Music MUHL5336
Music in the Twentieth Century

Fall 2002

Texas Tech University School of Music


| About MUHL5336 | Schedule | Reserves | Listening List | The Journal | Presentations |


Meets 3:40-4:50PM Tuesdays & Thursdays in M122
Instructor: Dr. Christopher Smith
E-mail: christopher.smith@ttu.edu

Office: Music 203
Office telephone: 742-2270 x249
Office Hours:

v     ·        MW2-3:30

v     ·        TR2-3


About MUHL5336

Table of Contents

v     About the course

v     Course objectives

v     Coursework and grading

v     Course materials and expectations

v     Study together

v     Some words about listening

v     Medical and other issues affecting coursework

About the course

This course will concentrate on music in the classical tradition written in the 20th Century. We will start with the roots of twentieth-century developments before World War I, move on to modernism in other countries, and conclude with what may be called the avant-garde and other post-World War II developments. We will study both composers generally considered to be at the center of the canon of modern music and composers and traditions that have been excluded from it.

Our theme will be the problems that twentieth-century composers faced and the strategies they adopted to solve them during a period of enormous cultural and musical change.

This website is your guide to the semester. Here you will find a detailed description of the course objectives and notes on course requirements and expectations, with links to a complete course schedule, a list of books on reserve and in Reference, the listening list for the semester, and instructions on the journal and the presentation, which are important parts of the course. This website and these links are also available in a handout, passed out on the first day of class.

Course objectives

  1. By the end of the semester, you should have a framework for understanding what composers did in this century, why they did it, and how their music was constructed.
  2. As part of the framework, you should be able to summarize the mainstream of modernist music in these years, distinguish it from other contemporary streams, and show how it differs from other periods.
  3. As part of the what, you will be expected throughout the term to be able to identify the works we study by sight or by ear, up to a reasonable level of proficiency, and to discriminate between the styles of the composers we concentrate on. You should also be able to identify composers, pieces, and other important names and terms we encounter, to summarize the careers of major composers, and to show a general knowledge of major events and trends of the century.
  4. As part of the why, you will be expected to be able to synopsize and critique writings by composers about music, including their own.
  5. As part of the how, you will be expected to be familiar with some basic tools for analyzing (i.e., taking apart and describing) pieces of music from this period which behave in ways unlike music written earlier. To practice these tools, we will analyze some pieces in class and you will prepare some analyses for class discussion.
  6. Finally, you should be able to take new facts and plug them into the framework you have learned, showing that you can apply a general view of twentieth-century classical music in your future work.

Coursework and grading

You will demonstrate your achievement of these goals in four principal ways: (1) class preparation and participation; (2) keeping a journal; (3) two examinations; and (4) working to prepare and present a symposium-style scholarly paper. Your grade will be based 50% on the exams (25% each), 30% on day-to-day work, including class participation and your journal, and 20% on your presentation. Separate handouts and linked websites provide more specific information on the journal and presentation.

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Course materials and expectations

The textbook for this course is Robert Morgan’s Twentieth-Century Music: A History of Musical Style in Modern Europe and America (New York: Norton, 1991), Main Library Call Number. ML197 .M675 1991. However, our main “text” is the music itself, and we will always treat the music as our primary source. A secondary “text” is a series of readings, including composers’ writings about their own and others’ music and a few articles that will serve as starting points for discussion.

The readings in the Morgan text are mandatory. Secondary readings listed on the course schedule (articles in journal, composers’ own prose, chapters in other books) will be assigned on a class-by-class basis, and may be downloaded as .pdf files from the Main Library’s Electronic Reserves webpage.

Reading and listening assignments for each class session are listed in the course schedule. Readings are either in the Main Library’s Reserves section, in the Main Library stacks, or in the Music Listening Room (M250). Listening assignments are available on CDs in M250, and scores, translations, and other helpful materials are on reserve. Be sure to obtain the translation of any vocal work in a language other than English. If you cannot find something, ask!

You are expected to do these assignments before each class, listening to the assigned music, reading the readings, and writing about both in your journal. You should come to class prepared to answer and to ask questions about the readings and music for that day and to share what you have written about them in your journal. On occasion, this may include showing your journal entry to one or more of your classmates. Needless to say, you should do all assignments on time.

But come to class, even if you are unprepared. The core of this course is in what we do together in class. Missed work can always be made up; a missed class is gone forever. Because being in class is so important, attendance will be taken, and your grade will be affected if you miss class.

Study together

I strongly recommend that you study together. Talk with each other about issues raised in class or in the readings. Share hints about what to listen for in the music. Compare notes from class or the readings. Read each other’s journals (but don’t copy from someone else; do your own work, then compare). Are you getting the same main points out of an article or class session? If you don’t understand something, ask a classmate to explain it to you. If you know something well, find someone who doesn’t understand it and teach it to them; by the time you’re done, you will either know it inside out or will realize that you don’t know it as well as you thought (both common experiences among teachers!).

Remember, the goal is to learn the material. The more you share your knowledge with others, and the more you listen to what they have to say, the more you will learn. If you don’t learn more from your classmates than you do from me, I will be very surprised.

Some words about listening

Much of your study time will be devoted to listening. Listen to each piece at least twice, perhaps before and again after it is treated in class. You are expected to listen to each piece and to write about it in your journal before the class in which it is discussed.

Listening cannot be hurried, so allow enough time for it. Ask yourself how the piece is put together, how it is like other pieces you know and how it is different, and how it fits into the traditions we are studying, and write your observations in your journal.

Remember that the music is more important than all the talk about it, even what is said in class. Try not to approach music you have never heard through the fog of what others have said about it (even what the composer says!), for much of what is said and written about music can be misleading until you know the music itself. This is one reason for listening to the music before we discuss it in class.

However, many pieces will be unfamiliar, and you may not understand them without an explanation. Liner notes on the CDs are often helpful (though sometimes misleading). If a piece interests you, go to The New Grove Dictionary of Music and Musicians or to the books on reserve and in Reference for more information about it. Make sure to obtain translations for the works with text; if they are not on the score or available on reserve please let me know.

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Medical and other issues affecting course work

If you have a diagnosed medical condition that affects your ability to perform standard college-level work such as papers and examinations, please inform the instructors of this situation as soon as possible. While privacy laws do not require you to inform the instructors of the specific nature of the medical condition, it is important that reasonable modifications of the work be made as soon as possible to meet these situations. You should present appropriate verification from Disabled Student Services in the Dean of Students Office.

Similarly, if an examination or assignment is scheduled on a religious holiday you observe, or conflicts with a School of Music ensemble engagement or a major professional obligation (such as an international competition), please inform Prof. Smith during the first two weeks of class so that reasonable accommodations can be made.

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| About MUHL5336 | Schedule | Reserves | Listening List | The Journal | Presentations |


Last updated: Thursday, August 22, 2002

Send mail to Christopher Smith