MUSI 3363-01: Section 12321

History of Music II, Fall 2020

MWF, 11:00 — 11:50 a.m., Online Sessions in Teams

SYLLABUS

Instructor: Dr. Paul Bertagnolli

Office: Room 217, MSM
Phone: 713-743-3144
e-mail: [email protected]
Office hours: Conferences in Teams, Friday 1:00-2:30 and by appointment

Required Materials [available at Campus Book Store]

Burkholder, Peter, Donald J. Grout, and Claude V. Palisca. A History of Western Music. 10th ed.
New York: W. W. Norton & Company, 2019. ISBN 9780393623949.
Burkholder, Peter, and Claude V. Palisca, eds. Norton Anthology of Western Music. 8th ed. Vol.
2, Classic to Romantic. New York: W. W. Norton & Company, 2019. ISBN 9780393656428

Optional Materials

Burkholder, Peter, ed. Full E-Book, Norton Recorded Anthology of Western Music. Vol. 2,
Classic to Romantic (CDs 7-12). 8th ed. New York: W. W. Norton & Company, 2019.

We will be reading pp. 454-694, 700-727, and 736-41 of the Burkholder, Grout, and Palisca
textbook this semester. By now you should have read the first part of the textbook in History of
Music I (with Dr. Dirst or Dr. Leonard), and you will read the rest of the textbook next spring in
History of Music III (with Dr. Pollack).

If you decide not to purchase the Norton Recorded Anthology, you must listen to the musical
examples online, either in Playlists that I have already compiled in the Naxos Music Library or
in your own streaming service.

Also note that many of the scores and listening selections for this course are NOT included in the
Norton Anthologies, but these selections will most definitely figure prominently in class lectures,
discussions, assignments, and exams. Plan accordingly to spend time online preparing for class
sessions, completing assignments, and preparing for exams. See the instructions below (under
detailed information) for accessing the Naxos Music Library. Scores that are not included in
NAWM have been assembled in Blackboard.

Prerequisites

You must have taken MUSI 2361 (Music and Culture) and MUSI 2362 (History of Music I)
AND you must have obtained a grade no lower than a C- in them. If you do not meet these two
conditions, you may be dropped from this course unless special circumstances prevail.
Learning Outcomes of the Class

 To become familiar with important compositions and composers of three periods in music
and cultural history: (1) the Enlightenment (2) the period of Viennese classicism, (3) the
romantic era;
 To recognize differences in musical styles of the three separate periods;
 To distinguish between various musical styles that developed within periods (for example:
galant and Empfindsam; the personal styles of Haydn, Mozart, and Beethoven; national
operatic styles of the nineteenth century, etc.);
 To develop a framework for understanding the biographical, social, intellectual, and cultural
issues related to the music of the periods;
 To cultivate essential skills in listening to and writing about music.

Course Requirements

Readings: We will discuss each reading assignment in class as indicated below on the detailed
schedule. Read the assigned material and listen to the assigned selections before class. Be
ready to comment on them or face an impromptu writing session. The order of the
readings does not always follow the order of the book for two reasons: (1) the book is
not always chronological; (2) the book sometimes separates information according to
genre rather than composer.
Lectures: Since the lectures are intended to clarify and supplement the text, regular attendance is
important, will be monitored, and will affect your grade.
Listening:Please make devout listening to assigned pieces a pseudo-religion. THERE ARE SOME
REALLY WONDERFUL COMPOSITIONS TO BE HEARD, SO DON’T JUST READ
ABOUT THEM.

Much of the listening can be done through the Naxos Music Library or by using the Norton
anthology and the accompanying E-book. However, some listening selections are not included in
the Norton E-book, and must accordingly be heard online in the Naxos Music Library or in your
own streaming service. For the instructor’s benefit, scores of works that are not included in your
anthology are available in the Music Reference section (call numbers beginning with M2 or M3)
or at the circulation desk in the Music Library (other call numbers). Also consult Blackboard for
scores not in the anthologies. Again be forewarned: you will have assignment or exam
questions based exclusively on listening and on the selections not in the anthology.

Grading

Your grade will be determined by your successful and timely completion of:

Online Assignments 1-9 30%

Exam 1 10%
Exam 2 15%
Exam 3 15%
Proposal and Bibliography 15%
Term Paper 15%

Attendance A deduction of 1% for each absence over 3, up to 5%

Online Assignments

A total of 9 online assignments will be due on listed dates throughout the semester, usually two
sessions after completing a sub-unit. The assignments will ask several questions that can be
answered with paragraph-length responses, several bullet points, or reactions to a reading excerpt
or listening selection. Topics are outlined below in the section, “A Broad Overview.”

Unit 1: The Enlightenment

Assignment 1: Enlightenment Vocal Music September 7
Assignment 2: Enlightenment Instrumental Music September 16
Unit 2: Viennese Classicism
Assignment 3: Haydn September 25
Assignment 4: Mozart October 14
Assignment 5: Beethoven October 23
Unit 3: Romanticism
Assignment 6: Early Austro-German and French Romantics November 4
Assignment 7: Piano Virtuosos and their other Achievements November 16
Assignment 8: Nineteenth-Century Opera November 30
Assignment 9: International Symphonists December 9
and their other Achievements

Exams

Exams will cover the topics that are outlined below in the section, “A Broad Overview.”
Take-home essays and short listening exercises will be based on the lectures, readings, and
listening examples. Exam due dates: September 21, October 30, and December 14.

You will undoubtedly be relieved to know that there is no cumulative final, but the time that
is designated by the University for the final (December 14, 11:00 a.m. – 2:00 p.m.) will
serve as the due date for Exam 3. (See the last page of the syllabus.) Plan to complete your
exam by December 14.

Research Assignments

Three written assignments will cover topics of your choice, but will consist of the following
work:
No. 1: a proposal for a term paper topic, which will be revised as an introduction to
your bibliography and then to your term paper.
No. 2: an annotated bibliography with an explanatory prose introduction;
No. 3: a term paper based on the sources from your bibliography.

Detailed instructions for each assignment will be provided well in advance. The term papers
will each be approximately 8 pages long and must be prepared to specific word-processing
standards that will likewise be provided well in advance.

The paper proposal will be due on October 19. The annotated bibliography will be due
on November 10; the term paper will be due on November 23; late papers will not be
accepted unless urgent circumstances prevail, and they will be graded for full credit only if
accompanied by written documentation of a medical emergency or similarly urgent situation.
No papers whatsoever will be accepted after November 30 without documentation. All the
research assignments and all three exams must be completed to pass the course.
Attendance

There are forty-two class sessions. Teams records the names of students who have attended
online sessions. You are allowed three unexcused absences before losing credit for attendance.
Thereafter, each unexcused absence will result in the loss of one percentage point from your final
average for a maximum of 5%. You might not receive credit for attendance if you sign in more
than ten minutes late. Please notify the instructor in advance if you expect to be absent for a
legitimate reason, such as an MSM performance. Please notify the instructor at your nearest
convenience if you miss class because of an emergency. In order to facilitate accurate record
keeping, please email the instructor.

Extra credit is not available in MUSI 3363.

Time

I make great efforts to begin and end classes on time, i.e., classes begin promptly at 11:00 a.m.
and end promptly at 11:50 a.m.

Additional policies

 Any students with disabilities or special needs will please notify the instructor of their
registration with relevant UH agencies and any accommodations that they may require.
 The academic honesty policies of the University of Houston are in effect in MUSI 3363.
See publications.uh.edu/content.php?catoid=8&navoid=1352 See also the PDF in
Blackboard.
 Changes in the syllabus may be required if extenuating circumstances arise. Such
changes will be announced in class or included on any instructions for written
assignments, review sheets, or handouts.
 Counseling and Psychological Services (CAPS) can help students who are having
difficulties managing stress, adjusting to college, or feeling sad and hopeless. You can
reach CAPS (www.uh.edu/caps) by calling 713-743-5454 during and after business
hours for routine appointments or if you or someone you know is in crisis. Also, there is
no appointment necessary for the “Let's Talk” program, which is a drop-in consultation
service at convenient locations and hours around campus.
http://www.uh.edu/caps/outreach/lets_talk.html.

A Broad Overview of the Course

1. Music during the Age of the Enlightenment

August 24 — September 11
Burkholder, Grout, and Palisca: Chapters 20-22
2. Viennese Classicism: Haydn, Mozart, Beethoven
September 14 — October 16
Burkholder, Grout, and Palisca: Chapters 23-24
3. Romantic Music
October 19 — December 4
Burkholder, Grout, and Palisca: Chapters 25-28 and parts of 29 and 30
 DETAILED INFORMATION

(1) Topics for each class date are listed below.

(2) Page numbers refer to Burkholder, Grout, and Palisca (BGP) and the Norton Anthology of
Western Music (NAWM).
(3) Titles of listening selections are followed by NAWM and the relevant number if the selections
appear in the Norton Anthology of Western Music and the Norton Recorded Anthology of Music.
(4) In many other cases, and primarily for the instructor’s benefit, titles are followed by call numbers
for CDs and scores in the Music Library. All scores with call numbers that begin with M2 or M3
are located in the Music Reference section of the Music Library; students cannot check them out
of the library. All scores with other call numbers have been put on non-circulating reserve at
the circulation desk. Bring your student ID to use reserve materials in the library.
(5) All the selections are also available in Playlists that I have already assembled and are available
online through the Naxos Music Library. To access the Playlist for Music History II, observe the
following instructions: (1) Go to the music library’s Home Page (http://info.lib.uh.edu/music/);
(2) Under “Music Resources,” click on “Naxos Music Library”; (3) Provide your sign-in
information if you have not already done so; (4) choose “Playlists” in the blue listings at the left
side of the screen; (5) Choose University of Houston Playlist near the top of the screen; (6)
Choose the “Bertagnolli” folder; (7) Select the specific MUSI 3363 Playlist for Exam 1, 2, or 3;
(8) Select the composition(s) you want to hear.

1. August 24: Class Introduction (Syllabus) and the Age of the Enlightenment
BGP, pp. 454-60

2. August 26: Opera Seria (Baroque Style) vs. Italian Comic Opera (Galant Style).
BGP, 460-77; NAWM 109, pp. 1-14
Handel, “Venti, turbini” from Rinaldo, CD 5230, Band 16, DVD 0288, M3 .H255 v. 58, p. 46
Pergolesi, La serva padrona, CD 7513, VHS 2011, DVD 0851

3. August 28: The Galant Style Spreads

BGP, 477-82; NAWM 110, pp. 15-23; NAWM 111, pp. 24-39.
Hasse, Cleofide, CD 7513
Rousseau, Le devin du village, CD 6724

4. August 31: Opera Seria Criticized and Reformed

BGP, pp. 483-89; NAWM 112, 40-43; NAWM 113, 44-67
Gay, The Beggar’s Opera, “My heart was so free,”; CD 7513, DVD 0054
Gluck, Orfeo ed Euridice; CD 7513, DVD 0637

5. September 2: Colonial Church Music and Enlightenment Keyboard Music I

BGP, pp. 489-93, 504-5; NAWM 114, pp. 68-73; NAWM 116, pp. 80-91.
Billings, Creation, CD 3146.
Galuppi, Sonata in D Major, op. 2, no. 1, CD 16877

6. September 4: Enlightenment Keyboard Music II

BGP, pp. 498-99, 503-4, 506-7; NAWM 105, pp. 74-79; NAWM 117, pp. 96-99.
Scarlatti, Sonata in D Major, K. 119, CD 7513
C. P. E. Bach, Sonata in A Major, H. 186, CD 7513

September 7: Labor Day

7.
8. September 9: Orchestral Music and The Early Symphony
BGP, pp. 508-13; NAWM 118, pp. 100-110; NAWM 119, pp. 111-21.
Sammartini, Symphony in F Major, No. 32, CD 7513
Stamitz, Sinfonia a 8 in E-flat Major, op. 11, no. 3, CD 7513

8. September 11: Enlightenment Keyboard Music III and Sonata Form.

BGP, 499-503.
J. C. Bach, Sonata in D Major, op. 5, no. 2, 1st mvmt., CD 12433 (harpsichord), Naxos (piano),
M3 .B105 1984 v. 42, p. 74; M23 .B133 L36 v. 1, p. 26 (score in Blackboard)

9. September 14: Haydn’s Patrons and his Early Symphonies

BGP, 514-27
Haydn, Symphony No. 45, “Farewell,” 1st & 4th mvmts., CD 3032, M3 .H46 Reihe 1 Bd. 6, p. 69
(score in Blackboard)

10. September 16: Haydn’s String Quartets

BGP, 528-30; NAWM 121, pp. 141-62
Haydn, String Quartet, op. 33, no. 2 (“Joke”), 4th mvmt., CD 7513
Haydn, String Quartet, Op. 76, no. 3 (”Emperor”), 2nd mvmt., CD 2413, MT6.5 .N65 1996 v. 2,
p. 156 (score in Blackboard)

11. September 18: Haydn’s Later Symphonies

BGP, 527-28; NAWM 122, pp. 163-220
Haydn, Symphony No. 88 in G Major (“Oxford”), 2nd mvmt, CD 2356
Haydn, Symphony No 104 in D Major, “London,” 4th mvmt., CD 7513, MT6.5 .N65 1996, p.
128

12. September 21: Haydn’s Sonatas and Choral Works

BGP, 530-33; NAWM 123, pp. 221-26
Haydn, Piano Sonata in E-flat major, H.XVI:52 (No. 62), 1st mvmt., CD 1401, M3 .H46 Reihe
18 Bd. 3, p. 84 (score in Blackboard)
Haydn, The Creation, “The Representation of Chaos” and “In the beginning God,” CD 316 (CD
1. Track 1), M Sm 2000 .H35 S34 1925x, p. 1

13. September 23: Mozart’s Early Tours and Life in Salzburg

BGP, 533-37
Mozart, Zwölf Variationen über ‘Ah, vous dirai-je, maman,’ K. 265 (300e), CD 5849, M3 .M896
Wg. 26 p. 49

14. September 25: Mozart’s Move to Vienna and Mature Solo Piano Music
BGP, 537-41; NAWM 124, pp. 227-33
Mozart, Piano Sonata in F Major, K. 332, 1st mvmt., CD 472
(begin) Mozart, Piano Concerto No. 23 in A Major, K. 488, 1st mvmt., CD 7513

15. September 28: Mozart’s Piano Concertos

BGP, 542-44; NAWM 125, pp. 234-67
Mozart, Piano Concerto No. 23 in A Major, K. 488, 1st mvmt., CD 7513

16. September 30: Mozart’s Symphonies and Italian Operas I

BGP, 544-49; NAWM 126, pp. 268-92; NAWM 127, pp. 293-315
Mozart, Symphony in C Major, K. 551 (“Jupiter”), 4th mvmt., CD 505
Mozart, Don Giovanni, CD 518 (CD 1, Track 2), DVD 0015
17. October 2: Mozart’s Italian Operas II and German Operas
BGP, 549-51; NAWM, pp. 293-345.
Mozart, Don Giovanni, CD 518 (CD 1, Track 2), DVD 0015
Mozart, Die Zauberflöte, “Ein Mädchen oder Weibchen wünscht Papageno sich,” and other
selections CDs 3239 (CD 2, Track 12), 4246 (CD 2, Track 12), M3 .M896 Wg. 5 Bd. 19, p.
258, DVD 0070, DVD 0763

18. October 5: Mozart’s Church Music, How to Formulate a Term Paper Topic, and the Nineteenth
Century
BGP, 551-57; NAWM 128, pp. 316-22.
Mozart, Ave verum corpus, Naxos Playlist

19. October 7: Beethoven’s Early Period I

BGP, 557-60.
Beethoven, Piano Trio in E-flat Major, op. 1, no. 1, 1st mvmt., CD 3891, M3 .B41 v. 11 (No. 79:
look for “B. 79” at the bottom of the page.) (score in Blackboard)

20. October 9: Beethoven’s Early Period II

BGP, 560-62, NAWM 129, pp. 323-32.
Beethoven, Sonata in C Minor, op. 13, “Pathétique,” 1st mvmt., CD 95
Beethoven, String Quartet in B-flat Major, op. 18, no. 6, 3rd mvmt., CD 3632, M3 .B44 Abt. 6
Bd. 3 (score in Blackboard)

21. October 12: Beethoven’s Middle Period I

BGP, pp. 562-70; NAWM 130, pp. 333-72.
Beethoven, “Eroica” Symphony, 1st mvmt., CD 7513
Beethoven, “Eroica” Symphony, 2nd-4th movements, CD 895, M3 B41 v. 1 p. (146) (score in
Blackboard)

22. October 14: Beethoven’s Middle Period II and Late Period I

BGP, 570-77
Beethoven, Piano Concerto in E-flat major, op. (“Emperor”), 1st mvmt., CD 4892, M3 B41 v. 9
(No. 69 in collected works: look for “B. 69” at bottom of page.) (score in Blackboard)
Beethoven, Diabelli Variations, CD 1836, M3 .B44 Abt. 7, Bd. 5, p. 203 (score in Blackboard)

23. October 16: Beethoven’s Late Period II

BGP, pp. 577-79; NAWM 131, pp. 373-93.
Beethoven, Symphony No. 9 in D Minor, op. 125 (“Choral”), 4th mvmt., CD 1357, M3 B41 v. 3,
p. 174, DVD 0630 (score in Blackboard)
Beethoven, String Quartet in A Minor, op. 132, Naxos Music Library

24. October 19: Romanticism and Schubert’s Transformation of the Lied

BGP, 581-95; NAWM 132, pp. 394-401
Schubert, Der Lindenbaum from Winterreise, CD 7513 (score in Blackboard)
Schubert, Gretchen am Spinnrade, NAWM 128, CD 7513

25. October 21: Schubert and other Small Forms

BGP, 600-601, 618-22; NAWM 135, pp. 423-30; NAWM 142, 485-87.
Schubert, Impromptu in G-flat Major, D. 899, no. 3, CD 538
Schubert, Die Nacht, D. 983e, CD 3875
26. October 23: Schubert and the Symphony, How to Assemble Sources for your Bibliography
BGP, 631-37
Schubert, Symphony No. 8 in B Minor (“Unfinished”), 1st mvmt., CD 3045, DVD 0368, M3
.S38 Ser. 5 Bd. 3, p. 3

27. October 26: The Mendelssohns I, A Concert Overture and an Oratorio

BGP, pp. 601-3, 622-23, 641-43; NAWM 143, 488-636.
Mendelssohn, Overture to A Midsummer Night’s Dream, CD 99, M4 .M46 R5, p. 1
Mendelssohn, begin Paulus, CD 12252

28. October 28: The Mendelssohns II, An Oratorio and a Cycle of Character Pieces
BGP, pp. 605-8, NAWM 137, pp. 439-49.
Mendelssohn conclude Paulus
Fanny Mendelssohn Hensel, Dezember from Das Jahr, CD 14130

29. October 30: Berlioz’s Autobiographical Symphony

BGP, pp. 647-41; NAWM 146, 563-620.
Berlioz, Symphonie fantastique: 5th movement, CD 2153; remaining movements CD 2153,
M3 .B52 v. 16

30. November 2: Schumann I: Music Criticism and Piano Music,

BGP, pp. 603-5; NAWM 136, pp. 431-38.
Extra reading: Schumann on Music, ML 410 .S4 A15 1988, pp. 78-87 (posted in Blackboard).
Robert Schumann, Carnaval (Eusebius, Florestan in NAWM 136; March of the David’s League
against the Philistines), CD 986, M3 .S39 Ser. VII v. 1-2, p. 21 [of R.S. 47 at bottom of
page]

31. November 4: The Schumanns II

B & G, pp. 595-98, 605, 630, 643-45; NAWM 133, pp. 402-17; NAWM 148, 652-703; NAWM
145, 557-62.
R. Schumann, Two lieder from Dichterliebe, “Im wunderschönen Monat Mai,” CD 7513, and
“Ich grolle Nicht,” CD 7401
R. Schumann, Symphony No. 1 in B-flat Major (“Spring”), 1st mvmt., CD 3062
Clara Wieck Schumann, Piano Trio in G Minor, op. 7, 3rd mvmt., CD 14130

32. November 6: Chopin

BGP, pp. 608-12; NAWM 139, pp. 454-61.
Chopin, Nocturne in D-flat Major, op. 27, no. 2, CD 14130
Chopin, Polonaise in A-flat Major, op. 53, CD 2408, DVD 0152, DVD 0629, M3 C54a P1 v. 8,
p. 64

33. November 9: Liszt

BGP, pp. 612-15, 722-25; NAWM 140, pp. 462-72.
Liszt, Trois études de concert, No. 3, “Un sospiro,” NAWM 136, CD 7513
Liszt, Les Préludes, CD 477, M1002 .L77 P65 1951ª

34. November 11: Two Composers of the Americas and Crafting Your Term Paper
BGP, 598-600, 615-18, NAWM 134, pp. 418-22; NAWM 141, 473-84
Foster, Jeanie with the Light Brown Hair, CD 3950
Gottschalk, Souvenir de Porto Rico, CD 7171
35. November 13: Italian bel canto Opera
BGP, pp. 646-59; NAWM 149, pp. 704-17, NAWM 150, pp. 718-30.
Rossini, The Barber of Seville, “Una voce poca fa,” CD 7513, VHS 1263, DVD 0849
Bellini, Norma, “Casta diva,” CD 7513, DVD 0104

36. November 16: Verdi

BGP, pp. 688-94; NAWM 154, pp. 875-919.
Verdi, Nabucco, “Va pensiero,” CD 1780 (CD 2, Track 13), M3 .V48 1983 Ser. I v. 3, p. 385,
VHS 1656, DVD 0069
Verdi, La traviata, Act 3, Scena and duet, NAWM 150, CD 7513, DVD 0007

37. November 18: French Opera

BGP, pp. 660-63, 696-98; NAWM, pp. 695-99, 877-79.
Meyerbeer, Les Huguenots, selection in NAWM 147, CD 2538 (CD 2, Tracks 7-9), DVD 0090,
DVD 0251
Bizet, Carmen, “L’amour est enfant de Bohème” (habanera), CD 4185 (CD 1, Track 10), M1500
.B629 C3 1950, p. 84, DVD 0088, VHS 0985

38. November 20: German Romantic Opera and Music Drama, B & G, pp. 670-73, 683-95; NAWM,
pp. 743-46, 784-90.
Weber, Der Freischütz, Wolf’s Glen Scene, NAWM 148, CD 7513, DVD 0631, DVD 0804
Wagner, Tristan und Isolde, selection in NAWM 149b, CD 14130, DVD 0696

39. November 23: Brahms I, B & G, pp. 724-25, 728-30; NAWM, p. 1000.
Brahms, Piano Quintet in F Minor, 3rd mvmt., CD 1421, MT6.5 .N65 1996, p. 379
Brahms, Ein deutsches Requiem, 4th mvmt ., CD 7513, MT6.5 .N65 2001, p. 394

40. November 30: Brahms II, B & G, pp. 724-27; Dvořák, pp. 747-49; NAWM 974-76, 1111-12.
Brahms, Symphony No. 4 in E Minor, 4th mvmt., NAWM 155, CD 14130
Dvořák, Slavonic Dance, op. 46, no. 1, NAWM 161, CD 4995

41. December 2: Bruckner, B & G, pp. 734-36, NAWM 1009-10.

Bruckner, Symphony No. 4 in E-flat Major, “Romantic,” 1st mvmt., CD 1951, M3 .B8844 Bd.
4/1, p. 1
Bruckner, Virga Jesse, NAWM 157, CD 1529.

42. Deember 4: Russian Nationalism, B & G, pp. 706-14; NAWM, 919-21, 1098-1100
Musorgsky, Boris Godunov, selection in NAWM 153, CD 14130, DVD 0113
Tchaikovsky, Symphony No. 6 in B Minor, op. 74, “Pathétique,” 3rd mvmt., NAWM 160, CD
7822
Summary of Remaining Important Dates

A4 October 14
Proposal October 19
A5 October 23
Exam 2 October 30
A6 November 4
Bibliography November 10
A7 November 16
Term Paper November 23
A8 November 30
A9 December 9
Exam 3 December 14