UNIVERSITY OF CENTRAL FLORIDA
SEMINAR IN MUSIC HISTORY
"Richard Strauss"
MUH 6935 (Spring 2020)

Weekly Class Assignments

16 Mar 20 (DUE: 31 March 2020)

  1. IMPORTANT NOTICE #1: Following the various recent UCF directives, in light of the current Corona virus events, students are directed not to come to campus for the remainder of the semester. Watch for University and SoPA emails for any additional directives, and check the University webpage: https://www.ucf.edu/safety/coronavirus/ for updates. Graduate students employed as GTAs should check with their supervisors about using campus facilities.
  2. IMPORTANT NOTICE #2: As directed by the University, the seminar meeting scheduled for 17 March 20 is cancelled.
  3. IMPORTANT NOTICE #3: Also following these directives, the following seminar meeting (scheduled for 24 March 20) is not to meet face to face. Attendance will not be taken, but see the following instructions.
  4. Instead, to cover Strauss's next few operas, you will be assigned a series of listening and reading assignments (see below), similar to what you might prepare for class discussions. Since we will not be able to hold discussions in the usual way, each of you will write a response paper of c. 1,500 words that summarizes your listening and reading. (Details below) The response paper will stand in lieu of your attendance and participation in the next two cancelled seminar meetings.

    5. [Listening, reading, and Score Study Assignments - In Order]

  5. NB. Full-length steraming video recordings of all three operas (with English subtitles) are available on the Course recording web page.
  6. Both full and piano-vocal scores are available for download on the IMSLP.

  7. Complete viewing and analyzing Salome, beginning just before "Salome's Dance" (score: p. 189, Rehearsal 223, c. 55:20). In particular, note the use of the various Salome leitmotifs and the shifting key centers (C vs. C-sharp) toward the end of Salome's aria and the close of the opera.

  8. Following the work, study Strauss's Elektra, Op. 58, TrV 223. To that end, do the following:

  9. Finally, study Strauss's Der Rosenkavalier, Op. 59, TrV 227. To that end, do the following:

  10. In support of your listening and score study, read the following items:

  11. ASSIGNMENT: Following your listening, study, and analyses of these three Strauss operas, you are to write a summary that discusses Strauss's three operatic masterpieces. In particular, you should do the following:
  12. The minimum length for this assignment is 1500 words (you may write more without penalty), and the due date is 31 March 2020. Grading of this item will count for the participation grade of two cancelled classes.

    13. [SUGGESTED FOR FUTURE WORK, READING, AND LISTENING]

  13. Continue to work on your major paper. Remember that the value of this project has been increased by the points previously assigned to the now-cancelled presentations.
  14. Literacy Modules will be made avaialbe to you in the near future. You will receive an email notice when they are open.
  15. Future topics for the remainder of the semester will include:
  16. Specific readings and listening assignments will be posted at later dates, and PDFs of such reading will be made available at some future date. In the meantime, you are encouraged to explore these topics on your own.

3 Mar 20 - Day 9

  1. Friendly Reminder #1: Continue work on the "Strauss Biography Project," which is due at the end of this week.
  2. Friendly Reminder #2: NO seminar meeting next week (10 Mar 20) due to Mid-Semester break.
  3. Speicifi listening assignments will be posted early next week.

25 FEB 20 - Day 8

  1. Friendly Reminder: Continue work on the "Strauss Biography Project," which is due at the end of next week.

    2. [REQUIRED]

  2. We will begin next week's meeting (3 March 20) with a discussion of Strauss's turn to opera in the 1880s/90s. Make sure you know the history of that new direction.
  3. Look for essays that deal with Strauss's turn to opera and his earliest efforts in the 1890s. Morten Kristiansen's essay in the Cambridge Companion to Richard Strauss is particularly good.
  4. Next will be brief discussions of Strauss's first two operas, Guntram and Feuersnot. Know the origins of each opera, their reception by audiences and critics, as well as the plot and general sound. Listen to any excerpts that you can find to get a sense of its musical sound.
  5. Following that general discussion, we will turn to a discussion and close examination of Salome. To that end, do the following:
  6. The text of Oscar's Wilde's original play is available in several places on the web, including: Internet Archive, Project Gutenberg, and Oscar Wilde Online, among many others.
  7. In addition to your general study of the opera, each of you is responsible for a close reading of the following sections of Salome (identified by the rehearsal numbers of the Fürstner score, available in IMSLP, and timing on the Stratas recording). NB. You may work as groups or individuals, as you prefer:
  8. In your analysis, look especially for the following:

    9. [SUGGESTED FOR FUTURE MEETINGS AND READINGS]

  9. After the break, we will look briefly at Der Rosenkavalier, so begin listening to that work, learning its history and plot, etc.

18 FEB 20 - Day 7

  1. Friendly Reminder #1: Continue working on the bibliography for your major project. Reminder: Bibliography is due later this week..
  2. Friendly Reminder #2: Continue work on the "Strauss Biography Project" by now starting to read other items on the list for the assignment and reviewing the summaries by your seminar mates.

    3. [REQUIRED]

  3. We will begin next week's Seminar meeting (25 Feb 20) with the second group presentation on Strauss's fourth tone poem, Till Eulenspiegel, Op. 30, TrV 171.
  4. Make sure that you have a copy of the score at hand for consultation in the discussion.
  5. Before discussing Strauss's turn to opera, be prepared to discuss opera in the nineteenth century. Be prepared to contribute by doing the following:
  6. NB. For any opera under discussion (your own choice or assigned to the entire class), make sure that you have determined at least the most basic information (year[s] of composition, premiere, reception, etc.) and the characters and plot.
  7. Know one representative opera by any major composer (in the era c. 1780-1860), and be able to speak to its defining traits. Know at least one excerpt (aria, ensemble, chorus, etc.)--preferably with a streaming video on the web--and be able to explain its primary traits and significance.
  8. Watch the following operas as examples for discussion:
  9. Know the plot of Die Walküre, especially the relationship between Brünnhilde and Wotan, and its impact on the finale of Act III.
  10. For a listing of the leitmotifs of Die Walküre, see: The Leitmotifs of Wagner's Ring. Look primarily at Walküre's Act 3, scene 3.
  11. [OPTIONAL] For an English-language translation of Opera and Drama, Wagner's primary statement on how he conceives of opera, see Richard Wagner, Opera & Drama in the Internet Archive. While the item is far too long to read on short notice, a perusal of the table of contents and various sections within the book may be useful. NB. it is possible to download the entire book as a PDF.
  12. Look for essays that deal with Strauss's turn to opera and his earliest efforts in the 1890s. Morten Kristiansen's essay in the Cambridge Companion to Richard Strauss is particularly good.
  13. Be familiar with Strauss's Guntram and Feuersnot, more as they relate to his biography and career.

    14. [SUGGESTED FOR FUTURE MEETINGS AND READINGS]

  14. Learn the history of Strauss's Guntram, its plot, etc. Listen to any excerpts to get a sense of its musical sound.
  15. Learn the history of Strauss's Feuersnot, its plot, etc. Listen to any excerpts to get a sense of its musical sound.
  16. Begin to learn Strauss's Salome, which we will study in detail in the following week.

11 FEB 20 - Day 6

  1. Friendly Reminder #1: Continue working on the bibliography for your major project. Instructions for the major paper remain posted on the course web site.
  2. Friendly Reminder #2: Continue work on the "Strauss Biography Project" by now starting to read other items on the list for the assignment and reviewing the summaries by your seminar mates.

    3. [REQUIRED]

  3. We will begin next week's Seminar meeting (18 Feb 20) with a discussion of James Hepokoski, "Fiery-Pulsed Libertine or Domestic Hero? Strauss's Don Juan Reinvestigated," in Richard Strauss: New Perspectives on the Composer and His Work, ed. Bryan Gilliam, p. 135-175. [on reserve in UCF Library] Make sure that you have read and understood this important essay.
  4. After the discussion of Hepokoski's essay, we will discuss and analyze Don Juan, Op. 20, TrV 156, focusing first on a discussion based on formal archetypes, and then adding programmatic elements.
  5. Listen to Don Juan, Op. 20, TrV 156, and study its score to determine how it relates to sonata-allegro form (or any other formal archetypes). What standard formal markers (themes, key centers, exposition, development, and recapituation, etc.) can you identify?
  6. Make sure that you have a copy of the score at hand for consultation in our discussion.

    7. [AS TIME ALLOWS]

  7. Each of two groups will present on Strauss's next tone poems, Tod und Verklärung, Op. 24, TrV 158 and Till Eulenspiegel, Op. 30, TrV 171, following the general principles outlined in the Macbeth and Don Juan discussions.
  8. Each group should do the following, assigning tasks within the group as each sees fit:
  9. Be prepared to present on your group's work for about 20-30 minutes, following an abbreviated format similar to the Macbeth discusssion. Group assignments are as follows:
  10. As your time allows, listen to the other group's work so that you might be able to ask questions and better follow the discussion.

    11. [SUGGESTED FOR FUTURE MEETINGS]

  11. For a week or so into the future, look for essays that deal with Strauss's turn to opera and his earliest efforts in the 1890s. Morten Kristiansen's essay in the Cambridge Companion to Richard Strauss is particularly good.
  12. Become familiar with Strauss's Guntram and Feuersnot, more as they relate to his biography and career.
  13. Start learning Salome, which we will study in some detail in a few weeks.
  14. A discussion of opera in the nineteenth century before Strauss will preceed any discussion of his own works. Be prepared to contribute by doing the following:

4 FEB 20 - Day 5

  1. Friendly Reminder #1: With the return of your topic proposal, you should begin working on the bibliography for your project. Instructions for the major paper remain posted on the course web site.
  2. Friendly Reminder #2: Continue work on the "Strauss Biography Project" by now starting to read other items on the list for the assignment and reviewing the summaries by your seminar mates.

    3. [REQUIRED]

  3. We will begin next week's meeting with a discussion of Strauss's turn to program music. To that end, read (and be ready to discuss) Richard Strauss's letter to Hans von Bülow of 24 August 1888. (In English translation in Warfield, Dissertation, p. 130ff., or Schuh, Chronicle, p. 145-7.)
  4. We will spend most of next week looking at Strauss's Macbeth, Op. 23, TrV 163, in very close detail. As I indicated previously, I will lead most of the discussion.
  5. To support your study of Macbeth, know the play by Shakespeare in some detail. in particular, know the two primary characters, their motivations, and actions.:
  6. Listen to Macbeth, Op. 23, TrV 163, and study its score to determine how it relates to sonata-allegro form. In particular, try to identify the first and second themes, and locate a "recapitulation" of some sort.
  7. In particular, think about what the "program" of Macbeth might be, how closely it should adhere to the events of Shakespeare's play, and where some of those events can be found in the musical work.
  8. Make sure that you have a copy of the score at hand for consultation in our discussion.
  9. Read James Hepokoski, "Structure and Program in Macbeth: A Proposed Reading of Strauss's First Symphonic Poem." In Richard Strauss and His World, ed. Bryan Gilliam, pp. 67-89. [on reserve in UCF Library]

    10. [REQUIRED, IF TIME ALLOWS, OTHERWISE CARRIED OVER]

  10. As time allows, we will begin to discuss Don Juan, Op. 20, TrV 156, focusing first on a discussion based on James Hepokoski, "Fiery-Pulsed Libertine or Domestic Hero? Strauss's Don Juan Reinvestigated," in Richard Strauss: New Perspectives on the Composer and His Work, ed. Bryan Gilliam, p. 135-175. [on reserve in UCF Library]
  11. Listen to Don Juan, Op. 20, TrV 156, and study its score to determine how it relates to sonata-allegro form.

    12. [SUGGESTED FOR FUTURE MEETINGS]

  12. After Don Juan, the semianr will be divided into two groups, each presenting on one of the following two tone poems (Tod und Verklärung, Op. 24, TrV 158 and Till Eulenspiegel, Op. 30, TrV 171).
  13. Start to become familiar with Strauss's Tod und Verklärung, Op. 24, TrV 158. In particular, locate a "program" for this work.
  14. Start to become familiar with Strauss's Till Eulenspiegel, Op. 30, TrV 171. Again, locate a "program" for this work.
  15. For several weeks' into the future, lLook for essays that deal with Strauss's turn to opera and his earliest efforts in the 1890s. Morten Kristiansen's essay in the Cambridge Companion to Richard Strauss is particularly good.
  16. Become familiar with Strauss's Guntram and Feuersnot, more as they relate to his biography and career.
  17. Start learning Salome, which we will study in some detail in a few weeks.

28 JAN 20 - Day 4

  1. Friendly Reminder #1: Your topic proposals for your major paper/project have been graded and commented upon. See me if you have not yet picked up yours (electronically).
  2. Friendly Reminder #2: With the return of your proposal, you should begin working on the bibliography for your project. Instructions for the major paper remain posted on the course web site.

    3. [REQUIRED]

  3. We will begin next week (4 Feb 20) with a conclusion of the discussion of Strauss's years as an emerging professional musician (c. 1880-85). In particular, be prepared to discuss his Concertouvertüre in C minor, TrV 125 and the Symphony No. 2 (F minor), Op. 12, TrV 126. As always, know the histories (if any) of these works, and especially note how these works rely on traditional classical formal procedures and the influences of Brahms.
  4. Following those two works, we will discuss "program music," especially as it relates to music in the mid-19th century (before Strauss). To the end, do the following:
  5. Using any of the resources available to you, i.e., any standard biographies (on reserve or elsewhere), the NGD, or other scholarly tools, know Richard Strauss's life and career from about 1885 to 1890. In particular, know the following individuals and concept:
  6. Be prepared to discuss Strauss's first attempts as a programmatic composer, and to that end do the following:

    7. [SUGGESTED FOR FUTURE MEETINGS]

  7. For 1-2 weeks in the future, listen to Macbeth, Op. 23, TrV 163, and study its score to determine how it relates to sonata-allegro form. NB. I will lead the discussion of this work, but do familiarize yourself with Strauss's first tone poem in order to follow the analysis.
  8. To support your study of Macbeth, know the play by Shakespeare. A useful "cheat sheet" for Macbeth is available at SparkNotes: Macbeth.
  9. To support your study of Macbeth read James Hepokoski, "Structure and Program in Macbeth: A Proposed Reading of Strauss's First Symphonic Poem." In Richard Strauss and His World, ed. Bryan Gilliam, pp. 67-89. [on reserve in UCF Library]
  10. For 2 weeks in the future, listen to Don Juan, Op. 20, TrV 156, and study its score to determine how it relates to sonata-allegro form.
  11. To support a discussion of Don Juan, read James Hepokoski, "Fiery-Pulsed Libertine or Domestic Hero? Strauss's Don Juan Reinvestigated," in Richard Strauss: New Perspectives on the Composer and His Work, ed. Bryan Gilliam, p. 135-175. [on reserve in UCF Library]

21 JAN 20 - Day 3

  1. Friendly Reminder #1: Your topic proposals for your major paper/project are due this coming Friday (24 Jan 20). If you require additional time (up to 24 hours), you must request it formally via an email to me to avoid a penalty. Instructions for the major paper remain posted on the course web site.
  2. Friendly Reminder #2: Anyone who has not distributed a written summary of your biography report to the seminar should do so ASAP to avoid any penlaty.

    3. [REQUIRED]

  3. We will begin next week (28 Jan 20) with a conclusion of the discussion of Strauss's earliest years (up to 1880). In particular, we will look more closely at Strauss's Festmarsch (TrV 43), Aus alter Zeit (TrV 72), the Overture (TrV 83), and Symphony No. 1 (TrV 94). Know the histories (if any) of these works, and especially note how these works rely on traditional classical formal procedures.
  4. Following that material, the discussion will turn to Strauss's emergence as a "public figure. To that end, Using any of the resources available to you, i.e., any standard biographies (on reserve or elsewhere), the NGD, or other scholarly tools, investigate Richard Strauss's life and career from about 1880 to 1885. In particular, you should look for information on:
  5. In support of this discussion, listen to as many of Strauss's first published works (through Op. 13) as you can. See the links to streaming audio on the Recordings web page.
  6. In addition to your listening, each of you is to analyze in some detail the following assigned works. [See the specific movement assignments on the recordings page.] In particular, look at your assigned movements for their relationships to to classical sonata (or other) formal procedures:

    7. [SUGGESTED FOR FUTURE MEETINGS]

  7. For a week into the future, investigate the concept of "program music," especially as it relates to music in the mid-19th century (before Strauss). To the end, do the following:
  8. For 1-2 weeks into the future, using any of the resources available to you, i.e., any standard biographies (on reserve or elsewhere), the NGD, or other scholarly tools, begin to investigate Richard Strauss's life and career from about 1885 to 1890. Intially, we will probably discuss only the first 2-3 years of that era.
  9. Investigate Strauss's first attempts as a programmatic composer, and to that end do the following:
  10. For 2-3 weeks in the future, listen to Macbeth, Op. 23, TrV 163, and study its score to determine how it relates to sonata-allegro form. NB. I will lead the discussion of this work, but do familiarize yourself with Strauss's first tone poem in order to follow a detailed disucssion.
  11. To support your study of Macbeth, know the play by Shakespeare. A useful "cheat sheet" for Macbeth is available at SparkNotes: Macbeth.
  12. To support your study of Macbeth read James Hepokoski, "Structure and Program in Macbeth: A Proposed Reading of Strauss's First Symphonic Poem." In Richard Strauss and His World, ed. Bryan Gilliam, pp. 67-89. [on reserve in UCF Library]

    13. [ONGOING PROJECTS]

  13. Continue work on the "Strauss Biography Project" by now starting to read other items on the list for the assignment and reviewing the summaries by your seminar mates. All items discussed in seminar meetings have now been placed on reserve in the UCF Library. Remember, you have until March to complete the entire project.

14 JAN 20 - Day 2

    [REQUIRED]

  1. Friendly Reminder: Before next week's seminar meeting, send the descriptive summary of your assigned book (following the instructions on the "Strauss Biography Project" on the course web page) to the entire seminar membership by using "reply all" on any of my email messages to the entire seminar.
  2. We will begin next week with the remaining book review report [Done].
  3. Next will be a a discussion of classical form, based on your study and analysis of Beethoven's Symphony No. 1 and Brahms's Symphony No. 1 (1st mvt, only) (see last week's assignments for details).
  4. We will also have a brief discussion of how Strauss's music is cataloged and identified. Specifically, know how to use the Trenner Verzeichnis and also know something of how Mueller von Asow cataloged Strauss's music. See the instructions in last week's "Suggested" items.
  5. For next week (21 Jan 20), be prepared to discuss Strauss's earliest years, looking specifically for information on (and be prepared to discuss):
  6. Among the better resources for the above, see the following (NB., You need not read all of these, but sample what you can in the available time.):
  7. Become familiar with the following individuals who are connected primarily with Strauss's earliest years or as scholars of his music. You need not know extensive background (except for your chosen/assigned figure), but do have a general idea of who the individual is and how s/he related to and interacted with Richard Strauss:
  8. Listen to some of Strauss's earliest compositions (up to 1880, TrV 94). See the "Recordings" page of links on the course web site. Specifically, do the following:
  9. Instructions for the major paper are posted on the course web site. Read them carefully, noting the various internal deadlines, and begin to formulate your possible project topics.

    10. [SUGGESTED FOR FUTURE MEETINGS]

  10. The Strauss biographical items discussed in seminar have been returned to the library, and they will be available on reserve for three-day loans for both use in the Struass biography project and for general consultation.
  11. Using any of the resources available to you, i.e., any standard biographies (on reserve or elsewhere), the NGD, or other scholarly tools, investigate Richard Strauss's life and career from about 1880 to 1885. In particular, you should look for information on:
  12. Listen to Strauss's earliest published works (c. 1880-85). Scores are available in IMSLP, and recordings are posted on the course "Recordings" web page.

7 JAN 20 - Day 1

    [REQUIRED]

  1. Complete any remaining tasks from the 31 DEC 19 list below.
  2. For next week (14 Jan 20) prepare your oral presentation on one of the basic Strauss biographies/collections, according to the instructions found via the link to the "Strauss Biography Project" on the course web page.
  3. Following the discussion of the basic Strauss bibliography, we will collectively analyze Beethoven's Symphony No. 1 in C Major, Op. 21, as an example of "classical form." To that end, do the following:
  4. As time allows, we may also analyze Johannes Brahms, Symphony No. 1 in C Minor, Op. 68. In this case do the following:
  5. Instructions for the major paper are posted on the course web site. Read them carefully, noting the various internal deadlines, and begin to formulate your possible project topics.
  6. For you own edification, watch Richard Strauss Remembered, which you can find on YouTube or by following the link on the "Course Readings and Collective Bibliography" page.

    7. [SUGGESTED FOR FUTURE MEETINGS]

  7. Using any resources available to you, i.e., any standard biographies (on reserve or elsewhere), the NGD, or other scholarly tools, investigate the life, education and musical development of Richard Strauss up to the age of about 16. In particular, you should look for information on:
  8. Parallel to this general reading, investigate your chosen individual(s), and note how they contribute to Strauss's family life, musical development, and career.
  9. Try to locate actual music examples from Strauss's earliest years (up to 1880), including either scores or recordings (complete or fragmentary). Hint: Beyond the obvious YouTube, check Classical Music Library (via UCF Library databases), which might include a few examples and also look at IMSLP for scores. If you are unable to find the actual music, what information can you get from secondary sources? In short, what is Strauss's earliest music like?
  10. Read Scott Warfield, Review of Franz Trenner, Richard Strauss Werkverzeichnis in Fontes artis musicae 42 (1995): 382-4. Use that article to learn how Strauss's music is cataloged and identified, especially when it does not carry an opus number. Also, what is the value of one catalog over the others? For additional information, do the following:

31 DEC 19

  1. Next Tuesday, 7 January 2020, will be the first meeting of the seminar. Before next week's meeting, complete the following listed tasks.
  2. Locate the course web site at https://faculty.cah.ucf.edu/swarfiel/MUH6935str/6935strhome.html and bookmark this site for future reference.
  3. Read the course syllabus (link on the course home page) carefully to make sure that you understand the course objectives, my expectations and your responsibilites.
  4. Send me an EMAIL (to: scott.warfield@ucf.edu) from your official UCF ("Knightsmail") account, and in that message indicate that you have READ and UNDERSTAND the course syllabus. Do NOT simply send your name or some general greeting. Please do exactly as you are instructed.
  5. If you are not familar with any of the electronic resources on the course home page, learn what each includes and how to navigate and use each site.
  6. Using the New Grove Dictionary of Music II (part of Oxford Music Online or in the library's hard copy), read the article "Strauss, Richard" by Bryan Gilliam. Please note that you are to read the entire article (all 9 subsections). You should also skim through the works list and bibliography, simply to be aware of what they contain.
  7. Be prepared for a general discussion of "Who was Richard Strauss?" In particular, you should be able to discuss the following: