Experiencing Music (MUSC 126): Schedule

Prof. Cashner (Fall 2021)


Unit 1. Genre: Sound and Society

Week 1. Orientation

Thu 8/26. Music as Sonic and Social

Week 2. Nocturnes

Tue 8/31. What was a nocturne?


  1. Locke (2002) (Blackboard)
  2. New Grove Dictionary of Music (Grove Music Online [Grove] 2020): Entries on Nocturne, Chopin (throughout the course, look up anything you’d like more background on in Grove)

Listening (on YouTube playlist)

  1. Frederic Chopin (1810–49), Nocturne in E-flat major, Opus 9, number 2
  2. Chopin, Nocturne in C-sharp minor, Op. 27, no. 1
  3. Chopin, Nocturne in G minor, Op. 15, no. 3


  1. John Field (1782–1837), Nocturne no. 4 in A major
  2. Vincenzo Bellini (1801–35), La sonnambula (opera): “Ah, non credea mirarti”
  3. Louis Moreau Gottschalk (1829–69), La chute des Feuilles (Nocturne)
  4. Chopin, Polonaise in E-flat minor, Op. 26, no. 2


  1. Kallberg (1988)

Week 3. Piano Music in Society

Tue 9/7. Genre and gender


  1. Chopin, Nocturne in C minor, Op. 48, no. 1
  2. Chopin, Nocturne in B major, Op. 62, no. 1
  3. Fanny Mendelssohn Hensel (1805–47), Notturno (Nocturne) in G minor
  4. Clara Schumann (1819–1896), Nocturne in F major, Op. 6, no. 2
  5. Clara Schumann, Scherzo no. 2 in C minor


  1. Huneker (1900), “The Nocturnes”

Thu 9/9. Waltzes, Marches, Art and Entertainment

Journal 1 due, 9 a.m.


  1. Franz Schubert (1797–1828), Marche Militaire for piano, four hands
  2. Antonín Dvorák (1840–1904), Slavonic Dance in G minor, Op. 46, no. 8 for piano, four hands
  3. Johann Strauss, Jr. (1825–99), On the Beautiful Blue Danube (Waltz)
  4. Ethel Smyth (1858–1944), March of the Women (lyrics)


  1. Solie (2004)

Week 4. Rags

Tue 9/14. What was a rag?


  1. Scott Joplin (1868–1917), Maple Leaf Rag
  2. Joplin, Gladiolus Rag
  3. Joplin, Pine Apple Rag
  4. Joplin, “Stoptime” Rag
  5. Joplin, Magnetic Rag
  6. Scott Joplin and Louis Chauvin (1881–1908), Heliotrope Bouqet: A Slow Drag Two Step


  1. Grove on Joplin, rag
  2. Rabinowitz (1991)


  1. Joplin, Euphonic Sounds: A Syncopated Novelty
  2. Joplin, Bethena (A Concert Waltz)
  3. John Philip Sousa (1854–1932), The Stars and Stripes Forever (March)
  4. Chopin, Valse brillante in A minor, Op. 34, no. 2
  5. Joplin, Treemonisha (opera), Act III, “A Real Slow Drag”


  1. Warfield (2011)

Week 5. Rags and Black Musical Heritage

Tue 9/21. Rags and Early Jazz Genres

Journal 2 due, 9 a.m.


  1. “Jelly Roll” Morton (1890–1941), recording of Joplin, Maple Leaf Rag
  2. Morton, Black Bottom Stomp
  3. Art Tatum (1909–56), Tiger Rag
  4. Louis Armstrong (1901–71), Tiger Rag
  5. Louis Armstrong and King Oliver’s Creole Jazz Band, Chimes Blues
  6. Bessie Smith (1894–1937), Lost Your Head Blues
  7. W. C. Handy (1873–1958), St. Louis Blues
  8. George Gershwin (1898–1937), Fascinatin’ Rhythm


  1. Carney (2006)

Thu 9/23. Rag Imitations and Race


  1. Jim Crow Museum of Racist Memorabilia, Videos: “Jump Jim Crow,” “Blackening Up,” and “Sheet Music Montage” (on museum playlist)
  2. Claude Debussy (1862–1918), Preludes: “Golliwog’s Cakewalk”
  3. Igor Stravinsky (1882–1971), Piano-Rag-Music
  4. Aaron Copland (1900–90), Three Moods, mvt. 3: “Jazzy”
  5. William Bolcom (b. 1938), Graceful Ghost Rag
  6. New York Jazzharmonic, Scott Joplin Medley


  1. Martelly (2010)

Unit 2. Choral Canons: Innovation within Tradition

Week 6. Canon and Classics

Tue 9/28. What Is a Classic?

  1. Johann Sebastian Bach, The Well-Tempered Clavier Book I: Prelude and Fugue in C
  2. Arvo Pärt, Credo


  1. Coetzee (2001) (Blackboard)

Thu 9/30. What Is a Canon?


  1. Giovanni Pierluigi da Palestrina, Missa ad fugam: Agnus Dei

Week 7. Celestial and Social Harmony

Tue 10/5. Colonial Counterpoint

Journal 3 due, 9 a.m.


  1. Juan Gutiérrez de Padilla, Missa ‘Ego flos campi’: Agnus Dei


  1. Baker (2011) (Blackboard)

Thu 10/7. Calculcating Counterpoint


  1. The arca musarithmica of Athanasius Kircher, http://www.arca1650.info

Week 8. Monuments

Tue 10/12. (No class: Fall break)

Thu 10/14. Canon as Monument

Values essay due, 9 a.m.


  1. J. S. Bach, Mass in B minor:
  2. J. S. Bach, Vor deinen Thron tret’ ich (Before your throne I stand)


  1. Yearsley (2002) (Blackboard)

Week 9. Cultural Supremacy and Protest

Tue 10/19. Canon as “Classical Masterpiece”

Journal 4 due, 9 a.m.


  1. George Frederic Handel, Messiah: “Hallelujah” Chorus
  2. Wolfgang Amadé Mozart, Mass in C minor: Gloria
  3. Ludwig van Beethoven, Missa solemnis: Agnus Dei

Thu 10/21. Canon, Law, Protest


  1. William Grant Still, And They Lynched Him on a Tree


  1. Shirley (1994)

Unit 3. Voices: Identity and Community

Week 10. Ray Charles

Tue 10/26. Country and Western and Black and White

Group presentation proposal due, 9 a.m.


  1. Ray Charles, Modern Sounds in Country and Western Music, vol. 1


  1. Cantwell (2019)

Thu 10/28. Appropriation


  1. Eddy Arnold, “Just a Little Lovin’”
  2. Ray Price, “Born to Lose”
  3. Challenge: Find the other original recordings Ray Charles is covering


  1. Stanton and Schofield (2019)

Week 11. Beyoncé

Tue 11/2. Lemonade: Concept and Themes

Journal 5 due, 9 a.m.


  1. Beyoncé, Lemonade


  1. Wikipedia article: “Lemonade (Beyoncé album)”

Thu 11/4. Lemonade: Identification


  1. Hartmann (2017)

Week 12. Beyoncé (continued)

Tue 11/9. Lemonade: Music


  1. Listen to full Lemonade album, available for free on YouTube Music or other streaming services, or Beyoncé’s website

Thu 11/11. (No class)

Week 13. Kendrick Lamar

Tue 11/16. Hip-Hop and Society

Journal 6 due, 9 a.m.


  1. Kendrick Lamar, DAMN.


  1. Robinson and Harris (2020) (Blackboard)
  2. Pulitzer Prize Award page
  3. Coscarelli (2018)

Thu 11/18. The Personal and the Political


  1. Joseph (2020) (and listen to the songs in the article)

Week 14. Joanne Shenandoah

Tue 11/23. Singing and Peacemaking in Haudenosaunee Communities


  1. Shenandoah, Peacemaker’s Journey
  2. Joanne Shenandoah, Matriarch: “Kaluhyanu-Wes”
  3. Six Nations Women Singers, social song at 2016 Assembly of First Nations’ Annual General Assembly
  4. Video: “Seneca Music and Dance featuring Bill Crouse”


  1. Love (2018)
  2. Video: “The Peacemaker’s Journey & The Great Law of Peace”
  3. Video: “The Peacemaker & the Tadadaho” (Haudenosaunee traditional story of the Peacemaker)

Thu 11/25 (No class, Thanksgiving Recess)

Week 15. Presentations

Tue 11/30. Group presentations

Journal 7 due, 9 a.m.

Thu 12/2. Group presentations

Week 16. Conclusions

Tue 12/7. Yo-Yo Ma, Sonic Exploration, Social Responsibility

Performance essay due, 9 a.m.


  1. Yo-Yo Ma, Debut performance for President Kennedy, introduced by Leonard Bernstein
  2. Yo-Yo Ma, performance of Elgar, Cello Concerto (1997)
  3. Yo-Yo Ma and Mark Morris Dancers, Inspired by Bach: Falling down Stairs, “Prelude” (Bach Cello Suite no. 3)
  4. Yo-Yo Ma, performance of Tan Dun’s Heaven Earth Mankind (for 1997 Hong Kong reunification)
  5. Yo-Yo Ma, Edgar Meyer, and Mark O’Conner, Appalachia Waltz
  6. Video: “The Making of Appalachia Waltz
  7. Yo-Yo Ma and the Silk Road Ensemble, Arabian Waltz (Rabih Abou-Khalil)
  8. Yo-Yo Ma and the Silk Road Ensemble, ft. Lisa Fischer and Gregory Porter, Heart and Soul


  1. David Marchese, “Yo-Yo Ma and the Meaning of Life,” New York Times Magazine, Nov. 23, 2020


Baker, Geoffrey. 2011. “The Resounding City.” In Music and Urban Society in Colonial Latin America, edited by Geoffrey Baker and Tess Knighton, 1–21. Cambridge: Cambridge University Press.

Cantwell, David. 2019. “Ray Charles and Country’s Color Barrier.” Rolling Stone, February. https://www.rollingstone.com/music/music-country/ray-charles-modern-sounds-country-music-798729/.

Carney, Court. 2006. “New Orleans and the Creation of Early Jazz.” Popular Music and Society 29 (3): 299–315. http://search.ebscohost.com/login.aspx?direct=true&db=rft&AN=A509160&site=ehost-live.

Coetzee, J. M. 2001. “What Is a Classic?” In Stranger Shores: Literary Essays 1986–1999, 1–16. New York: Viking.

Coscarelli, Joe. 2018. “Kendrick Lamar Wins Pulitzer in ‘Big Moment for Hip-Hop’.” The New York Times, April. https://www.nytimes.com/2018/04/16/arts/music/kendrick-lamar-pulitzer-prize-damn.html.

Grove Music Online [Grove]. 2020. Oxford Music Online. Oxford: Oxford University Press. https://www.oxfordmusiconline.com/grovemusic.

Hartmann, Johanna. 2017. “Sound, Vision, and Embodied Performativity in Beyoncé Knowles’ Visual Album Lemonade (2016).” European Journal of American Studies 12 (4). https://doi.org/10.4000/ejas.12415.

Huneker, James. 1900. Chopin: The Man and His Music. New York: Charles Scribner’s Sons. https://www.google.com/books/edition/Chopin/0KVLAAAAMAAJ?hl=en&gbpv=0.

Joseph, Chanté. 2020. “YG, Che Lingo, Kendrick Lamar: The Protest Songs of Black Lives Matter 2020.” The Guardian, June. https://www.theguardian.com/music/2020/jun/10/yg-che-lingo-kendrick-lamar-protest-songs-of-black-lives-matter-2020-george-floyd.

Kallberg, Jeffrey. 1988. “The Rhetoric of Genre: Chopin’s Nocturne in G Minor.” 19th-Century Music 11 (3): 238–61. https://www.jstor.org/stable/746322.

Locke, Ralph P. 2002. “What Chopin (and Mozart and Others) Heard: Folk, Popular, ’Functional’, and Non-Western Music in the Classic/Romantic Survey Course.” In Teaching Music History, edited by Ralph P. Locke, 25–42. Burlington, VT: Ashgate.

Love, Nancy S. 2018. “From Settler Colonialism to Standing Rock: Hearing Native Voices for Peace.” College Music Symposium 58 (3). https://doi.org/10.18177/sym.2018.58.sr.11412.

Martelly, Elizabeth de. 2010. “Signification, Objectification, and the Mimetic Uncanny in Claude Debussy’s Golliwog’s Cakewalk.” Current Musicology 90: 7–34. https://search.proquest.com/docview/918113248/fulltextPDF/30EC4D08FE104DB5PQ/1?accountid=13567.

Rabinowitz, Peter J. 1991. “Whiting the Wrongs of History: The Resurrection of Scott Joplin.” Black Music Research Journal 11 (2): 157–76. http://search.ebscohost.com/login.aspx?direct=true&db=rft&AN=A81652&site=ehost-live.

Robinson, Zandria F., and Aisha Harris. 2020. “Political Engagement and African American Popular Music in the 21st Century.” In The Pop, Rock, and Soul Reader: Histories and Debates, edited by David Brackett, 4th ed., 569–77. New York: Oxford University Press.

Shirley, Wayne D. 1994. “William Grant Still’s Choral Ballad And They Lynched Him on a Tree.” American Music 12 (4): 425–61. http://www.jstor.org/stable/3052342.

Solie, Ruth A. 2004. “Girling at the Parlor Piano.” In Music in Other Words: Victorian Conversations, by Ruth A. Solie, 85–117. California Studies in 19th-Century Music 12. Berkeley, CA: University of California Press. https://rochester.primo.exlibrisgroup.com/permalink/01ROCH_INST/173n3b8/cdi_walterdegruyter_books_10_1525_9780520930063_004.

Stanton, Aleen Leigh, and John Schofield. 2019. “In the Round: The Circular Heritage of Country Music.” International Journal of Heritage Studies 25 (10): 1034–54. http://search.ebscohost.com/login.aspx?direct=true&db=rft&AN=A1951289&site=ehost-live.

Warfield, Patrick. 2011. “The March as Musical Drama and the Spectacle of John Philip Sousa.” Journal of the American Musicological Society 65 (2). https://www.jstor.org/stable/10.1525/jams.2011.64.2.289.

Yearsley, David. 2002. “Vor Deinen Thron Tret Ich and the Art of Dying.” In Bach and the Meanings of Counterpoint, by David Yearsley, 1–41. Cambridge: Cambridge University Press.