Hi everyone.
I will not be at my office hours today. I'm not feeling well. I will post when my replacement hours will be soon. Also, don't expect quiz grades to be updated for another week. I may get them done sooner, but I cannot promise anything.
AND a REMINDER:
NO CLASS TODAY! Enjoy your day off :)
Tuesday, February 16, 2010
Friday, February 5, 2010
Grading Scale
| GPA | Total Points |
| 4 | 100 |
| 4 | 98 |
| 3.9 | 96 |
| 3.8 | 94 |
| 3.6 | 92 |
| 3.5 | 90 |
| 3.3 | 88 |
| 3.1 | 86 |
| 3 | 84 |
| 2.8 | 82 |
| 2.5 | 80 |
| 2.3 | 78 |
| 2.1 | 76 |
| 1.9 | 74 |
| 1.7 | 72 |
| 1.5 | 70 |
| 1.3 | 68 |
| 1.1 | 66 |
| 1 | 64 |
| 0.8 | 62 |
| 0.7 | 60 |
You can keep track of your total points by using the Evaluation portion of your syllabus:
-->
Total Points
Possible
|
% of Final Grade
|
|
Online quizzes –
will cover
material from the book. Exams will be available a week at a time and have a time limit. 4 multiple-choice questions, each worth 2 points. |
48
|
48%
|
Listening Exam –
will cover
material presented in lectures, given the last day of class. 11 multiple-choice questions, each worth 2 points. |
22
|
22%
|
Concert
Attendance – You need to
attend 5 concerts. They can be ANY UW School of Music concert, ANY concert at Benaroya Hall (including Nordstrom Recital Hall), or any other concert from our ensemble list on the website. Each concert is worth 6 points. |
30
|
30%
|
Total
|
100 points
|
100%
|
Gospel Choir Concert
A few people have emailed me about the Gospel Choir Concert not being on the notecard concert list.
I have been informed by the higher-ups that it IS a notecard concert and you can attend with the purchase of the notecard ticket.
See you Tuesday!
I have been informed by the higher-ups that it IS a notecard concert and you can attend with the purchase of the notecard ticket.
See you Tuesday!
Thursday, February 4, 2010
Updates
I will post the grading scale for the class by Monday.
Reminder: Class on February 16th is canceled. We still have class next week (the 9th)!
Another Reminder: The next, and final, quiz is cumulative. If you want to know what questions you got wrong on the quiz and what the right answers were you need to come to my office hours. I cannot tell you the correct answers over email, I can only tell you your grades.
I will be posting the guide for how to fill out the concert attendance scantrons in the next few weeks. Please visit the website at least once a week to check for updates.
Have a good weekend!
Reminder: Class on February 16th is canceled. We still have class next week (the 9th)!
Another Reminder: The next, and final, quiz is cumulative. If you want to know what questions you got wrong on the quiz and what the right answers were you need to come to my office hours. I cannot tell you the correct answers over email, I can only tell you your grades.
I will be posting the guide for how to fill out the concert attendance scantrons in the next few weeks. Please visit the website at least once a week to check for updates.
Have a good weekend!
Thursday, January 21, 2010
class cancellation
Please be advised that due to a cancellation of a guest lecturer, there will be no class on Tuesday, Feb. 16.
Tuesday, January 5, 2010
Brief overview of stylistic periods in Western music
"Classical" - a term used to reference a specific period of about 60 years. Also used to refer to whole body of Western art music, regardless of when written.
BAROQUE (1600-1750)
Outgrowth of Renaissance musical style (depersonalization, control and serenity)
The Baroque, by contrast, loved colossal artistic statements
Music - exuberance, passion, sudden dynamic contrasts and harmonic and instrumental color. Music has complex, dense textures, constant rhythmic propulsion, changes of pace and more chromaticism (using notes outside the key of the piece)
Architecture enormous churches and extravagant palaces.
Painting - huge canvasses exploding with brilliant colors, strong contrasts in light and shade and strong emotions.
Noted composers: J.S. Bach, George Frideric Handel, Antonio Vivaldi, Domenico Scarlatti, Henry Purcell and Giovanni Gabrielli
CLASSICAL (1750-1825)
First 25 years of the classical era (1750-1775) called the Rococo. This was a period of "cooling off" from the heated complexity of the Baroque period.
The new trend ushered in music of considerable elegance, restraint, poise, and gentility. Gradually, the surface charm yielded to the greater power and vision of classical composers.
Vienna, Austria became the center of the mature classical style
As court life diminished, music was heard in a variety of new settings, in public concerts and in social and political events.
Classical characteristics - clearer, simpler forms, thinner texture, more use of a single melody supported by accompaniment (called homophonic) rather than numerous, independent parts or voices (called polyphonic) as in the Baroque period.
Noted composers: Wolfgang Amadeus Mozart, Josef Haydn, Ludwig van Beethoven. They expanded the repertoire of chamber music, string quartets and symphonies.
ROMANTIC (1810-1900)
Emotion and instinct now were seen as sources of truth.
Objectivity, equilibrium and restraint of the Classical period gradually yielded to explosive philosophies and emotions.
General characteristics " personalization, impulsive emotional display, baring the soul, attraction for the exotic, mysterious, enchanting, fantastic and the natural. Composed works were larger-scale in forms, ensembles and durations.
Literature and Painting " reflected world filled with supernatural, magical, imaginative freedom and mystery
Music now allowed lavish, unrestrained harmonic and instrumental color, hot emotions and intense poetic tenderness.
This period also bred interesting performers and personalities, perhaps like today's rock stars.
Franz Liszt, pianist and composer whose technical prowess and dynamic stage presence are legendary - it was said women swooned and even picked up his cigar butts and put them in their bosoms!
Nicolai Paganini " violinist who strode onstage in a black cloak and played with such wizardry that it was said he was in league with the devil and that he played the violin with strings from the intestines of his late wife!
Noted composers: Brahms, Schumann, Schubert, Liszt, Mendelssohn, Tschaikowsky, Grieg, Wagner, Rachmaninoff
IMPRESSIONISM (1890-1925)
Out of the excesses of the previous period came the cool, refreshing alternative of impressionism. Inspiration came from without, not from within oneself.
Painting " blurred outlines, melting colors into one another. Depictions of sunsets, fog, moonlight, water and fireworks.
Noted painters: Monet, Manet, Pissaro, Renoir
Poetry - nuance was the most important. Symbolist poets used words to suggest an image and to act as a symbol, hence the name "Symbolist".
Music - intended to create atmosphere and project a beautiful moment or sensory effect. New and exotic sounds employed, more flexible rhythms, melodies more serene, less goal-oriented, and harmonies were used to create sonority rather than ground us in a particular key. Often gives feeling of drifting.
Noted composers: Debussy, Ravel, Resphigi, Griffes
20th CENTURY
Most fragmented of all the periods. Complicated, turbulent and exhilarating
One side - music offered highly controlled statements
Other side - music was totally free in expression
Experimentation in rhythm, form, melody, tuning of instruments
Traditional instruments were used but sometimes played with completely new techniques (e.g. "prepared piano"
where nails, paper clips, metal, bolts, plastic and paper were placed inside the piano on the strings to create different effects)
Electronic and computer-generated music came into prominence
Cross-polinization of world cultures with popular and commercial music
Some composers looked to the past in neobaroque, neoclassical and neoromantic inflections.
Noted composers: Bartok, Barber, Bernstein, Copland, Crumb, Gershwin, Ives, Prokofieff, Schoenberg, Stravinsky
BAROQUE (1600-1750)
Outgrowth of Renaissance musical style (depersonalization, control and serenity)
The Baroque, by contrast, loved colossal artistic statements
Music - exuberance, passion, sudden dynamic contrasts and harmonic and instrumental color. Music has complex, dense textures, constant rhythmic propulsion, changes of pace and more chromaticism (using notes outside the key of the piece)
Architecture enormous churches and extravagant palaces.
Painting - huge canvasses exploding with brilliant colors, strong contrasts in light and shade and strong emotions.
Noted composers: J.S. Bach, George Frideric Handel, Antonio Vivaldi, Domenico Scarlatti, Henry Purcell and Giovanni Gabrielli
CLASSICAL (1750-1825)
First 25 years of the classical era (1750-1775) called the Rococo. This was a period of "cooling off" from the heated complexity of the Baroque period.
The new trend ushered in music of considerable elegance, restraint, poise, and gentility. Gradually, the surface charm yielded to the greater power and vision of classical composers.
Vienna, Austria became the center of the mature classical style
As court life diminished, music was heard in a variety of new settings, in public concerts and in social and political events.
Classical characteristics - clearer, simpler forms, thinner texture, more use of a single melody supported by accompaniment (called homophonic) rather than numerous, independent parts or voices (called polyphonic) as in the Baroque period.
Noted composers: Wolfgang Amadeus Mozart, Josef Haydn, Ludwig van Beethoven. They expanded the repertoire of chamber music, string quartets and symphonies.
ROMANTIC (1810-1900)
Emotion and instinct now were seen as sources of truth.
Objectivity, equilibrium and restraint of the Classical period gradually yielded to explosive philosophies and emotions.
General characteristics " personalization, impulsive emotional display, baring the soul, attraction for the exotic, mysterious, enchanting, fantastic and the natural. Composed works were larger-scale in forms, ensembles and durations.
Literature and Painting " reflected world filled with supernatural, magical, imaginative freedom and mystery
Music now allowed lavish, unrestrained harmonic and instrumental color, hot emotions and intense poetic tenderness.
This period also bred interesting performers and personalities, perhaps like today's rock stars.
Franz Liszt, pianist and composer whose technical prowess and dynamic stage presence are legendary - it was said women swooned and even picked up his cigar butts and put them in their bosoms!
Nicolai Paganini " violinist who strode onstage in a black cloak and played with such wizardry that it was said he was in league with the devil and that he played the violin with strings from the intestines of his late wife!
Noted composers: Brahms, Schumann, Schubert, Liszt, Mendelssohn, Tschaikowsky, Grieg, Wagner, Rachmaninoff
IMPRESSIONISM (1890-1925)
Out of the excesses of the previous period came the cool, refreshing alternative of impressionism. Inspiration came from without, not from within oneself.
Painting " blurred outlines, melting colors into one another. Depictions of sunsets, fog, moonlight, water and fireworks.
Noted painters: Monet, Manet, Pissaro, Renoir
Poetry - nuance was the most important. Symbolist poets used words to suggest an image and to act as a symbol, hence the name "Symbolist".
Music - intended to create atmosphere and project a beautiful moment or sensory effect. New and exotic sounds employed, more flexible rhythms, melodies more serene, less goal-oriented, and harmonies were used to create sonority rather than ground us in a particular key. Often gives feeling of drifting.
Noted composers: Debussy, Ravel, Resphigi, Griffes
20th CENTURY
Most fragmented of all the periods. Complicated, turbulent and exhilarating
One side - music offered highly controlled statements
Other side - music was totally free in expression
Experimentation in rhythm, form, melody, tuning of instruments
Traditional instruments were used but sometimes played with completely new techniques (e.g. "prepared piano"
where nails, paper clips, metal, bolts, plastic and paper were placed inside the piano on the strings to create different effects)
Electronic and computer-generated music came into prominence
Cross-polinization of world cultures with popular and commercial music
Some composers looked to the past in neobaroque, neoclassical and neoromantic inflections.
Noted composers: Bartok, Barber, Bernstein, Copland, Crumb, Gershwin, Ives, Prokofieff, Schoenberg, Stravinsky
Wednesday, December 16, 2009
Music 185 Winter 2010 Syllabus
Music 185 - "The Concert Season"
Syllabus Winter 2010
Coordinator of lecture series: Professor Patricia Michaelian
Room 204 - 543-6926
Teaching Assistant: Nicole Harreld
Office Location: Room 13 of the Music Building
Phone number: (206) 543-9339
E-mail: nharreld@u.washington.edu
Office Hours: Tuesdays from 1:30PM to 3:20PM
All inquiries concerning grades or attendance will be handled by the TA. You may contact her by phone or e-mail or see her by appointment during her office hours.
Professor Michaelian is NOT keeping any records of grades or attendance and will not be available for consultation.
Class meets 3:30-4:20 Tuesdays in Kane Hall 120
All concerts unless otherwise noted will be in Meany Hall at 7:30
QUIZ DATES: February 2 and March 9
CLASS WEBSITE: https://bowties185.blogspot.com
Concert #1 January 28 University Symphony
Concert #2 February 18 Bands
Concert #3 February 25 Percussion Ensemble
Concert #4 March 3 Gospel Choir
Concert #5 March 8 Studio Jazz Ensemble
Concert #6 March 9 Wind Ensemble
Concert #7 March 12 UW Symphony/Combined Choruses
To request disability accommodations, contact the Disability Services Office at (206) 543-6450, dso@u.washington.edu or call Terry Dobrich at (206) 685-7208
COURSE INFORMATION
There are two components to this class: weekly lectures given by various faculty and voluntary concert attendance. Two quizzes will draw on material presented in the lectures. Students are responsible for taking notes at these lectures, as there will be no review sessions nor study guides provided. Our TA has regular office hours to meet with students who have questions, but he will NOT provide missed notes nor will he be available for last-minute consultations before the quizzes.
No textbooks are needed for this course, but students interested in attending the concerts will be issued a coupon at the second class entitling them to purchase a special “notecard”, available only to the Music 185 class. The coupon must then be taken to the UW Ticket Office, located at 4001 University Way, NE, (543-4880) to be surrendered upon purchase of the the notecard.
This notecard ($15) will admit you into the Meany Hall lobby for the concerts listed in the syllabus as well as any other concerts presented by the School of Music, but only in the quarter that you are registered for Music 185. PLEASE REMEMBER THAT YOUR COUPON WILL NOT ADMIT YOU TO THE CONCERT HALL. IT MUST BE EXCHANGED AT THE TICKET OFFICE LISTED ABOVE FOR THE SPECIAL NOTECARD. ONLY ONE COUPON PER STUDENT IS NEEDED!!
You should purchase three scantron forms, available at the University Bookstore. Two of those forms will be used for the two quizzes, and the other will be used to record any concerts that you attend.
CONCERT ATTENDANCE
Concert attendance, though not required, is strongly recommended as an important component of the class and one that will greatly enhance your experience. For each concert that you do attend (maximum of four), you will be awarded two points (the equivalent of one quiz question) that will be added to your total points earned for the class. Even though attendance will not be monitored, you MAY NOT run into the concert hall, grab a program and leave nor take more than one program. If abuses such as these are reported to me by School of Music administration or Meany Hall ushers, mandatory attendance will be reinstated and any extra credit forfeited. Please arrive on time, as late seating is extremely disruptive and sometimes not allowed. If you must leave before the end of the concert, wait until the intermission so as not to disturb the performers or others in the audience.
.
VERY IMPORTANT!!
One scantron form is required to record all the concerts you have attended. On the front, you must fill out your name and ID#, both in writing and in the bubbles and indicate the correct concert number(s) you have attended as listed in the syllabus. On the back of the form, bubble in letter A for each concert listed on the syllabus that you have attended up to a maximum of four: 1a (for Concert #1), 2a (for Concert #2), 3a (for Concert #3), 4a (for Concert #4), 5a (for Concert #5), 6a (for Concert #6), 7a (for Concert #7), 8a (for Concert #8), 9a (for Concert #9). BUBBLE IN ONLY THE CORRESPONDING NUMBERS OF THOSE CONCERTS YOU HAVE ATTENDED. LEAVE THE OTHER NUMBERS BLANK.
For example, if you have attended only Concert #2 during the quarter, you will write on the front of the form Concert #2 and bubble in 2a on the back. If you have attended 4 concerts, e.g. Concerts 1, 5, 6 ,8, you will write on the front Concerts 1, 5, 6, 8 (or whichever ones you attended) and bubble in 1a, 5a, 6a, 8a on the back of the form. All the other questions on the back of the form should not be bubbled in.
You must paper clip a program (OR PUT THE PROGRAMS AND SCANTRON INTO A FOLDER OR ENVELOPE) to the scantron for each concert attended. DO NOT STAPLE OR TAPE THE PROGRAMS TO THE SCANTRON!! DO NOT FOLD OR CRUMPLE SCANTRON FORMS and use a #2 pencil only!! THE PROGRAMS MUST HAVE YOUR STUDENT ID NUMBER AND FULL NAME ON THEM OR YOU WILL NOT RECEIVE CREDIT.
Your scantron form must be filled out correctly with all the stated information or you will not receive credit for your attendance. Absolutely NO EXCEPTIONS WILL BE MADE FOR FORGETFULNESS OR INABILITY TO FOLLOW INSTRUCTIONS!!
Return your form and the attached program(S) to NICOLE when you have completed your attendance. You may bring them to class or give them to HER during one of hER office hours. All forms must be submitted by 9:00 A.M. on Monday, MARCH 15 and returned to Nicole’S office (Room 13 in the Music Building). IF SHE IS NOT THERE, PLEASE SLIDE YOUR FORM UNDER HER DOOR. THE MUSIC BUILDING IS OPEN ON THE WEEKEND. We cannot give credit for any forms submitted after that deadline.
GRADING POLICY AND EXAMS
Final grades will be based on total possible points (70) earned during the quarter from the two quizzes. Quiz 1 will have 15 questions and Quiz 2 will have 20 questions; both will be in multiple-choice format, and each question is worth 2 points. Remember, you have the possibility of bettering your total score by attending up to four concerts. You cannot receive credit for attending more than four concerts.
Quiz 1 will be given on Tuesday, February 2 from 3:30-4:20 P.M. and will be worth 30 points. Quiz 2 will be given on Tuesday, March 9 from 3:30-4:20 P.M. and will be worth 40 points. Quiz 2 will be cumulative. Questions will be taken from material presented in the lectures. Do not bring any extra paper or notes to the exams and leave one seat between you and the next person. You will use one mark-sense per quiz and the distributed test. Bring a #2 pencil and an eraser.
There can be no change of the date or time of these quizzes.
CONCERT ETIQUETTE
For many of you, these concerts will be your first experience hearing classical music in a live setting. It is important to understand that the audience can very easily distract the performer(s) with unnecessary noises. The degree of concentration required for the performer to achieve what he/she has spent countless hours refining is something most people do not readily comprehend. Therefore, the audience is expected to remain silent during the performance. Talking, coughing, whispering, shuffling programs, opening candy wrappers, putting feet up on seats ahead, using laptops, etc. are all tremendously disrespectful behaviors which effectively jeopardize everyone's enjoyment. Also, headphones, CD players or cassette players are not allowed. Cell phones and pagers going off during concerts will not be tolerated. Turn them OFF during the concerts and during our class sessions. Better still, leave them at home, if possible.
Although the stated concert etiquette may strike you as stifling, think of it as a way to personalize your own experience - to allow the artist to effectively communicate with you alone. Remember, what you feel and respond to is different from anyone else. This is the beauty of art and in particular, live music. It is perfectly ok to not like something, but it is NOT ok to insult the performer. At a concert or recital, audiences show their appreciation and express their enthusiasm by applauding at the end of a work; if a work has more than one movement (the classical symphony, for example, usually has four movements, sometimes three), audiences do not customarily applaud between movements. At an opera, however, audiences often applaud at the end of particularly significant arias (pieces spotlighting a solo vocalist), duets or ensembles (pieces for three or more singers).
Taking photographs and using recording equipment are not permitted at either concerts or operas.
THE MUSIC 185 CLASS MUST SIT ON THE MAIN FLOOR ONLY – NOT THE BALCONY
Syllabus Winter 2010
Coordinator of lecture series: Professor Patricia Michaelian
Room 204 - 543-6926
Teaching Assistant: Nicole Harreld
Office Location: Room 13 of the Music Building
Phone number: (206) 543-9339
E-mail: nharreld@u.washington.edu
Office Hours: Tuesdays from 1:30PM to 3:20PM
All inquiries concerning grades or attendance will be handled by the TA. You may contact her by phone or e-mail or see her by appointment during her office hours.
Professor Michaelian is NOT keeping any records of grades or attendance and will not be available for consultation.
Class meets 3:30-4:20 Tuesdays in Kane Hall 120
All concerts unless otherwise noted will be in Meany Hall at 7:30
QUIZ DATES: February 2 and March 9
CLASS WEBSITE: https://bowties185.blogspot.com
Concert #1 January 28 University Symphony
Concert #2 February 18 Bands
Concert #3 February 25 Percussion Ensemble
Concert #4 March 3 Gospel Choir
Concert #5 March 8 Studio Jazz Ensemble
Concert #6 March 9 Wind Ensemble
Concert #7 March 12 UW Symphony/Combined Choruses
To request disability accommodations, contact the Disability Services Office at (206) 543-6450, dso@u.washington.edu or call Terry Dobrich at (206) 685-7208
COURSE INFORMATION
There are two components to this class: weekly lectures given by various faculty and voluntary concert attendance. Two quizzes will draw on material presented in the lectures. Students are responsible for taking notes at these lectures, as there will be no review sessions nor study guides provided. Our TA has regular office hours to meet with students who have questions, but he will NOT provide missed notes nor will he be available for last-minute consultations before the quizzes.
No textbooks are needed for this course, but students interested in attending the concerts will be issued a coupon at the second class entitling them to purchase a special “notecard”, available only to the Music 185 class. The coupon must then be taken to the UW Ticket Office, located at 4001 University Way, NE, (543-4880) to be surrendered upon purchase of the the notecard.
This notecard ($15) will admit you into the Meany Hall lobby for the concerts listed in the syllabus as well as any other concerts presented by the School of Music, but only in the quarter that you are registered for Music 185. PLEASE REMEMBER THAT YOUR COUPON WILL NOT ADMIT YOU TO THE CONCERT HALL. IT MUST BE EXCHANGED AT THE TICKET OFFICE LISTED ABOVE FOR THE SPECIAL NOTECARD. ONLY ONE COUPON PER STUDENT IS NEEDED!!
You should purchase three scantron forms, available at the University Bookstore. Two of those forms will be used for the two quizzes, and the other will be used to record any concerts that you attend.
CONCERT ATTENDANCE
Concert attendance, though not required, is strongly recommended as an important component of the class and one that will greatly enhance your experience. For each concert that you do attend (maximum of four), you will be awarded two points (the equivalent of one quiz question) that will be added to your total points earned for the class. Even though attendance will not be monitored, you MAY NOT run into the concert hall, grab a program and leave nor take more than one program. If abuses such as these are reported to me by School of Music administration or Meany Hall ushers, mandatory attendance will be reinstated and any extra credit forfeited. Please arrive on time, as late seating is extremely disruptive and sometimes not allowed. If you must leave before the end of the concert, wait until the intermission so as not to disturb the performers or others in the audience.
.
VERY IMPORTANT!!
One scantron form is required to record all the concerts you have attended. On the front, you must fill out your name and ID#, both in writing and in the bubbles and indicate the correct concert number(s) you have attended as listed in the syllabus. On the back of the form, bubble in letter A for each concert listed on the syllabus that you have attended up to a maximum of four: 1a (for Concert #1), 2a (for Concert #2), 3a (for Concert #3), 4a (for Concert #4), 5a (for Concert #5), 6a (for Concert #6), 7a (for Concert #7), 8a (for Concert #8), 9a (for Concert #9). BUBBLE IN ONLY THE CORRESPONDING NUMBERS OF THOSE CONCERTS YOU HAVE ATTENDED. LEAVE THE OTHER NUMBERS BLANK.
For example, if you have attended only Concert #2 during the quarter, you will write on the front of the form Concert #2 and bubble in 2a on the back. If you have attended 4 concerts, e.g. Concerts 1, 5, 6 ,8, you will write on the front Concerts 1, 5, 6, 8 (or whichever ones you attended) and bubble in 1a, 5a, 6a, 8a on the back of the form. All the other questions on the back of the form should not be bubbled in.
You must paper clip a program (OR PUT THE PROGRAMS AND SCANTRON INTO A FOLDER OR ENVELOPE) to the scantron for each concert attended. DO NOT STAPLE OR TAPE THE PROGRAMS TO THE SCANTRON!! DO NOT FOLD OR CRUMPLE SCANTRON FORMS and use a #2 pencil only!! THE PROGRAMS MUST HAVE YOUR STUDENT ID NUMBER AND FULL NAME ON THEM OR YOU WILL NOT RECEIVE CREDIT.
Your scantron form must be filled out correctly with all the stated information or you will not receive credit for your attendance. Absolutely NO EXCEPTIONS WILL BE MADE FOR FORGETFULNESS OR INABILITY TO FOLLOW INSTRUCTIONS!!
Return your form and the attached program(S) to NICOLE when you have completed your attendance. You may bring them to class or give them to HER during one of hER office hours. All forms must be submitted by 9:00 A.M. on Monday, MARCH 15 and returned to Nicole’S office (Room 13 in the Music Building). IF SHE IS NOT THERE, PLEASE SLIDE YOUR FORM UNDER HER DOOR. THE MUSIC BUILDING IS OPEN ON THE WEEKEND. We cannot give credit for any forms submitted after that deadline.
GRADING POLICY AND EXAMS
Final grades will be based on total possible points (70) earned during the quarter from the two quizzes. Quiz 1 will have 15 questions and Quiz 2 will have 20 questions; both will be in multiple-choice format, and each question is worth 2 points. Remember, you have the possibility of bettering your total score by attending up to four concerts. You cannot receive credit for attending more than four concerts.
Quiz 1 will be given on Tuesday, February 2 from 3:30-4:20 P.M. and will be worth 30 points. Quiz 2 will be given on Tuesday, March 9 from 3:30-4:20 P.M. and will be worth 40 points. Quiz 2 will be cumulative. Questions will be taken from material presented in the lectures. Do not bring any extra paper or notes to the exams and leave one seat between you and the next person. You will use one mark-sense per quiz and the distributed test. Bring a #2 pencil and an eraser.
There can be no change of the date or time of these quizzes.
CONCERT ETIQUETTE
For many of you, these concerts will be your first experience hearing classical music in a live setting. It is important to understand that the audience can very easily distract the performer(s) with unnecessary noises. The degree of concentration required for the performer to achieve what he/she has spent countless hours refining is something most people do not readily comprehend. Therefore, the audience is expected to remain silent during the performance. Talking, coughing, whispering, shuffling programs, opening candy wrappers, putting feet up on seats ahead, using laptops, etc. are all tremendously disrespectful behaviors which effectively jeopardize everyone's enjoyment. Also, headphones, CD players or cassette players are not allowed. Cell phones and pagers going off during concerts will not be tolerated. Turn them OFF during the concerts and during our class sessions. Better still, leave them at home, if possible.
Although the stated concert etiquette may strike you as stifling, think of it as a way to personalize your own experience - to allow the artist to effectively communicate with you alone. Remember, what you feel and respond to is different from anyone else. This is the beauty of art and in particular, live music. It is perfectly ok to not like something, but it is NOT ok to insult the performer. At a concert or recital, audiences show their appreciation and express their enthusiasm by applauding at the end of a work; if a work has more than one movement (the classical symphony, for example, usually has four movements, sometimes three), audiences do not customarily applaud between movements. At an opera, however, audiences often applaud at the end of particularly significant arias (pieces spotlighting a solo vocalist), duets or ensembles (pieces for three or more singers).
Taking photographs and using recording equipment are not permitted at either concerts or operas.
THE MUSIC 185 CLASS MUST SIT ON THE MAIN FLOOR ONLY – NOT THE BALCONY
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