For these assignments, you will attend formal professional or high-level academic classical music
concerts and operas and review them. A listing of eligible performances is included on Canvas under Pages and
will be updated periodically. If you have conflicts with these events, or anticipate difficulty with
tickets or transportation, consult with the instructor as soon as possible. Should an emergency
situation arise where you are unable to attend one of the listed events, consult with the instructor
for other possibilities.
Your goal for this assignment is to demonstrate your command of the vocabulary and concepts
learned in the class. I encourage you to seek and read reviews of similar concerts for ideas, however
you should personalize your paper to include your own reactions, opinions, and experiences.
Some questions you may wish to consider:
Was the particular combination of pieces effective?
Which aspects made each piece unique? E.g. orchestration, form, style, texture, dynamics, word
painting, motives and themes, etc.
Were there notable performances of individual players or soloists, chorus, etc.?
Was the conductor effective in communicating with the audience and orchestra?
Was there information provided in the program that enhanced your enjoyment of the performance?
How did the music you heard compare to music discussed in class?
Things to leave out of your paper or discussion:
Direct quotations from the program, Wikipedia, or similar academic sources
Discussions irrelevant to the musical experience (e.g. how much trouble you had finding parking)
In order to complete each paper you must attend the COMPLETE performance I will be looking for
your discussion of the beginning and end of the programs. Be aware that these concerts and operas
generally start promptly at the announced time so BE EARLY. Give yourself enough time to get to
the venue, park, get your tickets, find your seats and read the program. Generally, once the
performance begins audience members not in their seats will be held outside the auditorium until
an intermission or break in the program. There are often one or more intermissions, so do not leave
before the entire program is complete. Submitting a paper on a concert you did not fully attend
constitutes ACADEMIC DISHONESTY and will be dealt with as such.
FORMAT AND DUE DATES: Papers must be submitted in a Microsoft Word file on the appropriate
section on Canvas (NOT PDF). The paper should be 2-3 pages, double-spaced,
twelve point Times New Roman font. See course schedule for individual due dates,
Part II Middle Ages and Renaissance
Ch. 1: Anonymous: Alleluia: Vidimus stellum
Hildegard: O Successores
Ch. 2: Palestrina: Kyrie from Pope Marcellus Mass
Part III Baroque
Ch. 3: Bach: Brandenburg Concerto #5
Ch. 8: Purcell: Dido’s Lament from Dido and Aeneas
Ch. 13: Vivaldi: Spring Concerto for Violin from the Four Seasons: I Allegro
Part IV Classical
Ch. 3: Mozart: Symphony #40: I Molto Allegro
Ch. 4: Haydn: Symphony #94 (Surprise): II Andante
Ch. 12: Beethoven: Piano Sonata in C minor “Pathétique” (First Movement)
Beethoven: Symphony #5 in C minor: First Movement Only
Since Test 2:
Part V: Romantic
Ch. 4: Schubert: Erlkönig
Ch. 6: Schumann, C: Trio
Ch. 7: Chopin: Nocturne in E-Flat
Chopin: “Revolutionary” Etude
Ch. 9: Mendelssohn: Violin Concerto (First 2 minutes only)
Ch. 10: Hensel: String Quartet in E-Flat, II Allegretto
Ch. 12: Berlioz: Symphonie Fantastique, IV March to the Scaffold
Ch. 16: Brahms: Symphony #3, III Poco Allegretto
Ch. 17 Bizet: Habanera and Toreador Song from the opera Carmen
Ch. 19 Puccini: Rodolfo and Mimi Scene from La Boheme
Part VI: 20th Century and Beyond
Ch. 4: Debussy: Prelude to the Afternoon of a Faun (first 2 minutes only)
Ch. 6: Boulanger: Psalm 24
Ch. 8: Stravinsky: The Rite of Spring: Omens of Spring, Dances, and Ritual of Abduction
AND Sacrificial Dance
Ch. 12: Schoenberg: Pierrot Lunaire: Mondestrunken
Ch. 17: Gershwin: Rhapsody in Blue (first 3 minutes only)
Ch. 18: Still: Afro-American Symphony: III Animato
Ch. 19: Copland: Simple Gifts from Appalachian Spring
Ch. 20: Ginastera: Malambo from Estancia
Ch. 22: Adams: Short Ride in a Fast Machine
Whitacre: Lux Aurumque
******* Additional listening will be added depending on the material covered in class
Given an example not from the list, describe the unique features and form, if applicable. Decide in which era it was most likely composed.
Visual Art:
Middle Ages: Part II
Cimabue: Virgin and Child Enthroned
Renaissance: Part II
Leonardo da Vinci: The Virgin and Child with St. Anne
Michelangelo: David
Raphael: The School of Athens
Baroque Period: Part III Introduction
Bernini: David Slaying Goliath
Rubens: Daniel in the Lion’s Den
Classical Period: Part IV Introduction
David: Napoleon at St. Bernard
Goya: The Third of May, 1808
20th Century: Part VI: Introduction
Matisse: Dance
Picasso: Girl with a Mandolin
Kandinsky: Composition IV
Lawrence: The Builders
Part VI: Ch. 3: Monet: Impression: Sunrise
Part VI: Ch. 11: Munch: The Scream
Part VI: Ch. 21: Riley: Cherry Autumn
Pollock: Autumn Rhythm #30
Warhol: Marilyn Diptych
Vocabulary/Forms
Part II
Chant
Drone
Troubadour
Word painting
A capella
Motet
Madrigal
Part III
Solo Concerto/Concerto Grosso
Ritornello
Opera:
Aria
Recitative
Overture/Prelude
Libretto
Cantata
Sonata
Suite
Chorale
Oratorio
Part IV
Sonata Form
Theme and Variations
Minuet and Trio
Rondo
Symphony
Cadenza
Part V
Lied
Song cycle
Virtuosity
Idée fixe
Grand opera
Lietmotif
Part VI
Impressionism
Expressionism
Primitivism
Atonality
12-tone system
Chance/Aleatoric music
Minimalism
Composer Identification: Given a few important facts, match the composer
J. S. Bach
Mozart
Beethoven
Tchaikovsky
Wagner
Debussy
Stravinsky
Still
Copland
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