Fall 2010 Performing Arts 10Rock to Bach Instructor: Martin Rokeach Office Phone: 631-4682Office: Syufy 220 Home phone: (925) 228-5891Office Hours: MWF 12:30-1:30 e-mail: [email protected] by Appt. Textbook: NONE In this course students will learn: 1. how to perceive more while listening to any style of music 2. how to become more involved with the emotional layers all great music contains 3. about the history and development of classical music 4. about the history and development of blues 5. about the history and development of jazz 6. about the history and development of rock and roll and soul Among the artists you will become familiar with: Bach, Handel, Vivaldi, Mozart, Haydn, Beethoven, Chopin, Berlioz, Brahms, Tchaikovsky, Richard Strauss, Stravinsky, Debussy, Bartok, Copland, Gershwin, Louis Armstrong, Jelly Roll Morton, Duke Ellington, Benny Goodman, Charlie Parker, Dizzy Gillespie, Thelonious Monk, Miles Davis, John Coltrane, Bill Evans, Wynton Marsalis, Robert Johnson, Muddy Waters, Howlin' Wolf, B. B. King, John Lee Hooker, Big Mama Thornton, Aretha Franklin and more. Rock to Bach will be divided into five units:I. Listening More Deeply: Three Techniques a.Noticing the theme and catching its personalityb.Riding the phrasesc.Perceiving the big picture II. Navigating Through Sonata Form; Inside Two Masterpieces: Tchaikovsky’s Symphony No. 4, and Stravinsky’s The Rite of Spring. III. Classical Music: It’s History, it’s Greatest Composers and How It Mirrors Western Civilization Midterm Exam (exact date to be determined) IV. Jazz: Greatest Artists; How It Mirrors America’s History V. Blues, Rock and Roll, Soul: Influential Artists Through the 1950s and early sixties; How the Music Mirrors America’s History Final Exam: Wed., Dec 6, 2-4 P. M. (non-cumulative) GradingMidterm Exam 25%Final Exam 25%6-9 Quizzes 35%Concert Paper 10%short written assignments 5% More than two absences will result in the lowering of your final grade. Participating in class discussions, asking questions, and expressing opinions regarding a particular piece of music will result in the raising of your final grade. Homework will consist mostly of focused, concentrated listening to recordings and modest reading. Mandatory PerformancesThe following live performances are essential to your learning experience in this course. Check your calendars and reserve the following dates now: ●The San Francisco Symphony, directed by Michael Tilson Thomas, performing music of Copland, Harrison, and Tchaikovsky’s monumental Symphony No. 4 Saturday, Sept. 25, 8 p.m. Davies Symphony Hall, San Francisco. ●The Turtle Island Quartet, the greatest non-classical string quartet ever. Among engagements in Seattle, Iowa, Texas and Georgia they’ll be playing on our own campus. Their program will consist of arrangements of music by John Coltrane, Jimi Hendrix and others. Wednesday, Sept. 29, 8 p.m., Soda Center. ●FACULTY RECITAL: SMC faculty member Lino Rivera will be joined by violinist Victor Romasevich of the San Francisco Symphony and Swiss trumpeter Jean Christophe Dobrzelewski in a program of Vivaldi, Chopin, Ewazen and Martin Rokeach. PLUS each student MUST attend any two of the following four concerts. Extra-credit can be earned byattending more than two. ●The SMC NightinGaels, directed by Julie Ford, Wed. Oct. 13, 1 p.m., at LeFevre Terrace, Sunday Nov. 28 at 2 p.m. in SMC Chapel, Monday Nov. 29 at 8 p.m. in SMC Chapel. ●The SMC Chamber Musicians, directed by Martin Rokeach, Lino Rivera and Dawn Foster-Dodson, featuring classical repertoire performed by student musicians; Tues. Nov. 30, at 8 P. M, SMC Chapel, or Wed. Dec. 1 at 12:45 p.m; Soda Center. ●The SMC Jazz Band, directed by John Maltester; Thur. Nov. 18, 8 P. M., Soda Center Student Disability Services extends reasonable and appropriate accommodations that take into account the context of the course and its essential elements, for individuals with qualifying disabilities. Students with disabilities are encouraged to contact the Student Disability Services Director at (925) 631-4164 to set up a confidential appointment to discuss accommodation guidelines and available services. Additional information regarding the services available may be found at the following address on the Saint Mary’s website: http://www.stmarys-ca.edu/academics/academic-advising-and-achievement/student-disability-services.htmlAcademic Honesty Saint Mary's College expects every member of its academic community to promote and abide by ethical standards, both in conduct and exercise of responsibility toward other members of the community. Absolute honesty must be adhered to at all times if the integrity of scholarship and the reputation of the College are to be maintained. Academic dishonesty is a serious offense at the College because it undermines the bonds of trust and honesty between members of the community and defrauds those who may eventually depend upon the community's integrity and knowledge. Any work that a student undertakes as part of progress toward a degree or certification must be the student's own, unless the relevant instructor specifies otherwise. That work may include examinations, whether oral or written, oral presentations, homework, laboratory exercises, papers, reports, and other written assignments. Whenever possible, an instructor should specify the rules that students are to follow in completing these assignments. In written work other than examinations, a student must clearly indicate the sources of information, ideas, opinions, and quotations that are not his or her own. Academic dishonesty as identified below is clearly distinguished from the free discussion and interchange of ideas among students and faculty, one of the most important benefits of academic life. The College encourages such discussions and interchanges in every possible way. All Saint Mary's College students, faculty, and staff are bound by the Academic Honor Code beginning August 30, 2004. The Code is the same for all members of the community; however, there are some procedures that apply specifically to the nontraditional undergraduate programs and the graduate programs based on the needs and practices of those programs that differ from the procedures for the traditional undergraduate