September 1: Introduction & Thematic Overture
Subheadings:
Syllabus, Goals, and Expectations
From Performer to Interpreter: The Central Question of the Course
Preview & Assignment for Next Week
September 8: The Birth of the Violin & The Italian Baroque Style
Subheadings:
From Viols to Violins & The Hybrid History of the Double Bass
The Cremonese Masters: Amati, Guarneri, & Stradivari
The Italian School: Corelli, Vivaldi, and the Birth of the Concerto
September 15: J.S. Bach & The Synthesis of Baroque Practice
Subheadings:
The Doctrine of the Affections: Music as Rhetoric
Baroque Bowing, Articulation, and the Spirit of the Dance
Case Study: Synthesis in the Sonatas and Partitas for Solo Violin
September 22: The Classical Transition & Instrument Modernization
Subheadings:
The Enlightenment and the Galant Style: A Turn Towards Clarity
The Rise of Sonata Form as a Dramatic Narrative
The "Modernization" of the Violin Family
(Holiday Break: September 29 & October 6)
October 13: The High Classical Masters: Haydn & Mozart
Subheadings:
Haydn and the Art of Conversation in the String Quartet
Mozart's Instrumental Writing as "Opera Without Words"
An Analysis of the Relationship Revealed in String Quartets Between Haydn and Mozart
October 20: Beethoven: The Revolutionary Bridge
Subheadings:
Rooted in Classicism: Beethoven's Early Period (Op. 18)
Deconstructing the Razumovsky Quartets (Op. 59)
A Private Conversation with God: The Spiritual Dimension of the Late Quartets
October 27: Midterm Project: Score Analysis / Edition Comparison
Subheadings:
Submission of Midterm Papers
In-Class Discussion of Selected Findings
Workshop: Methodologies for Critical Score Reading
November 3: The Advent of the Romantic Era
Subheadings:
The Romantic Ethos: Individualism, Lyricism, and the Supernatural
The Lyrical Voice of the Early Romantics: Schubert and Mendelssohn
Exploring New Textures in Chamber Music
November 10: The Age of the Virtuoso & The Modern Bow
Subheadings:
The Tourte Bow: Enabling a New Vocabulary of Articulation
The Chinrest and the Endpin: Liberating the Left Hand
Paganini and the Revolution of Violin Technique
The Symphonic Ideal: The Concertos of Brahms and Schumann
November 17: Strings Concerto Competition
November 24: Workshop: The Aesthetics of Vibrato and Portamento
Subheadings:
The Search for a National Voice: Analyzing Folk Idioms in Dvořák and Smetana
The Role of the Piano in Romantic Chamber Music
Vibrato: From Baroque Ornament to Continuous Tone Color
Portamento: Re-examining the "Tasteful Slide" through Historical Recordings
December 1: Fin de Siècle: Late Romanticism and Impressionism
Subheadings:
The Legacy of Wagner: Chromaticism and the Limits of Tonality (R. Strauss, Mahler)
The French Response: Creating Color and Atmosphere (Debussy & Ravel)
(Final Performance Exam Week: December 8)
December 15: Final Project Workshop, Presentations & Conclusion
Subheadings:
Final Guidance: Q&A and Troubleshooting for Projects
Student Presentations: Selected Lecture-Recitals & Research Papers
Semester Review and Final Submissions
This grading policy is designed to assess a student's comprehensive understanding, analytical application, and independent thought. It emphasizes the ability to connect academic knowledge with performance practice through a variety of assessments, offering opportunities for students to showcase their unique strengths as performers and scholars.
本評鑑標準旨在評估學生的綜合理解、分析應用與獨立思考能力。其設計強調連結學術知識與演奏實踐的能力,透過多元的評量方式,給予學生展現其演奏專業與學術思維的機會。
Criteria: This is not merely an attendance grade. It is based on the quality of prepared participation in class discussions. This includes:
Preparation: The assigned readings and listening have been completed, and being able to offer viewpoints or questions.
Quality of Contribution: Clearly articulating one's analysis of repertoire, stylistic interpretation, or historical context.
Interactive Thinking: Responding constructively to the instructor and peers, showcasing critical thinking.
評鑑標準:這不只是「出席」。評分的依據是學生是否有準備地參與課堂討論。這包括:
課前準備:是否完成指定的閱讀與聆聽,並能提出觀點或問題。
發言品質: 是否能清晰地闡述自己對樂曲分析、風格詮釋或歷史背景的看法。
互動思辨: 是否能建設性地回應老師與同學的觀點,展現批判性思維。
Purpose: To encourage active learning and real-time critical thinking, which are key to becoming a mature interpreter.
評量目的:鼓勵主動學習與即時思辨的習慣,這是成為一位成熟詮釋者的關鍵。
Criteria: There will be 2-3 written assignments during the semester. Designated format as follows:
Comparative Listening Report: For a single piece, write a short analysis comparing 2-3 recordings or concerts, focusing on interpretive differences in tempo, vibrato, bowing, and phrasing.
評鑑標準:在學期中,將有 2-3 次指定的書面作業。作業形式如下:
比較聆聽報告:針對同一首樂曲的 2-3 個錄音版本或現場演出,撰寫一份短篇報告,分析並比較演奏者在速度、揉音、弓法、樂句等方面的詮釋差異。
Purpose:To cultivate skills in deep listening, and to transform external knowledge and feelings into personal insight.
評量目的:培養學生深度聆聽的能力,並將外部知識與感受轉化為個人觀點。
Criteria: Students will choose a specific topic related to the first half of the semester for a focused mini-research project, and present as follows:
In-Class Presentation: A 10-minute presentation to the class introducing a composer, a work, or a performance style.
評鑑標準:學生選擇一個與前半學期內容相關的特定主題,進行一次集中的小型研究,並以以下形式呈現:
課堂專題簡報 (In-Class Presentation): 製作一份 10 分鐘的簡報,向全班介紹一位作曲家、一首樂曲或一種演奏風格。
Purpose: To assess the student's ability to synthesize knowledge, focus on a specific topic, and conduct independent research and present findings clearly.
評量目的:評估學生整合前半學期知識、聚焦特定議題並進行獨立研究與清晰表達的能力。
Criteria: This is the most significant project of the semester. To allow performance majors to leverage their strengths, students may choose one of the following two formats:
Option A: Research Paper: A formal 8-10 page academic paper that delves deeply into a chosen topic. Suitable for students with a strong interest in musicological research.
Option B: Lecture-Recital: A sub 20 minute presentation where the student selects a work (or movement) relevant to the semester's content. The student will speak for no more then 10 minutes, explaining their historical research, analysis, and interpretive philosophy, and then **perform** the work to demonstrate their points.
評鑑標準:這是本學期最重要的成果。為了讓演奏主修的學生能發揮所長,學生可**自由選擇**以下任一形式來呈現學期所學:
選項 A:學術研究報告 (Research Paper): 一份 8-10 頁的正式學術報告,進行更深入的主題探討。適合對音樂學術研究有濃厚興趣的學生。
選項 B:講座式演奏會 (Lecture-Recital): 學生選擇一首(或一個樂章)與本學期內容相關的曲目,進行一場 20 分鐘以內的講座式演奏。學生需要口頭解說不超過 10 分鐘,闡述自己對該曲目的歷史考證、樂曲分析與詮釋理念,並現場演奏該曲目來印證自己的觀點。
Purpose: This is the ultimate test of the course's core principle: "connecting knowledge with practice." Option A assesses deep academic skill, while Option B directly evaluates the student's comprehensive ability to translate academic research into tangible performance decisions—a method tailor-made for performance majors.
評量目的:這是對本課程核心宗旨——「連結知識與實踐」的最終檢驗。選項 A 評量學術深化能力;選項 B 則直接評量學生將學術研究轉化為實際演奏決策的綜合能力,是為演奏主修學生量身打造的評量方式。