TEACHING MUSIC HISTORY For Teachers and Students May we leam well from each other the skills necessary to experience music's magic and mystery Teaching Music History Edited by MARY NATVIG Bowling Green State University, USA ~ ~ ~~o~~~;n~~:up LONDON AND NEW YORK First published 2002 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © Mary Natvig 2002 Mary Natvig has asserted her moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data Teaching music history 1.Music - History and criticism - Instruction and study I.Natvig, Mary 780.7'11 Library of Congress Cataloging-in-Publication Data Teaching music history / edited by Mary Natvig. p.cm. Includes bibliographical references and index. ISBN 978-0-7546-0129-6 1.Music in universities and colleges. 2. Music–Instruction and study. I. Natvig, Mary,1957 MT18 .T38 2002 780'.71'l—dc21 2001053479 ISBN 13: 978-0-7546-0129-6 (hbk) ISBN 13: 978-1-1382-4899-1 (pbk) Contents List of Contributors vu Introduction lX Approaches to the Music History Survey 1 Providing Context: Teaching Medieval and Renaissance Music 3 Patrick Macey 2 Teaching Baroque Music to the Bright and Interested 13 and Ignorant Kenneth Nott 3 What Chopin (and Mozart and Others) Heard: Folk, Popular, 25 "Functional," and Non-Western Music in the Classic/Romantic Survey Course Ralph P. Locke 4 Teaching Music History (After the End of History): 43 "History Games" for the Twentieth-Century Survey Robert Fink Teaching Non-Majors: The Introductory Course 5 Interdisciplinary Approaches to the Introduction to 69 Music Course Maria Archetto 6 The "Why" of Music: Variations on a Cosmic Theme 77 Marjorie Roth vi Teaching Music History 7 First Nights: Awakening Students' Critical Skills in a 95 Large Lecture Course Noel Bisson Topics Courses 8 Teaching "Women in Music" Ill Mary Natvig 9 Teaching Film Music in the Liberal Arts Curriculum 121 Michael Pisani 10 Don't Fence Me In: The Pleasures of Teaching 145 American Music Susan C. Cook General Issues 11 Teaching at a Liberal Arts College 157 Mary Hunter 12 Teaching in the Centrifugal Classroom 169 Pamela Starr 13 The Myths of Music History 181 Vincent Corrigan 14 Score and Word: Writing about Music 193 Carol A. Hess 15 Peer Learning in Music History Courses 205 J. Peter Burkholder 16 Creating Anthologies for the Middle Ages and Renaissance 225 Russell E. Murray, Jr. Bibliography 239 Index 259 List of Contributors Maria Archetto Oxford College of Emory University Noel Bisson Cabot Postdoctoral Fellow at the Bok Center for Teaching and Learning, Harvard University J. Peter Burkholder Indiana University Susan C. Cook University of Wisconsin Vincent Corrigan Bowling Green State University Robert Fink University of California, Los Angeles Carol A. Hess Bowling Green State University Mary Hunter Bowdoin College Ralph P. Locke The Eastman School of Music of the University of Rochester Patrick Macey The Eastman School of Music of the University of Rochester Russell E. Murray, Jr. University of Delaware Mary Natvig Bowling Green State University viii Teaching Music History Kenneth Nott The Crane School of Music Michael Pisani Vassar College Marjorie Roth Nazareth College (Rochester, NY) Pamela Starr University of Nebraska Introduction Mary Natvig This collection of essays is intended for those who teach a college-level music history or music appreciation course: from the graduate student who finds him or herself in front of a class for the first time to the seasoned professor having to teach outside of his/her specialty; from musicologists seeking to enrich their teaching expertise to performers looking for a life raft after learning they must teach a university music history course. The idea for the book grew out of my personal needs as a faltering college teacher, a career that began only one year after receiving my own undergraduate degree. As the violin/viola teacher in a small liberal arts college, I was also required to teach a medium-sized (about 45 students) music appreciation course to music majors and non-majors. I had a master's degree in musicology but had never taught in a classroom. I spent hours each night on detailed lectures, poring over a variety of sources, compulsively over-preparing as I was sure I would get questions I could not answer. My youth, however, worked in my favor. My "cool" factor brought me marvelous teaching evaluations. I thought I was a fantastic, natural teacher and I coasted in that happy oblivion for several years. Then one fall I unknowingly stepped through a door marked "middle age," which wiped off my youthful patina and left me an unvarnished teacher of a difficult and unpopular course. For the first time in my life my teaching evaluations were less than glowing-some were downright nasty. By this time I had full academic qualifications: a Ph.D. in musicology, and at least ten years of teaching experience at two different institutions. I was one year from tenure. I thought I was getting better as a teacher, but something in those evaluations told me that whatever I had done right before was no longer working. The problem was, I did not know exactly what it was that had worked or why. And I really did not know what was so different about my teaching that particular semester that warranted poor evaluations. Of course my colleagues told me not to worry about it-some semesters are better than others. In actuality it was not the evaluations that bothered me, but the internal voice that said I needed to become more conscious about my teaching-not necessarily more conscientious (I was that), but more aware, knowledgeable, and purposeful in how and what I taught. Musicologists rarely discuss in a public forum our roles as teachers in spite of the fact that, for many of us, teaching is what occupies us most of the time. Although there have been a few worthwhile panels on teaching at sessions of