Print Version

Effective: Summer 2014

Grade Type: Letter Grade, the student may select Pass/No Pass
Not Repeatable.
FHGE: Humanities Transferable: CSU/UC
4 hours lecture, 3 hours laboratory. (84 hours total per quarter)

Student Learning Outcomes -
  • A successful student will demonstrate an understanding of Western music between the years 1750 CE to 1825 CE as a reflection of its societal/historical context.
  • A successful student will discriminate - via an understanding of such musical elements as melody, harmony, rhythm, and form - between various musical styles (Classical, Romantic).
Description -
Introduction to the great composers and music masterpieces of Western culture. Includes composer biographies with emphasis on how composers synthesize or transform the aesthetic ideals of their time. Examines how composers' music reflects their own lives as well as mirrors contemporary social, political, and religious events. Historical periods include the Classical period up through early Romanticism. Composers include Gluck, Haydn, Mozart, Beethoven, Schubert and Weber.

Course Objectives -
The student will be able to:
  1. demonstrate detailed knowledge of the historical development of musical style in Western culture in relation to the political, economic, social, and religious developments of the time.
  2. apply knowledge of musical style, historical periods and genres from Western culture to representative examples of music.
  3. compare and contrast repertoire of concert music through familiarity with a broad sampling of works, composers, styles and genres.
  4. critique good performance from bad from the perspectives of artistic quality and appropriate historical performance practice.
  5. discuss, with insight and understanding, the social and personal implications of the development of musical style in Western culture.
  6. demonstrate self-managed learning in a comprehensive journal, in which they reflect upon, evaluate, and describe their own learning process.
Special Facilities and/or Equipment -
  1. Classroom with piano, computer, and audio/video equipment
  2. Inclusive collection of recordings.
  3. Set of individual musical scores or an omnibus of musical scores for classroom analysis.
  4. When taught via Foothill Global Access: On-going access to computer with Email software and capabilities, Email address.

Course Content (Body of knowledge) -
  1. Music fundamentals - melody, rhythm, harmony, texture, timbre, ornamentation.
  2. Style characteristics and function of music from the beginning of the Classical period through the works of Beethoven.
    1. Vocal music (opera, masses, Lieder).
    2. Instrumental music forms (theme and variations, minuet and trio, scherzo, rondo, sonata-allegro).
    3. Composer biographies (Gluck, Haydn, Mozart, Beethoven, Schubert, Weber)
  3. Comparison and contrast to music of other world cultures.
  4. Identification of major themes of the culture at each period in history (divine authority,redemption, freedom, artistic creativity and originality, political, social, religious ideologies, gender roles), their definition in other periods in Western culture and their parallels in other world cultures.
Methods of Evaluation -
  1. Module level quizzes
  2. Part Level essays that respond to prompt, synthesize a module, or consist of a critical review of a concert
  3. Comprehensive exam and/or in-depth research project on a composer from a representative historical period, including biographical information, social/historical context, listening analysis, and impact on music history.
  4. For face-to-face class, portfolio of lecture notes and summaries of group discussions.
Representative Text(s) -
Barkley, E. and Hartwell, R. (2014) Great Composers and Music Masterpieces of Western Civilization, Dubuque, Iowa: Kendall Hunt, 2012.
Burkholder, J.P., Grout, D.J., Palisca, C.V. , Donald Jay Grout, and Claude V. Palisca, A History of Western Music , New York: W.W. Norton and Company, 2013.
When taught via Foothill Global Access: Supplemental lectures, handouts, tests and assignments delivered via Email.

Disciplines -
Method of Instruction -
During periods of instruction the student will be:
  1. listening (on campus) or reading (online) lecture information;
  2. listening to representative examples of music that illustrate concepts related to the historical/social context, stylistic categories, structural characteristics and important composers for the varied topic areas;
  3. participating in discussion (on campus and/or online); and
  4. completing laboratory worksheets that provide additional information as well as ask application questions correlated with listening examples.
  5. Feedback on tests and assignments delivered via Email; class discussion may be delivered in chat rooms, list-serves and newsgroups.
Lab Content -
Laboratory activities are provided for students to practice and apply their theoretical knowledge regarding each topic area's structural characteristics (rhythm, melody, form, instrumentation, and harmony), style, genre, and important composers. Activities consist of online laboratory worksheets correlated with listening examples. Examples for Classical era music and transition into Romanticism illustrate the quantity and quality of music examples provided.
  1. Representative Listening Examples for Classical Era:
    1. Sonata in D Major, K. 492 (ca. 1750?) Domenico Scarlatti
    2. Symphony in D Major, Op. 3, No. 2, first movement (ca.1752-1755) Johann Stamitz
    3. Sonata in D Major, Op. 5 No. 2, first movement (1766) Johann Christian Bach
    4. Piano Sonata in c minor, Hob. XVI:20, first movement (1771) Joseph Haydn
    5. String Quartet in C Major, Op. 33, No. 3 (1781) Joseph Haydn
    6. Symphony No. 103 in Eb Major, first movement (1795) Joseph Haydn
    7. Piano Concerto in D Major, K. 107, No. 1, first movement (Wolfgang Amadeus Mozart)
    8. La serva padrona: "Aspettare e non venire" (1733) Giovanni Battista Pergolesi
    9. Orpheo ed Euridice, Excerpts (1762) Christoph Willibald Gluck
    10. Piano Concerto in C Major Op. 21 (All Movements) Wolfgang Amadeus Mozart
    11. Symphony No. 40 in g minor, K. 550 (All Movements) Wolfgang Amadeus Mozart
    12. Don Giovanni, K. 527, Act 1, Scenes 1-5 (1787) Wolfgang Amadeus Mozart
    13. Requiem, K. 626 Introit (1791) Wolfgang Amadeus Mozart
  2. Representative Listening Examples for Transition into 19th Century and Early Romantic Era:
    1. Symphony No. 3 in Eb Major ("Eroica"), Op. 55 (1803) (All Movements) Ludwig van Beethoven
    2. Piano Concerto No. 4 in G Major, Op. 58, second movement (1806) Ludwig van Beethoven
    3. Piano Sonata in C Major, Op. 53 ("Waldstein", first movement (1804) Ludwig van Beethoven
    4. Symphony No. 9 in d minor, Op. 125, fourth movement, Ludwig van Beethoven
    5. Three Lieder, Franz Schubert
      1. Erlkönig, D. 328
      2. Prometheus, D. 674
      3. Wanderers Nachtlid, D. 769
    6. Two Settings of Goethe's "Kennst du das Land"
      1. Kennst du das Land (Mignons Gesang), D. 321 Schubert (1814)
      2. Kennst du das Land (Mignon), Robert Schumann (1849)
    7. Der Freischütz, Op. 77, J.177, Excerpts. Carl Maria von Weber (1921)
Types and/or Examples of Required Reading, Writing and Outside of Class Assignments -
  1. Reading Assignments: Textbook chapters
  2. Writing Assignments: Comprehensive Journal in which students first reflect upon what they already know about the topic, and then after they have completed all the learning activities associated with that topic, summarize what they have learned, what they need to clarify, and what they wish to pursue in more depth.
  3. Participation in Formal Threaded Discussion that includes written responses to prompts for each topic.
    1. (Sample) Biographies offer quite a lot of insight into why a composer's career evolved as it did, why certain pieces were composed or commissioned, and so forth. Before we get too comfortable connecting biography to musical compositions or musical preferences, what might be some pitfalls of interpreting music based on the composer's biography?
    2. (Sample) Upon hearing of his death, Mozart's great contemporary Franz Joseph Haydn commented: "posterity will not see such a talent for a hundred years." To which musicologist H. C. Robbins Landon adds: “Posterity has not seen it in two hundred." Do you agree with Landon's comment? Why or why not. Who in the contemporary music field (from any genre) do you believe has as much (or is closest) to Mozart's musical talent. Explain your choice.
    3. Discussion postings are assessed on the following criteria:
      1. Appropriateness. Did the student “answer” the question and address all components of the question?
      2. Thoughtfulness and Accuracy. Does the posting include correct information and demonstrate that the student is thinking about and understanding the material?
      3. Overall Organization. Does the student's posting form a coherent paragraph with main statements, support statements, conclusion, and so forth?
      4. “ESWE” (edited standard written English). Does the student's posting contain correct grammar and spelling?