• Understand: Explain the creative artistic process as an iterative and recursive practice culminating in an expression of human experience and emotion through a medium;
• Appreciate: Apply artistic concepts and ideas drawn from traditions of artistic creation and theory to better engage with, analyze and understand a creative work;
• Connect: Examine connections between art and society and articulate how the arts are a historical and cultural phenomenon.

• This is your opinion and your grade will not depend on me agreeing with it.
• You should, however, use vocabulary learned from the Fundamentals lectures from Unit 1 of our class to be specific about what you liked or disliked about the piece.
• After you have submitted your video, I will respond with my own thoughts and may ask a follow up question. 

1. Remember that Exams 2-5 are more challenging than Exam 1 is.
2. You will need to allow yourself some time to get Honorlock (the proctoring software) set up before taking the exam. You can use this guide to answer questions and to familiarize yourself with what the software does. Please do not ask me for help with Honorlock. Instead contact the Center for Teaching Innovation
3. Honorlock will flag things like: consistently looking down toward another device or handwritten notes, any attempts to navigate away from the exam in your browser, attempts to open other programs or having other programs open. I will go in and watch the video for any flagged issues and if any instances of academic dishonesty are discovered, it will result in a zero on that student's exam.
4. Please use the resources available to you and study for the exam before taking it! Do not just watch the lecture videos and take the exam immediately after. Remember, there are Listening Guides to help on the listening portion of the exam, and Study Guides to help with the information portion of the exam.

1. Watch all the lecture videos.
2. Go through all the listening guides and use them to identify which pieces will be tested on from that unit.
3. Memorize instrumentation for each genre/piece. For example if there is an excerpt containing only an organ playing complicated music, then the piece is not likely going to be Cantata no. 140: chorus, “Wachet auf ruft uns die Stimme” which uses basso continuo, strings, and voices. Rather, it is likely “Little” Fugue in G Minor, BWV 578 which uses a solo organ.
4. Memorize which pieces go with which composer especially when there are multiple pieces on the test by the same composer.
5. Pay attention to any other features which might set a piece apart from the others.
   • Take for example, the 3 opera pieces on Exam 2. "Thy Hand Belinda" from Dido and Aneas by Henry Purcell is the only opera on this exam which is in English. The other 2 operas are both in Italian BUT they are extremely different from one another in enough ways that, as long as you have identified which is which beforehand, you should have no trouble telling them apart.

• These performances must be sponsored by the SUU Music Department.
• These performances must be from the Spring 2026 semester.
• These performances must be viewed by livestream since there are no live SUU performances during the summer.
• Any exceptions to these guidelines must be approved through me before viewing the performance.
• Programs for Music Department performances are available at: https://drive.google.com/drive/folders/1o6S7Jf3O0fNvvIwxBHh9-0QA6CETtfq3).

• The date of the performance 
• The name(s) of either the ensemble or (in the case of solo recitals) the individual performer(s).

• Put the program for the performance where you can see it. (Programs can be found here in the "Previous Performances" folder)
• You are welcome to use phrases such as "this song was awesome" or "that performance was amazing" as long as you can back up what you mean using vocabulary from our class. For example, "That song was awesome! I really enjoyed the part where the tempo suddenly got faster and the dynamics got louder." or "I didn't enjoy the second piece of the performance very much. The timbre was too mellow and the melody was not very memorable."
• You must say something about every piece in the performance.
• The discussion portion of your videos should be 5-10 minutes.

Course Schedule (subject to change)

Week 1: May 11-17

• Lecture: Fundamentals
• Lecture: Fundamentals cont. 
• Lecture: The Middle Ages 
• The Middle Ages Listening Guide:
  • 1. ANONYMOUS ✥ Mass for Easter Day, Alleluia: "Pascha nostrum" (Gregorian chant, Middle Ages [precise date uncertain])
  • 2. LEONINUS ✥ Mass for Easter Day, Alleluia: “Pascha nostrum” (two-part organum, late 12th century)
  • 3. MACHAUT ✥ “Puis qu’en oubli” (polyphonic chanson [rondeau], ca. 1363)
• Lecture: The Renaissance
• The Renaissance Listening Guide:
  • 4. JOSQUIN ✥ “Ave Maria . . . Virgo serena” (motet, 1480s)
  • 5. PALESTRINA ✥ Pope Marcellus Mass: Gloria (polyphonic mass, ca. 1560)
  • 6. WEELKES ✥ “As Vesta Was from Latmos Hill Descending” (madrigal, 1600)
• Week 1 Opinion
  • Due May 17

Week 2: May 18-24

• Complete ALL Lectures and Listening Guides from Unit 1 BEFORE taking the exam
• Available on Canvas
• notes permitted
• Due no later than 11:59pm on May 19

• Lecture: The Early Baroque
• Early Baroque Listening Guide:
  • 7. MONTEVERDI ✥ Orfeo, Act III: aria, “Possente Spirto” (opera, 1607)
  • 8. PURCELL ✥ Dido and Aeneas: recitative, “Thy Hand, Belinda,” and aria, “When I am laid in earth” (opera, 1689)
• Lecture: Late Baroque Instrumental Music
• Late Baroque Instrumental Listening Guide:
  • 9. VIVALDI ✥ Violin Concerto in E Major, op. 8, no. 1, RV 269 (Spring, from The Four Seasons): first
    movement, Allegro (solo concerto, 1725)
  • 10. BACH ✥ Brandenburg Concerto no. 5 in D Major, BWV 1050: first movement, Allegro (concerto grosso, ca. 1721)
  • 11. BACH ✥ “Little” Fugue in G Minor, BWV 578 (organ fugue, ca. 1709)
• Concert Review:
  • ***CONCERT REVIEW VIDEO 1 due May 22***
• Week 2 Opinion
  • Due May 24

Week 3: May 25-31

• Lecture: Late Baroque Vocal Music
• Late Baroque Vocal Music Listening Guide:
  • 12. BACH ✥ Cantata no. 140: chorus, “Wachet auf ruft uns die Stimme” (Lutheran church cantata, 1731)
  • 13. HANDEL ✥ Giulio Cesare in Egitto, Act I: aria, “Empio, dirò, tu sei” (opera seria, 1724)
  • 14. HANDEL ✥ Messiah (oratorio, 1741)
    a. Recitative, “There Were Shepherds,” and chorus, “Glory to God”
    b. Chorus, “Hallelujah” 

• Complete ALL Lectures and Listening Guides from Unit 2 BEFORE taking the exam
• Available on Canvas
• notes are NOT permitted
• Due no later than 11:59pm on May 27

• Lecture: The Classical Symphony Part 1
• The Classical Symphony Listening Guide Part 1:
  • 15. MOZART ✥ Symphony no. 40 in G Minor, K. 550: first movement, Allegro molto (symphony, 1788)
  • 16. HAYDN ✥ Symphony no. 94 in G Major, Hob. I:94: second movement, Andante (symphony, 1791)
• Lecture: The Classical Symphony Part 2
• The Classical Symphony Listening Guide Part 2:
  • 17. MOZART ✥ Symphony no. 39 in E-flat Major, K. 543: third movement, Menuetto: Allegretto (symphony, 1788)
  • 18. HAYDN ✥ Symphony no. 95 in C Minor, Hob. I:95: fourth movement, Finale: Vivace (symphony, 1791) 
• Week 3 Opinion
  • Due May 31

Week 4: June 1-7

• Lecture: Other Classical Genres
• Other Classical Genres Listening Guide: 
  • 19. MOZART ✥ Piano Concerto in A Major, K. 488: first movement, Allegro (piano concerto, 1788)
  • 20. MOZART ✥ The Marriage of Figaro, Act I: trio, “Cosa sento! tosto andate” (opera buffa, 1786)
• Lecture: Beethoven part 1
• Beethoven Listening Guide Part 1
  • 21. BEETHOVEN ✥ Symphony no. 5 in C Minor, op. 67 (symphony, 1807–8)
    a. First movement, Allegro con brio
• Lecture: Beethoven part 2, Beethoven part 3
• Beethoven Listening Guide Part 2 and 3
  • 21. BEETHOVEN ✥ Symphony no. 5 in C Minor, op. 67 (symphony, 1807–8)
    b. Second movement, Andante con moto
    c. Third movement, Allegro 
    d. Fourth movement, Allegro

• Complete ALL Lectures and Listening Guides from Unit 3 BEFORE taking the exam
• Available on Canvas
• notes are NOT permitted
• Due no later than 11:59pm on Jun. 4

• Lecture: Early Romantic Song
• Early Romantic Song Listening Guide
  • 22. SCHUBERT ✥ “Erlkönig” (Lied,1815)
  • 23. CLARA SCHUMANN ✥ “Liebst du um Schönheit” (Lied, 1841)
  • 24. ROBERT SCHUMANN ✥ Dichterliebe, op. 48: no. 7, “Ich grolle nicht” (song cycle, 1840)
• Week 4 Opinion
  • Due June 7

Week 5: June 8-14

• Lecture: Early Romantic Piano Music
• Early Romantic Piano Music Listening Guide
  • 25. CHOPIN ✥ Nocturne in E-flat Major, op. 9, no. 2 (nocturne [character piece for piano], 1830–31)
  • 26. LISZT ✥ Hungarian Rhapsody no. 2 (rhapsody [character piece for piano], 1847)
• Lecture: Early Romantic Orchestral Music
• Early Romantic Orchestral Music Listening Guide
  • 27. MENDELSSOHN ✥ Violin Concerto in E Minor, op. 64: first movement, Allegro molto appassionato (violin concerto, 1844)
  • 28. BERLIOZ ✥ Fantastic Symphony: fourth movement, “March to the Scaffold” (program symphony, 1830)
• Lecture: Italian Romantic Opera
• Italian Romantic Opera Listening Guide
  • 29. VERDI ✥ Rigoletto, Act III: quartet, “Un dì, se ben rammentomi” (opera, 1851)
• Concert Review:
  • ***CONCERT REVIEW VIDEO 2 DUE June 12***
• Lecture: German Romantic Opera
• German Romantic Opera Listening Guide
  • 30. WAGNER ✥ Die Walküre, Act III: “Wotan’s Farewell”(music drama [opera], 1870)
• Week 5 Opinion
  • Due June 14

Week 6: June 15-21

• Lecture: Late Romantic Orchestral Music
• Late Romantic Orchestral Music Listening Guide
  • 31. TCHAIKOVSKY ✥ Romeo and Juliet Overture-Fantasy (symphonic poem, 1880)
  • 32. BRAHMS ✥ Symphony no. 3 in F Major, op. 90: third movement, Poco allegretto (symphony, 1883)

• Complete ALL Lectures and Listening Guides from Unit 4 BEFORE taking the exam
• Available on Canvas
• notes are NOT permitted
• Due no later than 11:59pm on June 16

•  Lecture: The Early Modernists: Parisian Breakthroughs
• The Early Modernists: Parisian Breakthroughs Listening Guide:
  • 33. DEBUSSY ✥ Prelude to the Afternoon of a Faun (symphonic poem, 1894)
  • 34. STRAVINSKY ✥ The Rite of Spring, Part One: “Dance of the Adolescents” (ballet, 1913)
• Lecture: The Early Modernists: The Second Viennese School
• The Early Modernists: The Second Viennese School Listening Guide:
  • 35. SCHOENBERG ✥ Pierrot lunaire: no. 18, “Der Mondfleck” (song cycle, 1912)
  • 36. BERG ✥ Wozzeck: Act III, Scene 4 (opera, 1917–22)
• Lecture: Between Two World Wars
• Between Two World Wars Listening Guide:
  • 37. BARTÓK ✥ Music for Strings, Percussion, and Celesta: second movement, Allegro (orchestral suite, 1937)
  • 38. STILL ✥ Afro-American Symphony: third movement, Animato (symphony, 1930)
  • 39. COPLAND ✥ Appalachian Spring: variations on “Simple Gifts” (ballet suite, 1944)
• Week 6 Opinion
  • Due June 21

Week 7: June 22-28

• Lecture: The Later Twentieth Century
• The Later Twentieth Century Listening Guide:
  • 40. CAGE ✥ Sonatas and Interludes: Sonata II (suite for prepared piano, 1946–48)
  • 41. LIGETI ✥ Atmosphères (work for large orchestra, 1961)
  • 42. ADAMS ✥ Short Ride in a Fast Machine (orchestral fanfare, 1986)
• Concert Review:
  • ***CONCERT REVIEW VIDEO 3 DUE June 25***
• Performance List:
  • ***Performance List Due June 26***

• Complete ALL Lectures and Listening Guides from Unit 5 BEFORE taking the exam
• Available on Canvas
• notes are NOT permitted
• Due no later than 11:59pm on Jun. 28

Citizenship. Students are expected to contribute meaningfully to the overall learning environment of the course. While the instructor will not keep track of your attendance or of the quantity or quality of comments you make in class, they do reserve the right to adjust the grade downward if a student exhibits an unacceptable pattern of absence, disruption, or non-participation.