MUSSUPST 2120 - Music, Culture & Society 2
North Terrace Campus - Semester 2 - 2015
General Course Information
Course Code MUSSUPST 2120 Course Music, Culture & Society 2 Coordinating Unit Elder Conservatorium of Music Term Semester 2 Level Undergraduate Location/s North Terrace Campus Units 3 Contact Up to 3 hours Available for Study Abroad and Exchange Y Course Description This course explores western music and music making in its historical, social, cultural and philosophical contexts from antiquity to the late 18th century. It highlights the many musical and non-musical factors and influences that shaped music during that period, and incorporates historical and critical musicology, reception history, analysis, and repertoire studies.
Course Coordinator: Professor Mark Carroll
The full timetable of all activities for this course can be accessed from Course Planner.
Course Learning Outcomes
At the end of this course students will be able to demonstrate:
- a conceptual understanding of the key historical, aesthetic and philosophical trends in Western art music from ancient Greece to the mid-19th century
- high level research and writing skills
- high level listening skills and repertoire knowledge
- knowledge of historical perspectives in Western art music
- skills in using online technologies to explore the history of Western art music.
University Graduate Attributes
This course will provide students with an opportunity to develop the Graduate Attribute(s) specified below:
University Graduate Attribute Course Learning Outcome(s) Knowledge and understanding of the content and techniques of a chosen discipline at advanced levels that are internationally recognised. 1, 2, 3, 4 The ability to locate, analyse, evaluate and synthesise information from a wide variety of sources in a planned and timely manner. 1, 2, 3 An ability to apply effective, creative and innovative solutions, both independently and cooperatively, to current and future problems. 2 Skills of a high order in interpersonal understanding, teamwork and communication. 2 A proficiency in the appropriate use of contemporary technologies. 5 A commitment to continuous learning and the capacity to maintain intellectual curiosity throughout life. 1, 2, 3, 4
Required ResourcesWeekly related readings (see below), are available either as a PDF on MyUni, online via the Elder Music Library, or external websites.
Recommended Resources• Library
The Music Library located in the Hartley building is an excellent source for music, literature and recordings: http://www.adelaide.edu.au/library/branch/eml/
• Music Resources Guide
The Music Resources Guide contains quick links to key music databases for scholarly research and online listening. It also contains links to websites of publicly available online scores, collected editions, and professional associations. Here, too, you can find a regularly updated list of new books, scores, CDs and DVDs available in the Elder Music Library: http://libguides.adelaide.edu.au/music.
Cook, Nicholas and Anthony Poole (eds). The Cambridge History of Twentieth-Century
Music (Cambridge: CUP, 2004).
Hanning, Barbara Russo. Concise History of Western Music, 2nd ed. (New York:
Harper-Scott, JPE and Jim Samson (eds). An Introduction to Music Studies
(Cambridge: Cambridge University Press, 2009).
Jeffrey, Jackson and Stanley Pelkey (eds). Music and history: Bridging the disciplines
(Jackson: University Press of Mississippi, 2005).
Kelly, Thomas Forrest. Early Music: A Very Short Introduction (New York: Oxford
University Press, 2011).
Pendle, Karin (ed). Women & Music: A history (Bloomington: Indiana University Press,
Latham, Alison (ed). The Oxford Companion to Music. (Oxford: OUP, 2002).
Taruskin, Richard. The Oxford History of Western Music (Oxford: OUP, 2005).
Weiss, Piero and Richard Taruskin (eds). Music in the Western World: A History in
Documents, 2nd ed. (Belmont, CA.: Schirmer, 2008).
Online LearningThis Course Profile, along with learning materials and assessment details will be placed on MyUni – refer to http://myuni.adelaide.edu.au.
Learning & Teaching Activities
Learning & Teaching ModesThe course structure and content is delivered through a range of classes and materials. Class delivery modes include a weekly history seminar and aural development workshop. The classes in this course use a format where students are presented with historical and theoretical content through the seminar. The content is built around a topic framework that students will expand through listening and analysis of set works and discussions of set readings during the seminar. The workshop focuses on the development of high order critical listening and aural skills. Students will also be expected to further expand the topics presented through using out-of-class resources in their own time. The resources will complement, reinforce and extend the concepts presented.
The information below is provided as a guide to assist students in engaging appropriately with the course requirements.The information below is provided as a guide to assist students in engaging appropriately with the course requirements.
In addition to the required contact hours, students are expected to play an active role in the practice, refinement and consolidation of their knowledge and understanding. For each hour of this course students will need to spend on average an additional minimum of 3 - 4 hours per week on readings, practice, critical listening, self-initiated learning and research in order to pass the course.
Learning Activities SummaryThe course structure and content will examine the areas below through the weekly seminar and workshop. This list is intended as a guide, and may change in response to needs arising during the semester. Further detail regarding weekly content can be found on MyUni.
Listening workshops aim to develop skills in the aural recognition and identification of musical techniques and stylistic aspects, through score-reading and listening to set works. Students will be expected to undertake independent listening to assigned works. The course structure and content will examine the areas below through the weekly seminar and workshop. This list is intended as a guide, and may change in response to needs arising during the semester. Further detail regarding weekly content can be found on MyUni.
Seminar Topics (Wednesdays 3-5pm)
WEEK Relevant readings Week 1 (30/7) Musical Beginnings Mark Carroll An overview of the course, together with an outline of essay-writing principles and research methods. The ways that music was understood and utilized in Ancient Greece are introduced: Greek philosophers sought to understand musical phenomena, and developed insights that have recurred to the present. * Course Outline [MyUni] and Bibliographic Guide [Online at Elder Music Library - EML]
* John G. Landels, Music in Ancient Greece and Rome, Chapters 1 and 3, London: Routledge, 1999 [Online via EML]
Week 2 (6/8) Music in Medieval Times: Sacred Music and Polyphony Mark Carroll An Introduction to the Middle Ages. Music written for church performance (Sacred Music) grew from simple forms of ‘plainchant’ to acquire increasing complexity with polyphonic textures. Traces key stages of music’s development from Plainsong to Perotin (Organum) to Machaut. ‘Medieval’, in Grove Music online [via EML] Week 3 (13/8) Music in Medieval Times: Secular Music James Koehne An overview of how music was practiced in secular settings during the Middle Ages: Life in the Medieval Court; Monody; Troubadours, Trouvères and Minnesänger. Richard Taruskin, 'Music of Feudalism and Fin' Amors,' The Oxford History of Western Music, vol. I: Music from the Earliest Notations to the Sixteenth Century, Ch. 4, pp. 105-149 [Online via EML] Week 4 (20/8) Transformation of Sacred and Secular Music in the Renaissance Carl Crossin Considers the concept of the ‘Renaissance’, and outlines the development of Polyphony from Machaut to the Venetian School. Sacred music developed the forms of Motet and Mass. Music outside of the church also developed ‘higher’ artistic leanings, with key sites of development in the Italian Madrigal and English Lute Song, as well as Dance Music. Barbara Russo Hanning. ‘The Age of the Renaissance’, Concise History of Western Music, 2nd ed. New York: Norton, 2002 [MyUni] Week 5 (27/8) Reformation and Counter-Reformation James Koehne Music was at the heart of the great religious turbulence known as the Reformation, forming a core part of Lutheran reforms. Equally, for the Catholic Counter-Reformation, music had an important role to play, laying the groundwork for subsequent developments of the Baroque era. * Barbara Russo Hanning. ‘Church Music of the Late Reformation’, Concise History of Western Music, 2nd ed. New York: Norton, 2002 [MyUni]
* Alexander Fisher, ‘Music and Religious Change,’ in The Cambridge History of Christianity, Vol 6, Ch. 21, Cambridge University Press, 2007 [Online via EML]
Week 6 (3/9) The Early Music Movement and its Debates Graham Strahle Taking a break from the historical trajectory, this week’s seminar examines the history of the ‘Early Music’ Movement in the 20th Century, with its aims of restoring the music of Medieval, Renaissance and Baroque periods. How do we recreate the music of the past? What is authenticity and how important is it? * Bernard D. Sherman, ‘Introduction,’ in Inside Early Music: Conversations with Performers, Oxford University Press, 1997 [Online via EML]
* Joel Cohen, ‘Early Music and the Orient: An Update and a Mini-Symposium, 2010 - East Meets West - Or Does It?’ Early Music America, 2010, Vol. 16, No. 1 [Online via EML]
Week 7 (10/9) The Baroque Ideal/ Baroque Music in Context Mark Carroll Outlines concepts of the Baroque in the arts, and places music in this context. The rise of Opera [Monteverdi] is shown as a key expression of Baroque interests in dramatic expression. * Video: Waldemar Januszak, Baroque! (Episode 1)
* Tim Carter, ‘Renaissance, Mannerism, Baroque,’ in John Butt & Tim Carter (eds.), The Cambridge History of 17C Music, Cambridge University Press, 2008 [Online via EML]
* Stephen Rose, ‘The Musical Map of Europe c.1700,’ in Simon P. Keefe (ed.), The Cambridge History of 18th Century Music, Cambridge University Press, 2009 [Online via EML]
Week 8 (17/9) Bach, the counterpoint of sacred and secular Graeme Koehne A presentation of the life and work of J.S. Bach, examining the artistry Bach brought to music for both the Court and the Church. Bach’s role in establishing two significant innovations is examined: equal temperament and fugue. * ‘Bach, Johann Sebastian’ in Grove Music Online [Online via EML]
* Richard Jones, Creative Development of JS Bach 1695-1717, pp 3-12 and 135-139 (Intros to Pts 1 and 2), 2006 [Online via EML]
MID SEMESTER BREAK Week 9 (8/10) The Rise of Instrumental Music James Koehne The seminar illustrates new Baroque formal concepts – the da capo aria; the concerto and ‘thorough bass’, through the individual styles and careers of composers in France (Lully, Rameau), Italy (Corelli, Vivaldi), England (Handel, Purcell), and Germany (Telemann). *[Video: Tafelmusik, A Baroque Reverie: Baroque Music Revealed, at www.tafelmusik.org/education/baroque-instruments [Online]
* ‘Baroque,’ and ‘Galant,’ in Grove Music Online [via EML]
Week 10 (15/10) The Birth of the Orchestra James Koehne This session explores the evolution of the orchestra, from the pre-orchestral ensembles of the Renaissance to Baroque concepts of an orchestra and the transition to the formation we recognize today as it consolidated in the Classical era. * Video: Olivier Simonnet, Deux siècles de musique a Versailles, 2007 (Part 1]
* John Spitzer and Neal Zaslaw, Birth of the Orchestra: History of an Institution, 1650-1815, Oxford University Press, Ch. 2, 3 and 4. [Online via EML]
Week 11 22/10) Classicism, 18th century society and the Enlightenment Mark Carroll Outlines the ideas that fuelled the new era of society’s development which we call the Enlightenment, and show the relationship of Music to the Society of the 18C. * [Video: Olivier Simonnet, Deux siècles de musique a Versailles, 2007 Pt 2]
* ‘Enlightenment,’ in Grove Music Online [via EML]
* David Schroeder, ‘Listening, Thinking and Writing,’ in The Cambridge History of 18C Music, [Online via EML]
* Immanuel Kant. ‘Answer to the question: ‘What is Enlightenment?’ www.english.upenn.edu/~mgamer/Etexts/kant.html [Online]
Week 12 (29/10) Haydn, Esterhazy and London John Polglase Outlines the career of Joseph Haydn, placing him in context with his contemporaries. As well as marking important developments in the genres of string quartet and symphony, Haydn’s career also signals the transition from aristocratic to public patronage. * Richard Will, ‘Eighteenth-century symphonies: an unfinished dialogue,’ in Simon P. Keefe (ed.), The Cambridge History of 18th Century Music, Cambridge University Press, 2009 [Online via EML]
The University's policy on Assessment for Coursework Programs is based on the following four principles:
- Assessment must encourage and reinforce learning.
- Assessment must enable robust and fair judgements about student performance.
- Assessment practices must be fair and equitable to students and give them the opportunity to demonstrate what they have learned.
- Assessment must maintain academic standards.
Assessment Summary• Summative Assessments
Title Due % Learning Outcomes Study Skills Assignment 12 noon, Friday 22 August (submit to Schulz office) 10 2, 5 History Essay 12 noon, Friday 21 November (submit to Schulz office) 35 1, 2, 3, 4, 5 History Examination To be held during Examination period, week 14. Date and venue TBA 35 1, 2, 3, 4 Listening Analysis Assignment 12 noon, Friday 12 September (submission method to be advised) 10 3 Listening Test To be held during Examination period, week 14. Date and venue TBA. 10 3
Classes will contain embedded formative assessment that may include tasks such as quizzes, in-class exercises and homework that will enable students to engage with the practical and theoretical concepts presented in order to complete their summative assessments.
Assessment Related RequirementsExpectation & Penalty
As per Conservatorium policy, active and positive participation in 100% of classes is expected. Any student who attends less than 100% of required classes without approved leave may result in a 5 (five) mark penalty for each unapproved absence. The penalties will be applied to the final total percentage mark for the year for the relevant component i.e. after all other assessments have been completed and calculated. Arrival after the scheduled starting time or departure before the scheduled finishing time may, at the lecturer or Co-ordinator’s discretion, be regarded as an unapproved absence.
The Conservatorium recognises that extenuating circumstances may occasionally affect a student’s ability to participate in a rehearsal, workshop, class, lecture, tutorial or performance. In such cases leave may, upon application using the leave form (available from the Music Office Hartley Building G05), be approved by the relevant staff member.
Assessment DetailWork submitted after the due date will not be accepted unless accompanied by a valid leave certificate.
• Study skills exercise (10% of total mark for semester)
Due date: 12 noon, Friday 22 August (submit to Elder Conservatorium Schulz office, sign in using coversheet provided by the office)
Students will provide a 300 word critique of ONE of three newspaper articles posted on MyUni, under <>. The aim of the exercise is to enhance students’ ability to identify, summarise and critically evaluate research resource materials. In addition to providing an accurate citation of the article in question, students will provide citations for four (4) other resources that they deem to be relevant to the article. These may include, for example, a book, book chapter, journal article, CD programme note, or internet resource.
NB Each of the four citations should be from a different resource.
Bibliography and references are to be cited according to either MLA or Harvard styles, as described in the Elder Conservatorium Bibliographic Style Guide at
• Essay (35% of total mark for semester)
Due date: 12 noon, Friday 21 November (submit to Elder Conservatorium Schulz office, sign in using coversheet provided by the office)
Word count: 1500 words (NOT including bibliography and references)
Essay topics will be supplied at the beginning of the semester. You are free to choose a topic outside of those listed, AS LONG as it is relevant to the musical genres and time-frame covered in the seminars. If you do so, YOU MUST obtain the approval of Mark Carroll.
• Exam (35% of total mark for semester)
During the Examination period there will be a short written answer exam, 120 minutes in duration – date and venue TBA. Students will be supplied with ten questions/topics earlier in the semester. Of those ten, students will be asked to write an expanded paragraph on four of the six drawn from that list of ten in the exam.
• Listening Analysis Assignment (10% of total mark for semester)
Due: 12 noon, Friday 12 September (submission method to be advised)
In the Analysis Assignment, students will be expected to select a piece of tonal music which is not one of the set works. Students will be expected to analyse the piece by annotating the score and providing a written analytical summary of the piece.
• Listening Test (10% of total mark for semester)
During Week 14 there will be a listening test – date and venue TBA. Students will be expected to identify works/composers and musical features of the set works. In addition, students will be expected to display general knowledge of composers, such as nationality, dates, and main works in their compositional output.
SubmissionAssessments and Exams
Students must be available during the identified University teaching, academic and examination periods. Students are not entitled to sit an examination or submit an assessment at another time, nor are they entitled to any other concessions if an examination or assessment conflicts with a planned vacation or special event. Results from assessments and examinations are usually sent to students via email and/or myUni.
Assignments which are submitted after the due date and time will incur a 5% penalty (from the assignment total of 100%) per day (24 hour period) for a maximum of 4 days (weekend days included). After this time the assignment will not be marked for assessment or feedback. Note – this does not apply to assessments where the assessment is conducted at a fixed time and location, such as an exam, practical test, performance or presentation.
Grades for your performance in this course will be awarded in accordance with the following scheme:
M10 (Coursework Mark Scheme) Grade Mark Description FNS Fail No Submission F 1-49 Fail P 50-64 Pass C 65-74 Credit D 75-84 Distinction HD 85-100 High Distinction CN Continuing NFE No Formal Examination RP Result Pending
Further details of the grades/results can be obtained from Examinations.
Grade Descriptors are available which provide a general guide to the standard of work that is expected at each grade level. More information at Assessment for Coursework Programs.
Final results for this course will be made available through Access Adelaide.
The University places a high priority on approaches to learning and teaching that enhance the student experience. Feedback is sought from students in a variety of ways including on-going engagement with staff, the use of online discussion boards and the use of Student Experience of Learning and Teaching (SELT) surveys as well as GOS surveys and Program reviews.
SELTs are an important source of information to inform individual teaching practice, decisions about teaching duties, and course and program curriculum design. They enable the University to assess how effectively its learning environments and teaching practices facilitate student engagement and learning outcomes. Under the current SELT Policy (http://www.adelaide.edu.au/policies/101/) course SELTs are mandated and must be conducted at the conclusion of each term/semester/trimester for every course offering. Feedback on issues raised through course SELT surveys is made available to enrolled students through various resources (e.g. MyUni). In addition aggregated course SELT data is available.
- Academic Integrity for Students
- Academic Support with Maths
- Academic Support with writing and study skills
- Careers Services
- International Student Support
- Library Services for Students
- LinkedIn Learning
- Student Life Counselling Support - Personal counselling for issues affecting study
- Students with a Disability - Alternative academic arrangements
- YouX Student Care - Advocacy, confidential counselling, welfare support and advice
Policies & Guidelines
This section contains links to relevant assessment-related policies and guidelines - all university policies.
- Academic Credit Arrangements Policy
- Academic Integrity Policy
- Academic Progress by Coursework Students Policy
- Assessment for Coursework Programs Policy
- Copyright Compliance Policy
- Coursework Academic Programs Policy
- Elder Conservatorium of Music Noise Management Plan
- Intellectual Property Policy
- IT Acceptable Use and Security Policy
- Modified Arrangements for Coursework Assessment Policy
- Reasonable Adjustments to Learning, Teaching & Assessment for Students with a Disability Policy
- Student Experience of Learning and Teaching Policy
- Student Grievance Resolution Process
Students are reminded that in order to maintain the academic integrity of all programs and courses, the university has a zero-tolerance approach to students offering money or significant value goods or services to any staff member who is involved in their teaching or assessment. Students offering lecturers or tutors or professional staff anything more than a small token of appreciation is totally unacceptable, in any circumstances. Staff members are obliged to report all such incidents to their supervisor/manager, who will refer them for action under the university's student’s disciplinary procedures.
The University of Adelaide is committed to regular reviews of the courses and programs it offers to students. The University of Adelaide therefore reserves the right to discontinue or vary programs and courses without notice. Please read the important information contained in the disclaimer.