Module: Topics in Musicology 3

Module Specifications..

Current Academic Year 2023 - 2024

Please note that this information is subject to change.

Module Title	Topics in Musicology 3
Module Code	MC203
School	59
Module Co-ordinator	Semester 1: Patricia Flynn Semester 2: Patricia Flynn Autumn: Patricia Flynn
Module Teachers	Patricia Flynn
NFQ level	8	Credit Rating	7.5
Pre-requisite	None
Co-requisite	None
Compatibles	None
Incompatibles	None

None

Description

This module introduces students to three aspects of musicology (1) the study of music as text in the characteristics of chamber and orchestral music in the long 18th century (2) ethnomusicological approaches to traditional and classical music across cultures and (3) sociological and psychological perspectives on human engagement with music. Through engaging with these topics students develop knowledge and skills in analytical, critical, interpretative, cultural and contextual engagement with music sources and contexts. They deepen their understanding through reading key texts, extensive listening and analysis of music in a variety of media including music scores and through preparation for and participation in guided discussion. On completion of the module students will be able to apply their musical and theoretical knowledge and understanding in well-constructed written argument, supported by musical evidence.

Learning Outcomes

1. Identify musical characteristics, forms, styles and compositional techniques of the classical and early romantic style and recognise these in listening and examination of scores.
2. Critically comment on and discuss a range of chamber and orchestral music from the long 18th century with an awareness of its context and its significance in compositional and aesthetic development in this era.
3. Compare music across cultures with an understanding of inherent forms and practices and an awareness of its social and cultural context.
4. Initiate and lead a convincing, informed discussion on human engagement with music, relating personal experience to theoretical perspectives gained from key texts on music reception, aspects of performance, and creativity in music.
5. Draw on a critical and reflective understanding of the above areas to construct a persuasive written argument supported by musical evidence in response to a chosen essay topic and based on personal research.

*Type*	*Hours*	*Description*
Workload	Full-time hours per semester
Lecture	36	Lectures (3 weekly)
Workshop	6	Workshops (1 Fortnightly)
Tutorial	3	Essay preparation tutorial
Independent Study	142.5	Independent work
Total Workload: 187.5

All module information is indicative and subject to change. For further information,students are advised to refer to the University's Marks and Standards and Programme Specific Regulations at: http://www.dcu.ie/registry/examinations/index.shtml

Indicative Content and Learning Activities

Topic One: Chamber Music in the Long 18th Century
• Chamber music and the Classical Style • A tension of opposites: the Sonata principle • Three English Piano Sonatas: Haydn writing for a virtuoso performer • Travel broadens the composer: Mozart and the piano sonata • Beethoven • Poet of the Keyboard: Schubert • The Development of the String Quartet in the Classical era • Haydn innovations opus 20 and opus 33 • Chromatic links and viola melodies: Mozart and the string quartet • Late Haydn quartets: sparse and unusual • Beethoven: ‘the imagination must have its part’ • Schubert ‘It must be’

Topic Two: Orchestral Music of Haydn, Mozart , Beethoven and Schubert
• The significance of orchestral music in the classical era • the role of the slow introduction • Haydn at Esterhaza: Beginning Forms • The London Haydn • Mozart: Travels and influences • Mozart: two G minor symphonies • Concerto: Mozart Clarinet Concerto • Beethoven Symphonies • Eroica and 5th • Schubert Unfinished

Topic three: Traditional and classical music across cultures
• Music and practices of Javanese Gamelan • North Indian Classical Music • Ethnomusicological practices • Case study 1-4 insider/outsider

Workshop Discussion topics in Music and Human engagement
• Music and the Mind: Listening processes • Thinking Music: Mental Representations of Music • Emotion and meaning in music • Memorising Music • Music and Movement • Theories of Creativity in Music

Assessment Breakdown
Continuous Assessment	100%	Examination Weight	0%

Type	Description	% of total	Assessment Date
Course Work Breakdown
Essay	Essay	40%	n/a
In Class Test	In class discussion	10%	n/a

Reassessment Requirement Type
Resit arrangements are explained by the following categories; 1 = A resit is available for all components of the module 2 = No resit is available for 100% continuous assessment module 3 = No resit is available for the continuous assessment component
This module is category 1

Indicative Reading List

Clark, C.: 2005, The Cambridge Companion to Haydn, CUP, Cambridge,
Cook, N.: 1987, A guide to Musical Analysis, OUP, Oxford,
Grout, D.J.: 2006, A History of Western Music, Norton, New York,
Horton, J.: 2013, The Cambridge Guide to the Symphony, CUP, Cambridge,
Keefe, S.P.(Ed.): 2006, Mozart Studies, CUP, Cambridge,
Landon, H.C.R.: 1978, Haydn Chronicle and Works Vols 1-5, Thames and Hudson, London,
Rosen, C.: 1976, Classical Style: Haydn, Mozart, Beethoven, Faber, London,
Stowell, R. (Ed): 2003, The Cambridge Companion to the String Quartet, CUP, Cambridge,
Tovey, D.F: 0, (1935-44) Essays in Musical Analysis, 7 volumes, OUP, London,
Taruskin: 2005, The Oxford History of Western Music, Vol 2, The Seventeenth and Eighteenth Centuries, OUP, New York,
Watson, A.: 2010, Beethoven’s Chamber Music in Context, Boydell Press,
Cook, N: 1990, Music, Imagination and Culture, Clarendon, Oxford,
Meyer, L.B: 1956, Emotion and Meaning in Music, UCP, Chicago,
Meill, D., McDonald, R. and Hargreaves, D.: 2005, Musical Communication, OUP, Oxford,
Hargreaves, D. and North, A.: 1997, The Social Psychology of Music, OUP, Oxford,
Juslin, P.N. (Ed): 2001, Music and Emotion, OUP, Oxford,
Merriam, Alan P.: 1964, An Anthropology of Music, Northwestern University Press, Illinois,
Seeger, A.: 2004, Why Suyá Sing: A Musical Anthropology of an Amazonian People, • Seeger, A. (2004 )(2nd ed.). Why Suyá Sing: A Musical Anthropology of an Amazonian People, 2nd ed., University of Illinois Press, Urbana and Chicago,
Blacking, J.: 1973, ‘Humanly Organised Sound’ In How Musical is Man?, University of Washington Press, Seattle,

Other Resources

0, 0, Scores and recordings of the music of Haydn, Mozart, Beethoven and Schubert,

Programme or List of Programmes

BAJH	Bachelor of Arts (BAJH)

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