USC Monogram MUHL 578 (Spring 2001):
Music of the 20th Century		 Music Books

Description | Evaluation | Calendar of Classes | Music on the Web | Textbooks |

Class Time: Tuesdays, 12:00 - 1:50 p.m. (2 cr.)
Location: ASI (A. Schoenberg Institute, Recital Hall)

Instructor: Dr. Maja Trochimczyk [Maria Anna Harley]
(S. & W. Wilk Director of Polish Music Center; Assistant Professor of Music History and Literature)
Office: PMC - UUC 2nd Floor #219; Phone: 213-740-9369; E-mail: maharley@usc.edu
Office Hours: Wednesdays, 10:00 - 11: 50 a.m.
Class Web Page: http://www.usc.edu/go/polish_music/harley/578.html

CLASS DESCRIPTION

This course presents "chief musical developments in Western Europe and the Americas from 1890 to the present" including a survey of genres (e.g. opera, computer music), compositional techniques and styles (e.g. neoclassicism, total serialism, minimalism), and individual approaches (focus on selected names of composers). Students are expected to use their analytical skills and previous knowledge in their written assignments, during tests and exams. The class has a Web Page which may be found at: http://www.usc.edu/go/polish_music/harley/578.html. The page contains the updated version of the syllabus, the musical examples and instructions for papers and assignments. Students are expected to use the page regularly - to find information about class content, assignments, deadlines, etc.

Readings listed in the syllabus have to be completed before the class in preparation for the current class topic, i.e. students read what is listed under a given date before that date. While most readings are from Simms's textbook, additional selections will include chapters of other books and articles on reserve at the Music Library.

Listening tests, quizzes and exams will provide an extensive and frequent evaluation of student's progress in the class. In order to prepare for these exams students are encouraged to read the assigned material and listen to recordings, including additional material before and after each class.

During the whole the semester, students are expected to work on their Term Papers, i.e. substantial and well-documented studies of topics selected from the list provided by the instructor. The first drafts of the papers are due a month before the end of semester (March 27); the final versions on the last day of classes (April 24). A detailed list of topics and instructions for the papers will be provided separately.

Written assignments have to be done after the class for which they are listed and handed in before (or on) the date listed. Late papers and assignments will lose up to 50% of the full mark. All assignments are to be prepared by students working independently, without cooperation with other students. These assignments and term papers are to be typed or printed on one side of white paper, with page numbers and standard margins, using 1 ˝- to 2 line spacing and font 10-12. 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. Trochimczyk's mailbox at the Music Building, 4th floor (i.e. given to the receptionist on that floor) or delivered to the PMC office and left with the receptionist of the Music Admissions (UUC, 2nd floor).

Plagiarism Warning: Please note that when you use books, articles, online publications, program notes, etc. as sources of information for your paper you must clearly state so in notes and bibliography. Copying fragments of text from such sources constitutes plagiarism and is an offence with serious consequences (it will be punished by a loss of mark, affecting the grade for the course; the case will be reported to the Student Conduct Office; repeated offence will result in an F for the course and further sanctions). In contrast, attributing sources of quotations and facts in notes and bibliographical references improves the grade for the paper. For the format of notes consult The Chicago Manual of Style or Kate Turabian's textbook from MUHL 570.

TEXTBOOKS AND REQUIRED MATERIAL

  • SIMMS, Bryan. Music of the Twentieth Century. Style and Structure. New York: Schirmer, 1996 (REQUIRED).
  • SIMMS, Bryan, ed. Music of the Twentieth Century. An Anthology. New York: Schirmer, 1986 (REQUIRED).
  • SIMMS, Bryan, ed. Recordings to Accompany Music of the Twentieth Century. New York: Schirmer, 1996 (OPTIONAL).
  • TROCHIMCZYK, Maja, ed. Recordings for MUHL 578. Class web site (Partly REQUIRED).

    ADDITIONAL MATERIALS (SCORES, ARTICLES) will be on reserve at the Music Library (basement of WPH). A list of required pieces for LISTENING TESTS AND EXAMS will be posted three weeks before each test and exam. The music for the tests will be selected from recordings on the Simms Anthology CD and the Class Web Page.

    STUDENT EVALUATION

    (a) Midterm Exam: 20 %
    (b) Final Exam (in the examination period, 1 May): 25 %
    (c) Two Listening Tests, 7% each: 14 %
    (d) Two Surprise Quizzes, 3% each: 6%
    (e) Two Written Assignments, ca. 5 p., 5% each: 10 %
    (f) Term Paper, ca. 20 p., with notes and bibliography: 20%
    (g) Attendance and participation in classes: 5 %


    DISABILITY STATEMENT

    Any student requesting academic accomodations based on a disabilty is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accomodations can be obtained from DSP. Please be sure the letter is delivered to me (or to the TA) as early in the semester as possible. DSP is located in STU 301 and is open 8:30 am-5:00 pm, Monday through Friday. The phone number of DSP is (213) 740-0776.


    SYLLABUS

    Class 1 (January 9): The Materials of Music - A Review. Basic acoustics of sound (frequency, spectra, dynamic envelopes, overtones, harmonic and inharmonic sounds, white noise), tunings, micro-tonality, pitch organization (whole tone, pentatonic, etc.), timbre. Western standards and non-Western influences.

  • Reading: Simms, p.21-32 (emancipation of the dissonance, motivic symmetries), p. 32-42 (pitch material - whole tone, pentatonic, etc.), 53-56 (modality), 57-59 (tonality, atonality, bitonality), 81-88 (rhythm). Readings to be reviewed in later classes.

    Class 2 (January 16): Turning the Pages, Ex-In: Strauss, Satie, Ravel, Debussy.

  • Readings: Simms: p. 155-158 (Strauss, Salome); p. 163-173 (Debussy); p. 173-176 (Satie), p. 176-181 (Ravel).

  • Music: Strauss - the last scene from Salome, Satie - Saraband no. 1; Ravel - Jeux d'eau; Debussy - Saraband; Debussy - Preludes, I no. 10 "La cathédrale engloutie", no. 2 "Voiles" (1910).

  • WRITTEN ASSIGNMENT 1: Discuss the concepts of impressionism, expressionism, polytonality, or polyrhythm (select one of these four) on the basis of information from the textbook and musical examples included in the syllabus (till 1950). Make references to at least five composers of your choice and to specific compositions, discussing technical details. Provide notes and a short reference list. 5 pages, 5% - 1% for notes/references, 1% for style, 3% for content. DUE ON FEBRUARY 6.

    Class 3 (January 23): Atonal Expressionism: Schoenberg, Berg, Webern.

  • Readings: Simms: 123-125 (general), 132-143 (Schoenberg, Berg), 149 (Webern), 151-154.

  • Music: Alban Berg - "Warm die Lufte;" Schoenberg - Pierrot Lunaire, No. 8 "Nacht;" Five Pieces for Orchestra op. 16, III "Farben;" Webern- Six Bagatelles for String Quartet, no. 4, 5; Berg - frg. from Wozzeck.

    Class 4 (January 30): Folk Colors: Bartók, Stravinsky, Milhaud.

  • Readings: Simms: 53-56 (modality), 57-59 (tonality, atonality, bitonality), 81-88 (rhythm), 203-217 (Bartók), 186-194 (Stravinsky), 259-263 (Milhaud).

  • Music: Bartók - Allegro barbaro and 14 Bagatelles, op. 6 no 1,4,14 (1908); Stravinsky - Petrushka: second scene; Stravinsky - The Rite of Spring, I, 1-4,; Stravinsky - Svadebka [Les Noces], I; Milhaud - Botafogo; Milhaud - La creation du monde.

    Class 5 (February 6): Neoclassicism: From Satie to Stravinsky and Hindemith.

  • Readings: Simms: 173-176 (Satie), 176-181 (Ravel), 234-265 (Chapter 10, neoclassicism).

  • Music: Satie - Saraband no. 1; Ravel - Jeux d'eau; Hindemith - "Vom Tode Mariä I" from Das Marienleben (1923)l; Prokofiev (1891-1953) - "Classical" Symphony, I, III; Stravinsky - Symphony of Psalms, I; Bartók - Music for Strings, Percussion and Celesta, I, III; Bacewicz - Divertimento for strings.

    Class 6 (February 13): Twelve-tone Music: Schoenberg, Berg, Webern

  • Readings: Simms: 61-74 (serialism), 145-151 (12-tone method, history), 159-160 (Lulu)

  • Music: Berg - Lulu, "Lied der Lulu" (1928-1935); Webern - Second Cantata op. 31: 5th mvt (1941-43); Webern - Symphony op. 21 (1928), II.

    Class 7 (February 20): American Music: Ives, Cowell, Crawford, Copland.

  • Readings: Simms p. 296-304 (Ives), 306- 311 (West Coast composers), 267-276 (Copland).

  • Music: Ives (1874-1954) -"Charlie Rutlage" and The Unanawered Question; Cowell - The Banshee; Crawford-Seeger - String Quartet; Copland (1900-1990) - Appalachian Spring.

    Class 8 (February 27): MIDTERM EXAMINATION

    Class 9 (March 6): Renewing Music: From Futurists to Varese and Messiaen.

    LISTENING TEST 1

  • Readings: Simms: 110-114 (tone color), 311-315 (Varese); 385-391 (Messiaen), 94-96 (Messiaen's rhythms)

  • Music: Varese - Octandre, 1st mvt; Varese - Ionisation; Samples of sound of early electric instruments (Theremin, Ondes Martenot); Honegger - Pacific 231; Messiaen - Quatuor pour la fin du temps; Turangalila, Couleurs de la cité céleste (1963).

    WRITTEN ASSIGNMENT 2: Write a review of a book on 20th-century music (the list of titles will be provided later). Provide a short overview, references to the book's competitors (on the same subject); criticism of the author's approach and the book's content; opinion about its value for music scholars and musicians. 5 p. with notes and references; 5% - 1% for notes/references, 1% for style, 3% for content. DUE ON APRIL 10.

    SPRING RECESS (March 12-March 17)

    Class 10 (March 20): Serialism, Chance and the International Avant-garde

  • Readings: Simms: 75-79 (Integral serialism), 319-332 (Stockhausen, Boulez), 343-361 (Chapter 14)

  • Music: Messiaen - "Mode de valeurs et d'intensities" for piano (1949); Stockhausen - Kreuzspiel; Boulez - "L'artisanat furieux" from Le marteau sans maître; Cage - Sonatas and Interludes; Cage - Music of Changes; Stockhausen - Klavierstuck XI.

    Class 11 (March 27): Music of Timbre and Texture (Xenakis, Lutoslawski, Penderecki, Crumb).

    DRAFT OF TERM PAPER DUE DATE

  • Readings: Simms, p. 101-110, 114-120 (orchestration, texture), 361-2 (Lutoslawski), 368 (Xenakis), 395-97 (Crumb), 398 (Penderecki).

  • Music; Crumb - Black Angels, sections 6, 7 (1970); Lutoslawski - Trois poemes d'Henri Michaux, I; Penderecki - Threnody to the victims of Hiroshima.

    Class 12 (April 3): Electroacoustic Music: Electronics and Computers.

  • Readings: Simms: 365-382 (Chapter 15, Electronic Music). Handouts and Articles on Reserve.

  • Music: Pierre Schaeffer - Etude aux chemins de fer; Varese - Poeme electronique; Stockhausen - Studie II and Gesang der Jünglinge (1955-56); Berio - Thema (Omaggio a Joyce) (1958); Lansky - Smalltalk; Dodge - Any Resemblance...

    Class 13 (April 10): Quotation and Polystylistic Music

  • Readings: Simms: 383-385 (quotation), 391-393 (Davies), 397-398 (Berio). Handouts and Reserve materials.

  • Music: Peter Maxwell Davies - "Country Dance" from Eight Songs for a Mad King (1969); Berio - "Black is the color" from Folk Songs (1964); Berio - Sinfonia, III In ruhig fliessende Bewegung (1966-68).

    Class 14 (April 17): Minimalism and Religion: Reich, Riley, Monk, Pärt, Górecki.

    LISTENING TEST 2

  • Readings: Simms: 403-410 (minimalism). Handouts and Reserve Materials.

  • Music: Reich (b. 1936) - Clapping music (1972); Riley - In C; Monk - Our Lady of Late and Dolmen Music; Pärt - Passio, frg; Górecki - Symphony no. 3 (Symphony of sorrowful songs), II.

    Class 15 (April 24) Music of Today: Postmodernism and the Tower of Babel.

  • Readings: Handouts (spectral music, non-Western influences, cross-over, performance art).

  • Music: Toru Takemitsu (1930-1996) - Rain Coming (1991); Galina Ustvolskaya - Composition II (1972-3); Laurie Anderson (b. 1947): O, Superman from United States I-IV (1983); Louis Andriessen - De Stijl (1985).

    TERM PAPER DUE DATE.

    FINAL EXAMINATION: May 1, Tuesday, 12:00 - 1:50, ASI


    MUSICAL EXAMPLES ON THE MUHL578 WEB PAGE

    The following musical excerpts are used in class by the instructor or serve as the basis for some of the assignments. The list includes titles of pieces from the Simms CD anthology (to be purchased at the bookstore, or consulted in the Music Library on reserve). The web-based examples are in the Real Audio, "download" format (compressed for modem use). You may download Real Audio Player G2 from the following link: http://www.real.com/products/player/goldone.html

    1. Laurie Anderson - O, Superman (for Massenet), 8'21'' from "Big Science" Warner Bros. Sound File

    2. Laurie Anderson - Bright Red (3'12") from Bright Red/Tightrope. Warner Brothers. CD 45534. 1994. Ethernet or Modem

    3. Louis Andriessen - De Stijl, for amplified ensemble, choir, dancer-reciting voice, 25'50'' from "M is for Man, Music, Mozart" Elektra Nonesuch. Sound File

    4. Grazyna Bacewicz: "Divertimento for Strings" composed in 1965, third movement, "Giocoso" (2'03"). Warsaw National Philarmonic Chamber Orchestra, Karol Teutsch, cond. Olympia OCD 311. Sound File

    5. Bela Bartók (1881-1945) - Allegro barbaro for piano (1911), recorded by Bartok in 1929, Pearl CD, 2'19'' Sound File

    6. Bela Bartók - Fourteen Bagatelles for Piano, op. 6, no. 1, 4, 14 (without no. 8; 1908). Simms Anthology.

    7. Bela Bartók - Music for Strings, Percussion and Celesta, I. Sound File

    8. Alban Berg (1885-1935) - "Warm die Lufte" from Four Songs, op. 2 (1908-1910). Simms Anthology.

    9. Alban Berg - the death of Maria and the drowning of Wozzeck, from the opera Wozzeck (1921).<
      Scene 2: Murder of Marie (invention on a note, B) Sound File
      Scene 3: Wozzeck at the Tavern (invention on a rhythm) Sound File
      Scene 4: Wozzeck's drowning (invention on a hexachord) Sound File

    10. Alban Berg - "Lied der Lulu" from the opera Lulu, soprano and orchestra (1928-35). Simms Anthology.

    11. Luciano Berio - Thema (Omaggio a Joyce), electroacoustic music, 6'12 Sound File

    12. Luciano Berio - "Black is the Color of my True Love's Hair" from Folk Songs for voice and chamber ensemble (1964). Simms Anthology.

    13. Luciano Berio - Sinfonia, mvt. 3 "In ruhig fliessende Bewegung" (collage), New Swingle Singers and symphony orchestra. Sound File

    14. Lili Boulanger: "D'un Matin de Printemps" for orchestra. CD "Women of Note" Koch 3.7603.2.H1, track no. 5 (4'59''). The Women's Philharmonic, cond. Jo Ann Faletta. Sound File

    15. Pierre Boulez (b. 1925) - "L'artisanat furieux" from Le marteau sans maître (1954, rev. 1957). Simms Anthology.

    16. Pierre Boulez - Repons, (1981-1984) for 6 soloists (2 pianos, harp, vibraphone, xylophone and glockenspiel, cimbalom), orchestra and computer sound transformation surrounding the audience. Perf. Ens. Intercontemporain, cond. Pierre Boulez, Deutsche Grammophon 289 457 605-2. Section no. 8 and coda. 7'46'' Sound File

    17. John Cage (1912-1992) - Sonata no. 5 from Sonatas and Interludes for prepared piano(1946-48). Simms Anthology.

    18. John Cage - Music of Changes for piano, movement 4. Simms Anthology.

    19. Henry Cowell (1897-1965) - Aeolian Harp for piano (played inside) (1923), Sound File

    20. Henry Cowell (1897-1965) - The Banshee, for piano (played on the strings), 2'19'' (1925), Sound File

    21. Ruth Crawford-Seeger (1901-1953) - Piano Study in Mixed Accents (1931), 1'24'' Sound File

    22. Ruth Crawford-Seeger - String Quartet Sound File

    23. Arnold Copland (1900-1990) - Appalachian Spring (1944), variations on "A gift to be simple" Sound File

    24. George Crumb (b. 1929) - Black Angels for amplified string quartet, sections 6-7. Simms Anthology.

    25. Peter Maxwell Davies (b. 1934) - "Country Dance (Scotch Bonnett)" from Eight Songs for a Mad King (1969). Simms Anthology.

    26. Claude Debussy (1862-1918) - Saraband from Pour le piano (1894-1901). Simms Anthology

    27. Claude Debussy - Preludes, I no. 10 "La cathédrale engloutie", no. 2 "Voiles" (1910). Sound File

    28. Charles Dodge - Any Resemblance is Purely Coincidental, computer music based on Enrico Caruso's recording of 1907, aria "Vesti la giubba" from Leoncavallo "I Pagliacci." 8' (with the start of Speech Songs following). Sound File

    29. Henryk Górecki - Symphony no. 3 "Symphony of Sorrowful Songs", mvt. 2 "Lento e largo." USC Symphony with Elisabeth Hynes, Gorecki cond. 9'42'' Sound File

    30. Paul Hindemith (1895-1963) - "Vom Tode Maria I" from Das Marienleben for voice and piano (1923).

    31. Arthur Honegger - Pacific 231 for orchestra (1924), 6'14'' Sound File

    32. Charles Ives (1874-1954) - The Unanswered Question for chamber ensemble(1906), 5'43'' Sound File

    33. Charles Ives - "Charlie Rutlage" from 114 Songs (1920-21). Simms Anthology.

    34. Paul Lansky - Smalltalk, computer music, 12'44'' (with one extra chord) Sound File

    35. Olivier Messiaen (1908-1992) - Quatuor pour la fin du temps (1940), vln, cl, cello, pno
      mvt. 1. Liturgy of crystal ("nightingale" - vln, "blackbird" - cl), 2'32'' (+ some of mvt.2) Sound File
      mvt. 5. Praise to the eternity of Jesus (cello and piano), 9'28'' Sound File
      mvt. 6. Dance of fury, for the seven trumpets, tutti, 5'59'' Sound File

    36. Oliver Messiaen - Turangalila Symphony, V. Joie du sang des etoiles, 6'38'' (with Ondes Martenot - glissandi, high trills, in the middle and the last 2 minutes) Sound File

    37. Olivier Messiaen - Couleurs de la cité céleste (1963) for orchestra, 16'56'' Sound File

    38. Darius Milhaud (1892-1974) - La Creation du monde, ballet with jazz elements, based on African mythology (1922), 16'42'' Sound File

    39. Darius Milhaud - "Botafogo" from Saudades do Brazil (1920). Simms Anthology.

    40. Meredith Monk - Dolmen Music for voices and string instruments, 6 movements, 24 min. ECM New Series. Sound File

    41. Meredith Monk - Sigh from "Our Lady of Late" 3 min. Wergo "Music of Our Century" compilation. Sound File

    42. "Moog Synthesizer" - Sound Sample - Sinfonia to Cantata no. 29 by J.S. Bach, arr. Wendy Carlos, "Switched-On Bach" CBS Inc. c 1973. CBS Masterworks MK 7194, 3'25'' Sound File

    43. Krzysztof Penderecki - Threnody to the Victims of Hiroshima, for divisi strings, 9'55'' "Matrix 5" EMI Classics. Sound File

    44. Arvo Pärt - Passio Domini Nostri..., frg. 15 min. of 60 min. piece, ECM New Series. The Hillard Ens. perf. Sound File

    45. Sergei Prokofiev (1891-1953) - Symphony no. 1 in D op. 25, Classical, movement III- Gavotte (1917) Sound File

    46. Sergei Prokofiev (1891-1953) - Symphony no. 1, Classical, movement I - Allegro (1917) Sound File

    47. Maurice Ravel (1875-1937) - Jeux d'eau for piano (1901). Simms Anthology.

    48. Steve Reich (b. 1936) - Clapping Music (1972). Simms Anthology.

    49. Terry Riley - In C, 25th anniversary recording, 10 min. frg. New Albion Records. Sound File

    50. Pierre Schaeffer - Railroad Study or Etude aux chemins de fer from Five Noise Studies, 1948, 2'50'' "Pierre Schaeffer. L'oeuvre musicale" Electronic Music Foundation. with INA/GRM. Sound File

    51. Eric Satie (1866-1925) - Saraband no. 1 for piano (1887). Simms Anthology.

    52. Arnold Schoenberg (1874-1951) - Pierrot Lunaire, No. 8 "Nacht" (1912). Sound File

    53. Arnold Schoenberg - Five Pieces for Orchestra op. 16 (1909), III "Farben" (3'20'') and IV "Peripetie" (1'56''). Sound File

    54. Karlheinz Stockhausen (b. 1928) - Studie II (Elektronische Musik), electronic music, 4 min. Stockhausen CD no. 3. Sound File

    55. Karlheinz Stockhausen - Gesang der Jünglinge [Song of the Youth], electronic music, 14 min. Stockhausen CD no. 3. Sound File

    56. Karlheinz Stockhausen - Klavierstuck XI for piano (aleatoric music). Sound File

    57. Karlheinz Stockhausen - Kreuzspiel, introduction and first section (1951, rev. 1959). Simms Anthology.

    58. Richard Strauss (1864-1949) - Final scene from Salome (1903-05). Simms Anthology.

    59. Igor Stravinsky - Svadebka [Les Noces], 1. The Tresses, 5'02'' for choir and chamber ensemble (with the beginning of mvt. II) Sound File

    60. Igor Stravinsky (1882-1971) - The Rite of Spring, Part I, 1-4, Introduction through Spring Rounds (1913)
      1. Introduction 3'34'': Sound File
      2. The Augurs of Spring 3'15'': Sound File
      3. Ritual of Abduction 1'20'': Sound File
      4. Spring Rounds 3'45'': Sound File

    61. Igor Stravinsky - Petrushka, second scene (1910-11). Simms Anthology.

    62. Igor Stravinsky - The Soldier's Tale, 1. Three Dances: Tango, Valse, Ragtime, with narrative introduction, Sound File

    63. Igor Stravinsky - The Symphony of Psalms, mvt. I "Exaudi orationem meam" 3'09''(1930) Sound File

    64. Toru Takemitsu - Rain Coming for chamber orchestra, 1982, 8'33'' from "Riverrun" Virgin classics, 1991. Sound File

    65. "Theremin" - Sound Sample - The Swan by Saint-Saens, Theremin (Clara Rockmore) and piano, 2'56'' Sound File

    66. Galina Ustvolskaya: "Composition II," composed in 1972-73. Part V (1'56") Schonberg Ensemble, cond. Reinbert de Leeuw. CD Philips 442 532-2, 1995. Sound File

    67. Galina Ustvolskaya: "Composition II," composed in 1972-73. Part VI (43"). Schonberg Ensemble, cond. Reinbert de Leeuw. CD Philips 442 532-2, 1995. Sound File

    68. Edgard Varese - Hyperprism for ensemble (1923), 4'14'' Sound File

    69. Edgard Varese (1883-1965) - Ionisation for 13 percussionists (1931), 5'56'' Sound File

    70. Edgard Varese - Poeme electronique, electronic music, 13 min. London, "Varese: The Complete Works." Sound File

    71. Anton Webern (1883-1945) - Six Bagatelles for String Quartet, IV - 0'45'', V - 1'12''(atonal miniatures), Sound File

    72. Anton Webern - Symphony op. 21 (1928), II (theme and variations, with theme in palindromic form, 12-tone) Sound File

    73. Anton Webern - "Freundselig ist das Wort," movement no. 5 from Second Cantata, op. 31 (1841-43). Simms Anthology.

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    Flora L. Thornton School of Music University of Southern California