| M 1/26 | Introduction to the course; the 19th century: defining an age
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| W 1/28 | Beethoven and the Classical style: the early style period [1]
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| F 1/30 | Guest: Mary Horozaniecki, violin - Beethoven's Sonata for Violin and Piano in F Major, Opus 24 ("Spring")
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| M 2/2 | Beethoven's "Heroic" middle style period: the Fifth Symphony and the Razumovsky String Quartets [2] [A]
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| W 2/4 | Beethoven and the tragic narrative: the Piano Sonata in F Minor, Opus 57 ("Appassionata") [3]
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| F 2/6 | Beethoven's late-period string quartets and piano sonatas [4]
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| M 2/9 | Beethoven and the redemption narrative: the Ninth Symphony [5] [B]
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| W 2/11 | Romanticism in Europe: an overview [C, D]
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| F 2/13 | Franz Schubert's instrumental music [6]
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| M 2/16 | Schubert and the Lied; listening test #1 [7]
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| W 2/18 | Robert Schumann and Clara Wieck Schumann: the piano and chamber music [8]
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| F 2/20 | Guest: Claudia Chen (University of Manitoba): Schubert's Fantasy in F Minor for piano four-hands
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| M 2/23 | Robert Schumann and the song cycle; first response paper due [9]
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| W 2/25 | The Mendelssohn family and the institution of German art music [10]
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| F 2/27 | No class (attending CMS Board meetings, San Francisco)
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| M 3/1 | Revolution and Romanticism in Paris: the adventures of Hector Berlioz [11]
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| W 3/3 | Polish nationalism, Parisian salon culture, and the poetics of the piano: Chopin [12]
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| F 3/5 | Chopin up close: harmony, form, technique
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| M 3/8 | The virtuoso unleashed: Nicolo Paganini [13]
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| W 3/10 | Franz Liszt, a life in three acts [14] [E]
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| F 3/12 | Italian opera in the primo ottocento: Rossini and bel canto; listening test #2 [15]
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| Spring
break
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| M 3/22 | Bel canto continued: Donizetti, Bellini, early Verdi [16, 17]
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| W 3/24 | Risorgimento to realism: Verdi in the 1850s [18]
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| F 3/26 | Verdi, Boito, and Shakespeare: the final masterpieces [19]
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| M 3/29 | French Grand Opera from Meyerbeer to Faust [20]
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| W 3/31 | Richard Wagner: overview, aesthetics, early works [21] [F]
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| F 4/2 | Wagner and history: Der Ring des Nibelungen [22]
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| M 4/5 | Music and metaphysics: Wagner's Tristan und Isolde; second response paper due [23]
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| W 4/7 | Johannes Brahms: piano and chamber music [24]
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| F 4/9 | No class (Good Friday holiday)
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| M 4/12 | Brahms's struggle for a symphonic voice; listening test #3 [25]
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| W 4/14 | French music and culture in the 1870s [26] [G]
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| F 4/16 | Smetana, Dvorak, and the idea of "Czech music" [27, 28] [H]
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| M 4/19 | Music in 19th-century Russia: from Glinka to the Kuchka [29, 30]
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| W 4/21 | Pyotr Il'yich Chaikovsky, technicolor symphonist [31] [I]
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| F 4/23 | Music and nationalism in Scandinavia: Grieg and Sibelius [32, 33]
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| M 4/26 | Music in the Americas: a (very) brief survey [34, 35]
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| W 4/28 | Verismo, modernism, and exoticism: the operas of Giacomo Puccini [36]
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| F 4/30 | Symphony, tone poem, and song in fin-de-siècle Austria and Germany [37]
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| M 5/3 | A late-19th-century narrative of redemption: Mahler's Symphony No. 1 and Adorno's philosophy of music [38]
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Final oral exam: you will sign up for individual ten-minute times during the exam period (Thursday and Friday, May 6 and 7)