann, Carnaval, op. 9, nos. 5-7 (1840) [NAWM].
Franz Liszt, Un Sospiro, from Three Concert Etudes (1845-1849) [NAWM].
Week 9, Wed. (Nov. 4) Piano Music
Reading: 613-618.
Chopin, Nocturne in D-flat, Op. 27 no. 2 (1836) [NAWM].
Chopin, Mazurka in B-flat, Op. 7 no. 1 (1831) [NAWM].
Chopin, Ballade in G Minor, Op. 23 (1835) [IMSLP].
Return of Listening Quizzes
Week 9, Fri. (Nov. 6) The Symphony
Reading: 624-635.
Listening: Schubert, Symphony no. 8 in B Minor, (Unfinished) D. 759, I (1823)
[IMSLP].
Berlioz, Symphony Fantastique, V (1830) [NAWM].
Week 10, Mon. (Nov. 9) The Symphony (cont.)
Reading: 638-639.
Listening: Schumann, Symphony no. 4 in D Min., OP. 120 (1841/rev. 1851) [NAWM].
Brahms, Symphony no. 4 in E Min., Op. 98, IV (1884/1886) [NAWM].
Week 10, Wed. (Nov. 11) HOLIDAYNO CLASS
Week 10, Fri. (Nov. 13) Midterm #2
Week 11, Mon. (Nov. 16) Guest: Pam Juengling
Week 11, Wed. (Nov. 18) The Concerto
Reading: 635-638.
Listening: Mendelssohn, Violin Concerto in E Minor, I and III (1844) [NAWM].
Week 11, Fri. (Nov. 20) Chamber Music
Reading: 639-52.
Listening: Schubert, String Quintet in C Major, D. 956, I (1828) [NAWM].
Brahms, Quintet for Piano and Strings in F Minor, Op. 34, I (1862-1864) [NAWM].
Return of Midterms
LISTENING QUIZ NO. 3
Week 12, Mon. (Nov. 23) Italian Romantic Opera
Reading: 653-666.
Listening: Rossini, Un voce poco fa (from Il barbiere di Siviglia) (1816) [NAWM].
Vincenzo Bellini, Casta Diva (from Norma), (1831) [NAWM].
Week 12, Wed. (Nov. 25) French Grand Opera/German Romantic Opera
Reading: 666-677.
Listening: Meyerbeer, Les Huguenots, Act II, Conclusion (1836) [NAWM].
Carl Maria von Weber, Der Freischtz,Wolfs Glen Scene (1821) [NAWM]
Return of Listening Quizzes

Week 13, Mon. (Nov. 30)

Student Presentations (BSZN and FAC 152)
Week 13, Wed. (Dec. 2)
Student Presentations (BZSN and FAC 152)
Week 13, Fri. (Dec. 4)
Student Presentations (BZSN and FAC 154)
Week 14, Mon. (Dec. 7) The Wagnerian Music Drama
Reading: 678-695.
Listening: Wagner, Tristan und Isolde, Prelude and Conclusion of Act I (1857-1859)
[NAWM].
FINAL PAPERS DUE BY 11:59 P.M. (UPLOAD TO MOODLE)
Week 14, Wed. (Dec. 9) Italian Romantic Opera (cont.)
Reading: 695-703.
Listening: Verdi, La Traviata: Act III, Scena and Duet (1853) [NAWM].
Week 14, Fri. (Dec. 11) Italian Romantic Opera (cont.)
Reading: 703-718.
Listening: Giacomo Puccini, Madame Butterfly: Excerpt from Act I (1904)
Georges Bizet, Carmen: Seguidilla and Duet (1873-1874) [NAWM].
LISTENING QUIZ NO. 4
Course Evaluations
FINAL EXAMINATIONTIME TBD

Possible Presentation and Research Topics

Instruments/Voice Types and their Development
Performance Practice of music from 1700-1900
Development of Repertoire for your instrument
Treatises about Performance on an Instrument
Bachs Legacy:
C.P.E. Bach
Johann Christian Bach
Wilhelm Friedemann Bach
Bachs B Minor Mass
Music Reception:
Reuse of Music from 1700-1900 in music of the twentieth century
Re-stagings/New Productions of operas
Bach Revivals
Cecilian Movement
Chant Revival
Bachs music in Rock, Pop, or Jazz
Reconstructions of early instruments
Famous performers/interpreters of music from 1700-1900:
Glenn Gould
Wanda Landowska
Rosalyn Tureck
Ferruccio Busoni
PDQ Bach
Other
Female Composers from 1700-1900:
Amy Beach
Fanny Hensel
Other
Important Places or institutions:
Bayreuth
Ospedale della piet
Parisian Opera Houses
Nicholaskirche
St. Mark Basilica
Other

Chamber Music:
Development of Music History:
Charles Burney
Founding of Music Schools and/or other music education topics in the 18th or 19th
Centuries:
Famous People:
Dietrich Buxtehude
Lorenzo da Ponte
Hans Von Blow
Farinelli and Castrati
Stephen Foster
Csar Franck
Scott Joplin
Arthur Sullivan
18th or 19th Century Virtuosi:
Niccolo Paganini
Marin Marais
Pauline Viardot
Louis Moreau Gottschalk
Clara Schumann
Jenny Lind
Nannerl Mozart
Maria Malibran
Joseph Joachim
Other (up to 5)
Music Criticism:
E.T.A. Hoffmann
Hector Berlioz
Robert Schumann
Franz Liszt
Improvisation from 1700-1900
Nationalism:
The Mighty Handful
Jean Sibelius
Bedrich Smetana
Antonin Dvorak
Other
Other Topics:
Lutheran Chorale

Mahlers Reorchestration of Bach and Beethoven

Mozarts Requiem
Operetta
Opera Censorship
Camille Saint-Sans
Sacred Music in the 19th Century
Salons or Music Academies
Schumanns Mental Illness and his Late Music
Sir Walter Scott and Opera Libretti
Shape-Note Tune books
Slave Songs
Transcriptions and Arrangements
Accommodation Statement
The University of Massachusetts Amherst is committed to providing an equal educational
opportunity for all students. If you have a documented physical, psychological, or
learning disability on file with Disability Services (DS), Learning Disabilities Support
Services (LDSS), or Psychological Disabilities Services (PDS), you may be eligible for
reasonable academic accommodations to help you succeed in this course. If you have a
documented disability that requires an accommodation, please notify me within the first
two weeks of the semester so that we may make appropriate arrangements.

Academic Honesty Statement

Since the integrity of the academic enterprise of any institution of higher education
requires honesty in scholarship and research, academic honesty is required of all students
at the University of Massachusetts Amherst.
Academic dishonesty is prohibited in all programs of the University. Academic
dishonesty includes but is not limited to: cheating, fabrication, plagiarism, and facilitating
dishonesty. Appropriate sanctions may be imposed on any student who has committed an
act of academic dishonesty. Instructors should take reasonable steps to address academic
misconduct. Any person who has reason to believe that a student has committed
academic dishonesty should bring such information to the attention of the appropriate
course instructor as soon as possible. Instances of academic dishonesty not related to a
specific course should be brought to the attention of the appropriate department Head or
Chair.
Since students are expected to be familiar with this policy and the commonly accepted
standards of academic integrity, ignorance of such standards is not normally sufficient
evidence of lack of intent.