Music Repertory A
MUS1041: Repertory A
Western Music: 1750-1890
The purpose of MUS1041 is to give an introduction, historical, cultural and analytical, to the music of what are usually called the Classical and Romantic eras. The main traditions of European music will be covered and advice will be given as to the development of ways of defining the musical materials of these fascinating and popular periods. The module is also intended to function as an introduction to the study of music at university and embraces study skills such as the use of library resources, intelligent listening, taking notes and essay writing.
Ciaran Kennedy (CK), Maria McHale (MMcH), Declan Plummer (DP), Jan Smaczny (JS) and Aidan Thomson (AT) will give a series of lectures (see below); these are normally given as three one-hour lectures per week (with an extra half-hour class tutorial) in addition to which students are expected to spend at least an equivalent time in private study. The lectures will be given on Mondays at 12 noon, Tuesdays at 2.00 pm and Thursdays at 3.30 (with the extra half-hour tutorial) in the Old McMordie Hall in the Music Building.
Skills associated with Western Music: 1750-1890
SUBJECT SPECIFIC SKILLS:
Students will:
(i) synthesise information from a number of both musical and musicological sources;
(ii) presentation of information in essay form;
(iii) assess sometimes conflicting arguments;
(iv) assess statistical information;
(v) learn to appreciate creative and artistic development;
(vi) listen critically;
(vii) identify musical forms and compositional processes.
KEY SKILLS
Students will:
(i) identify, analyse and solve problems by prioritising tasks, coping with complexity, setting achievable goals and taking action;
(ii) work with information and handle a mass of diverse data and draw conclusions (analysis, attention to detail, judgement);
(iii) apply subject knowledge and understanding from the degree pathway;
(iv) possess high
Western Music: 1750-1890
The purpose of MUS1041 is to give an introduction, historical, cultural and analytical, to the music of what are usually called the Classical and Romantic eras. The main traditions of European music will be covered and advice will be given as to the development of ways of defining the musical materials of these fascinating and popular periods. The module is also intended to function as an introduction to the study of music at university and embraces study skills such as the use of library resources, intelligent listening, taking notes and essay writing.
Ciaran Kennedy (CK), Maria McHale (MMcH), Declan Plummer (DP), Jan Smaczny (JS) and Aidan Thomson (AT) will give a series of lectures (see below); these are normally given as three one-hour lectures per week (with an extra half-hour class tutorial) in addition to which students are expected to spend at least an equivalent time in private study. The lectures will be given on Mondays at 12 noon, Tuesdays at 2.00 pm and Thursdays at 3.30 (with the extra half-hour tutorial) in the Old McMordie Hall in the Music Building.
Skills associated with Western Music: 1750-1890
SUBJECT SPECIFIC SKILLS:
Students will:
(i) synthesise information from a number of both musical and musicological sources;
(ii) presentation of information in essay form;
(iii) assess sometimes conflicting arguments;
(iv) assess statistical information;
(v) learn to appreciate creative and artistic development;
(vi) listen critically;
(vii) identify musical forms and compositional processes.
KEY SKILLS
Students will:
(i) identify, analyse and solve problems by prioritising tasks, coping with complexity, setting achievable goals and taking action;
(ii) work with information and handle a mass of diverse data and draw conclusions (analysis, attention to detail, judgement);
(iii) apply subject knowledge and understanding from the degree pathway;
(iv) possess high
Bibliography: Downs, Philip G. Classical music: the era of Haydn, Mozart and Beethoven. London & New York, 1992. Grout, Donald J. & Palisca, Claude V.. A History of Western Music 6th ed.. New York and London, 2001. Rosen, Charles. The Classical Style. London: Faber, 1971. _____________ The Romantic Generation. Cambridge Mass.: Harvard University Press, 1995. Plantinga, Leon. Romantic Music. New York: Prentice Hall, 1984. Treitler, Leo (ed.). Strunk’s Source Readings in Music History. New York: Norton, 1998. Sadie, Stanley and Tyrrell, John (eds.) The New Grove Dictionary of Music and Musicians 2nd ed.. London: Macmillan, 2001. ___________ The New Grove Dictionary of Opera. London: Macmillan, 1992. Heartz, Daniel. Haydn, Mozart and the Viennese School 1740-80. London: Norton, 1995. Hughes, Rosemary. Haydn (Master Musicians). London: Dent, 1974 (revised ed.). Landon, H.C. Robbins. Haydn. London: Faber, 1972. Wyn Jones, David (ed.). Oxford Haydn Companion. Oxford: Oxford University Press, 2002. ________ Haydn string quartets (BBC Music Guide). London: BBC, 1966. Keller, Hans. Haydn: the great quartets: their interpretation. London: Dent, 1986. Sutcliffe, W. Dean. Haydn: string quartets, op. 50. Cambridge: Cambridge University Press, 1992. Landon, H.C. Robbins. Haydn symphonies. London: BBC, 1966. Einstein, Alfred. Mozart: his character, his work, translated by Arthur Mendel and Nathan Broder. London: Cassell, 1946. Keefe, Simon B. (ed.). The Cambridge Companion to Mozart. Cambridge: Cambridge University Press, 2003. Landon, H.C. Robbins. Mozart: the golden years, 1781-1791. London: Thames and Hudson, 1990. Pestelli, Giorgio. The age of Mozart and Beethoven, translated by Eric Cross. Cambridge: Cambridge University Press, 1984. Carter, Tim. W.A. Mozart: Le nozze di Figaro. Cambridge: Cambridge University Press, 1987. Gianturco, Carolyn. Mozart’s early operas. London: Batsford, 1981. Howard, Patricia. C.W. von Gluck: Orfeo. Cambridge: Cambridge University Press, 1981. ________ Gluck and the birth of modern opera. London: Barrie and Rocliff, 1963. Rushton, Julian. W.A. Mozart: Don Giovanni. Cambridge: Cambridge University Press, 1981. ________ W.A. Mozart: Idomeneo. Cambridge: Cambridge University Press, 1993. Treitler, Leo (ed.). Strunk’s Source Readings in Musical History. New York: Norton, 1998. Specifically ‘Critical Views of French and Italian Opera’, pp. 893-941. Irving, John. Mozart’s piano concertos. Aldershot, 2003. Lawson, Colin. Mozart: clarinet concerto. Cambridge: Cambridge University Press, 1996. Zaslaw, Neal (ed.). Mozart’s piano concertos: text, context, interpretation Michigan: Ann Arbor, 1996. Arnold, Denis and Fortune, Nigel (eds.). The Beethoven Companion. London: Faber, 1971. Cooper, Barry. Beethoven. Oxford: Oxford University Press, 2000. Kinderman, William. Beethoven. Oxford: Oxford University Press, 1995. Lockwood, Lewis. Beethoven: the music and the life. London & New York, 2003. Matthews, Denis. Beethoven piano sonatas. London: BBC, 1967. Stanley, Glen (ed.). The Cambridge Companion to Beethoven. Cambridge: Cambridge University Press, 1999. Tovey, Donald Francis. A companion to Beethoven’s pianoforte sonatas. Rev. ed. London, 1998. Wyn Jones, David. Beethoven: “Pastoral Symphony”. Cambridge: Cambridge University Press, 1995. Sipe, Thomas. Beethoven: Eroica Symphony. Cambridge: Cambridge University Press, 1998. Drabkin, William. Beethoven: Missa Solemnis. Cambridge: Cambridge University Press, 1991. Hutchings, Arthur. Schubert. London: Dent, 1973. Newbould, Brian. Schubert: the music and the man. London: Gollancz, 1997. Reed, John. Schubert (Master Musicians). Oxford: Oxford University Press, 1997 (2nd ed.). Capell, Richard. Schubert’s songs. London: Pan, 1957. Prawer, S.S. . The Penguin Book of Lieder. London: Penguin, 1964. Reed, John. The Schubert Song Companion. Manchester: Manchester University Press, 1985. Youens, Susan. Schubert: Die schone Mullerin. Cambridge: Cambridge University Press, 1992. Radcliffe, Philip. Schubert piano sonatas. London: BBC, 1967. Westrup, J.A. Schubert chamber music. London: BBC, 1969.