USC Monogram MUHL 570 (Spring 2001)
Introduction to Graduate Study		 Music Books

Class Time: Wednesdays, 12:00 - 1:50 p.m.
Location: WPH 304G (MUHL Seminar Room).
Instructor: Dr. Maja Trochimczyk [Maria Anna Harley]
(Stefan and Wanda Wilk Director of Polish Music Center
and Assistant Professor of Music History and Literature)
Office: PMC - UUC 2nd Floor #219; Phone: 213-740-9369; E-mail: maharley@usc.edu
Class Web Page at USC: http://www.usc.edu/go/polish_music/harley/570.html

CLASS DESCRIPTION

This two-unit course prepares the students to work on independent projects, term papers, and assignments during the course of their graduate studies and provides them with rudiments of research and writing techniques needed in their academic future. The course introduces the students to elements of information science in a practical way, i.e. through a number of written assignments. The subjects include: online resources, use of catalogs and libraries, cataloging systems, proper format of bibliographies, notes, references and quotations, elements of style and form in writing. Simultaneously, the students become familiar with selected general aspects of Western music: music notation, editions and performance, social contexts and meanings of musical works. Course materials consists of two textbooks, copies of articles on reserve in the music library, and handouts. All students are required to have an e-mail account, (strongly preferred: from USC). The account is essential for preparing the assignments and communicating with the instructor.

Readings listed in the syllabus have to be done before the class in preparation for the current class topic, i.e. students read what is listed under a given date before that date. Readings include chapters of books and articles on reserve at the Music Library, chapters from the textbooks, and handout material (selected classes only; handouts are read in class).

Assignments have to be done after the class and handed in before (or on) the date listed. All assignments are to be prepared by students working independently, without cooperation with other students in this or other sections of the class (unless the assignment is specified as being collaborative). These papers, reviews, or bibliographies are to be typed or printed on one side of white paper, with page numbers and margins, using 1 ˝- to 2 -line spacing (with the exception of assignment no. 2). The assignments should include basic information about the student and the course (course number, date, name of the student) as well as the number of the assignment itself the top of the first page (preferably), or on an additional title page. If the students are unable to deliver the assignments to the class, the assignment may be left in Dr. Harley's mailbox at the Music Building, 4th floor (i.e. given to the receptionist on that floor; preferred option) or delivered to the PMC office and left with the receptionist of the Music Admissions (UUC 2nd floor).

TEXTBOOKS

  • Turabian, Kate L. A Manual for Writers of Term Papers, Theses, and Dissertations. 6th edn. Chicago: University of Chicago Press, 1996.

  • Crabtree, Phillip D. and Donald H. Foster. Sourcebook for Research in Music. Bloomington and Indianapolis: Indiana University Press, 1999 (first published 1993).

  • Weekly readings will also be assigned from articles placed on reserve at the Music Library (selected titles are listed below in the syllabus section).

    ADDITIONAL TEXTS (needed for some classes only):

  • Duckles, Vincent H. and Michael A. Keller. Music Reference and Research Materials: Ann Annotated Bibliography. 4th edn. New York: Schirmer Books, 1996 (recommended; all bookstores).

  • Strunk, William Jr. and E.B. White. The Elements of Style. 3rd edn. New York: Macmillan, 1979 (University Bookstore)

  • Holomon, D. Kern, ed. Writing About Music: A Style Sheet from the Editors of 19th-Century Music. Berkeley and Los Angeles, 1988 (ML 63 W68 1988 ref. and University Bookstore)

STUDENT EVALUATION

Attendance and Participation - 5%
Ten written assignments, ca. 5% each - 50%
One oral presentation - 5%
Midterm examination (28 February, in class) - 15%
Final examination ( at 12) - 25%
Volunteer library services (additional credit - 5%)

SYLLABUS

Class 1 (10 January): A. Introduction B. Rudiments of Writing (Language, Form, Composition)
    Readings (in class):
  • Chapter III ("A Few Matters of Form") and p. 61 from Strunk's The Elements of Style.
  • "Guidelines for Nonsexist Language" from Society of Music Theory Web page: http://www.wmich.edu/mus-theo/nsl.html

    Assignment # 1 (due on 17 January):

  • Prepare a draft map of the current music library, indicating the location of the major parts of the collection: journals, New Grove and other reference works, recordings, scores, books.
  • Create four rules for using the library (dealing with copying, plagiarism, damaging the books, noise, fairness to other users, etc.) and write them out twice, using two different types of language, sexist and non-sexist.
  • Familiarize yourself with common bibliographical terms from Crabtree & Foster p. 1-8.

Class 2 (17 January): The Music Library I - Internet Resources

    Readings:
  • "Criteria for Evaluating Information Resources" on USC/ISD page: http://www.usc.edu/isd/doc/library/index-by-number/ps-105.html. See the text.
  • "Glossary of Basic Internet Terminology" on USC/ISD page: http://www.usc.edu/isd/locations/ssh/vkc/intterms.htm. Or see the text.
  • Visits to Internet sites of: the Information Services Division at USC (http://www.usc.edu), USC Music Library and the American Musicological Society: http://www.sas.upenn.edu/music/ams/

    Assignment # 2 (due on 24 January):

  • E-mail to the instructor an annotated list of 10 sites from one category of resources grouped as links at the site of the American Musicological Society (1- music education, 2- music theory, 3 - jazz, 4 - computer and electronic music). Select one group of the four mentioned and provide the following information about each of the sites listed in the group that you include in your review: (a) URL, (b) a description of contents and type (academic, educational, entertainment, commercial, etc.), (c) a short evaluation of user-friendliness, (d) a personal opinion about potential usefulness in your own research. Send the assignment, in the body of your message or as attachment (PC files only), to: maharley@usc.edu

Class 3 (24 January): The Music Library II - Real Libraries and Online Catalogs
Libraries in Los Angeles, California and beyond. Introduction to HOMER (at USC), MELVYL, and WORLDCAT available on the Internet. Searching for items (author, title, subject, keyword, combinations). Search commands and abbreviations.
    Readings:
  • Turabian on bibliographies (Chapter 10).
  • Crabtree & Foster: Directories and Catalogs of Institutions, p. 32-37.
  • "How to cite information from the Internet" on USC/ISD page: http://www.usc.edu/isd/locations/ssh/vkc/intcite.htm . Or see the text.

    Assignment #3 (5%, due on 31 January):

  • Compile a list of 10 books, articles, and dissertations containing information about one of the composers listed below (if the search brings no results, change to another topic): (a) Steve Reich (b) Clara Schumann (c) Hugo Wolff (d) Carl Phillip Emmanuel Bach. Make sure that your bibliography is presented in the proper format, as described by Turabian. You will be marked on the format, more than the content. Be careful with citing titles, italics, use of punctuation marks, dates, etc.

Class 4 (31 January): The Internet and The Library - Resources

    Readings:
  • Bohlman, Philip V. "Ontologies of Music," in Rethinking Music, Nicholas Cook and Mark Everist, eds., Oxford, New York: Oxford University Press, 1999, p. 17-34.
  • "FirstSearch Database Descriptions" on USC/ISC page: http://www.usc.edu/isd/elecresources/firstsearch/descriptions.html. Or see the text.

    Optional Reading:

  • Report from USC News Service: "USC Position on Napster" at http://www.usc.edu/ext-relations/news_service/releases/stories/38634.html

    Assignment # 4 (due on 7 February):

  • In a two-page essay discuss the role of electronic technology in the evolution of music (and its "ontology"), with a particular focus on the functions of recording and the Internet in transforming music and its institutions. Use parenthetical reference system in your notes (i.e. references in brackets plus a reference list at the end of the paper).

Class 5 (7 February): Catalogs and Online Databases and Abstracts
RILM, MLA, Humanities Abstracts, RIPM, Library of Congress, union catalogues.

    Readings:
  • Weber, William. "The History of Musical Canon," in Rethinking Music, Nicholas Cook and Mark Everist, eds., Oxford, New York: Oxford University Press, 1999, p. 336-354.
  • Crabree & Foster: Library of Congress Music Classification, p. 14-20.
  • Online visits to the databases listed above.

Class 6 (14 February): Writings about Music I - Books
Overview of book publishing and types of writings about music - history, textbook, biography, monograph, collection of essays, bio-bibliography, manuscript study.

    Readings:
  • Dahlhaus, Carl. "On the Three Cultures of Music," in The Idea of Absolute Music. Trans. Robert Lustig. Chicago and London: The University of Chicago Press, 1989: 117-127.
  • Crabtree & Foster: From Chapter 2 , p. 21-2, 27-32. Chapter 5, p. 108-150 (History of Music).

    Assignment #5 (5%, due on 21 February):

  • In a two-page essay describe the cultural biases of Dahlhaus's article. Summarize his main points and disscuss your own biases in the "personal opinion" section. Use footnotes (standard system, not endnontes).

Class 7 (21 February): Writings about Music II - The New Grove and Other Dictionaries

    Readings:
  • Weiss, Piero and Richard Taruskin, eds. Music in the Western World. A History in Documents. New York: Schirmer Books, 1984. Excerpts by Descartes, Mattheson, Rameau (no. 58, 59; pp. 212-221).
  • Crabtree & Foster: From Chapter 2, p. 26; Chapter 4, 90-107, Dictionaries and Encyclopedias.

    Assignment # 6 (5%, due on 3 March):

  • Compare an entry on the same subject published in three different dictionaries, including two editions of the New Grove Dictionary, and one other dictionary. Subjects (choose one): Franz Schubert, Claude Debussy, Hildegard of Bingen, notation, polonaise, tango.


Class 8 (28 February): MIDTERM EXAMINATION


Class 9 (7 March): Writings about Music III - Journals
Overview of music journals (in print and electronic, listed below).

    Readings:
  • Horowitz, Joseph. "‘Sermons in Tones:' Sacralization as a Theme in American Classical Music." American Music 16 no. 3 (Fall 1998): 311-340.
  • Crabtree & Foster: From Chapter 2, p. 23-24; Chapter 6, p. 152-159 (Research Journals).
  • Web-site of the AMS - Link to electronic journals. http://musdra.ucdavis.edu/Documents/AMS/musicology_www.html

    Assignment #7 (5%, due 21 March):

  • Describe the type of material, style and readership of one journal from the following list: Journal of the American Musicological Society, College Music Symposium, Music Theory Spectrum, Music Theory Online, 19th Century Music, American Music, Musical Quarterly, Tempo, Computer Music Journal, Music and Letters, Early Music, The Musical Times, Journal of Musicological Research, Leonardo Music Journal, Organized Sound, Music Perception, Perspectives of New Music, Music Analysis, Women and Music. Does the journal have a web site (if printed?), does it mention its own history? Since when has the journal been published? By whom? Is the journal potentially useful for your work as a graduate student at USC? List a sample of interesting articles from the journal.

SPRING RECESS (12-17 March)

Class 10 (21 March): Writings about Music IV - Term Papers, Program Notes, and Reviews

    Readings:
  • Turabian: Quotation (Chapter 5)
  • Turabian: Citations I-III (Reference Lists, Notes, Chapters 8-9)
  • Bowen, Jose A. "Finding the Music in Musicology: Performance History and Musical Works," in Rethinking Music, Nicholas Cook and Mark Everist, eds., Oxford, New York: Oxford University Press, 1999, p. 424-451.

    Assignment #8 (5%, due on 24 March):

  • Write a two-page review (with a half-page summary) of an article by Bohlman, Bowen, or Weber (as listed above). Use the proper format of notes and quotations. Express your opinion about the author's stance in the light of your previous readings and experience.

Class 11 (28 March): Writings about Performance and Recordings
Review of discographies, catalogues of recordings, thematic catalogs.

    Readings:
  • Kerman, Joseph. "The Historical Performance Movement" from Contemplating Music: Challenges to Musicology. Cambridge: Harvard University Press, 1985: 182-217.
  • Crabtree & Foster: From Chapter 2, p. 43-46 (discographies); From Chapter 3, p. 60-69 (performance practice).

    Assignment #11 (due on 25 April; extra credit 5%):

  • Annotate the Kerman book chapter read for this class. For each name of an individual (15 names) provide the following information - dates, one title by the subject, one title about the subject, brief characteristics of the subject. Use all known cataloging resources in your search. Compile your results in an annotated index, i.e. alphabetical list of names, each followed by the appropriate data.

Class 12 (4 April): Music Notation and Editions I
History of publishing and notating music - manuscripts, sources, editions, catalogs of sources, software.

    Readings:
  • Boorman, Stanley. "The Musical Text," in Rethinking Music, Nicholas Cook and Mark Everist, eds., Oxford, New York: Oxford University Press, 1999, p. 403-423.
  • Crabtree & Foster: From Chapter 2, p. 38-42.

    Assignment #9 (due on the date of oral presentation, 11 or 18 April):

  • Written description of the oral project, two pages (point form). Provide information about the edition, its history and context (other editions), its editorial principles, weaknesses and strengths.

  • Oral Presentation: Complete Works (to be presented on 11 and 18 April). Discuss one edition of complete works held in the music library. Present editorial principles, dates of publication, content, editors, editorial policies, sources of material, problems, critical apparatus. Make a one-page handout with a description of your edition and discuss one problematic issue that you noticed. 5% of the final grade for the presentation (and 5% for the written part). In-class presentation of 5-7 minutes. Write down the content of your presentation and submit to the instructor (title: Assignment no. 9). Follow the standard bibliography guidelines.

Class 13 (11 April): Music Notation and Editions II

    Readings:
  • Entry on manuscripts from the New Harvard Dictionary of Music.
  • Crabtree & Foster: Chapter 7, p. 160-185 (Editions of Music).

    Assignment #10 (5%, due on 25 April):

  • Create an annotated bibliography of the subject literature of your instrument or specialization area (e.g. history of the piano or the violin, of piano pedagogy, early music performance, bel canto, etc.). List 10-15 books on the subject. Include a one-paragraph contents description and characterization of each source.


Class 14 (18 April): A. Collected Works. B. Plagiarism and Quotation.
Student presentations of Complete Editions, part I. Discussion of plagiarism and quoting sources with illustrations.

    Readings:
  • Scampus on academic integrity.
  • Handouts with examples of plagiarism (in class).
  • Crabtree & Foster: Chapter 8, p. 188-193 (Miscellaneous Sources).

Class 15 (25 April): Introduction to Graduate Study: Review
Review of course material, student presentations and discussion of their goals in musical life and in graduate school. Evaluation of the usefulness of the first year at USC for realizing their "life-goals" as musicians, music historians, educators, critics, promoters, managers, etc.

Student presentations of Complete Editions, part II.

    Reading:
  • Crabtree & Foster: Chapter 8, pp. 193-200 (Miscellaneous Sources).

    Optional Reading:

  • Schickele, Peter. "P.D.Q. Bach's Background: Cause or Effect?" in Peter Schickele, The Definitive Biography of P.D.Q. Bach. New York: Random House, 1976, p. 3-19.

2 May (Wednesday; 12:00-1:50 p.m.): FINAL EXAMINATION


Back to Dr. Trochimczyk's Page

Flora L. Thornton School of Music University of Southern California