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1

SENACE 

From ? 

SENATE COMaTTEE ON 

UN DERGRADUATE STUDIES 

DIVISION OF GENERAL STUDIES 

-

Subject. 

NEW

CS

101-3

COURSE 

FORMAL 

PROPOSAL 

DEVELOPMENT 

-

Date ? 

. SEPTEMBER 21, 

1972.. 

OF THE 

SYML'HONY

MOTION 1: 

?

"That Senate approve the new course proposal of the 

Division of General Studies, as set forth in 

S.72-115, for 

General Studies 101-3- Formal Development of 

the Symphony." 

If the course is approved:- 

MOTION 2: 

?

"That the course CS 

101-3 -

Formal Development of the 

Symphony be reviewed when any proposal for a Fine and 

Performing Arts program and courses is under 

consideration for approval." 

If the course is approved:- 

MOTIO: 3: 

?

"That Senate waive the normal two-semester time lag 

requirement to permit the offering of CS 

101-3

commencing in the Spring Semester 1973." 

SiMON FRASER UNIVERSITY

%-nZ.- %is-

MEMORANDUM

00 ?

SENATE ? 

From 

Division of General Studies - 

Subject. ?

New

CS 101-3 

Course 

Formal 

Proposal 

Development 

-

?

of

Date 

I. Mugridge 

Chairman, Senate Committee 

on Undergraduate Studies 

September 21, 1972. 

The Senate Committee on Undergraduate Studies has approved 

the new course proposal of the Division of General Studies, 

as set forth in SCUS 72-25(b), for 

General Studies 101-3 - Formal Development of the 

Symphony 

and recommends approval to Senate. 

If the course is approved it recommends that the course be 

. ?

reviewed when any proposal for a Fine and Performing Arts 

program and courses is under consideration for approval. 

If the course is approved waiver is requested of the normal 

two-semester time lag requirement to permit offering of 

CS 101-3 in the Spring Semester 1973. 

Program. General Studies ?

Course Number:

G.S.

101

Title: Formal Development, of the

Sub-title or Description:

2. ENROLI•IENT AND SCHEDULING

Estimated Enrolment:

Vector Description: 2-1-0

Semester Offered (e.g. yearly, every Spring, twice

yearly, Fall and

Spring):

When will

course first be offered?

Spring 1973

JUSTIFICAEION

What is the detailed description of the course including

differentiation from lower level courses, from similar courses

in the same department, and. from courses in other departments

in the University?

This course is intended to explore the role of music in society and the

emergence of the Sonata Principal, its formal deve

opment in the Classical

Romantic and Modern periods. Emphasis will be placed on format and tonal

organization, unifying features, social acceptance and motivations for

formal changes. No other course of this type available at S. F. U.

B. What is the range of topics that may be dealt with

the course?

Basic formal concepts - Concerto Grosso - Modern treatment of Baroque fur.s

Haydn - Mozart - Mannheim School

School - Beethoven - Schumann. Mendelssohn a:d

Brahms - Major influences of late Beethoven: Bruckner, Mahler - the

Symphony in the 20th century.

How does this course fit the goals of the program?

General elective course

How does this course affect degree requirements?

Not at all.

What are the calendar changes necessary to reflect the addition

of this course?

Course to he added to calendar

What course, if any, is being dropped from the calendar if

this course is approved?

None

C,. What is the nature of student demand for this course?

There is strong evidence of a growing demand for fine arts

courses of this type.

B. Other reasons for introducing the course.

To provide the students at S. F. U. with some of the basic concepts

of music as an art form and an opportunity to investigate in detail the sonata

principal, a most forceful and productive musical concept: to give students

a good background necessary for a more active role in and /or appreciation

of the musical activities at S. F. U. (Arts Center Programmes and in the

Vancouver area in general. (see DEPARTMENT OF ART

AND MUSIC ANT)

DANCE AT SFU - A PROPOSAL, Arivd Grants, 3/15/72

3.

4. BUDGETARY AND SPACE FACTORS 

A.

Which faculty 

will be available to

teach this course? 

W.R. Babcock, BM (Eastman School. of Music) PhD (U. of "Rochester)

B.

What are the special space and/or equipment requirements 

for this course? 

none 

C.

Any other budgetary implications of mounting 

this

course: 

1/4 faculty time 

Approval: 

Dean of Division: 

Senate: 

HISTcR Y OF THE SYMPHONY 

Presentation of the course: Formal development of the symphony 

from its beginnings to the present. Not designed to tell the 

individual "what to like". Personal interpretations (especially 

my own) will be avoided as much as possible. Emphasis will be 

placed on the form of individual works and to that extent the 

composer did or did not meet the 

requirements 

of the "textbook" 

notion 

of form. 

Why does the writing of X sound as it does and why is it different 

from-that of 

Y

or Z? 

Discussions concerning thematic design, 

orchestration, developmental p'roceedures at appropriate times. 

Unifying features:making people 

aware 

of what they 

are

listening 

to, beginning 

with simple, 

clear-cut 

examples: passacaglia, chacconne, 

modern 

treatments 

of Baroque forms. 

II Part Pieces: Bach: Partita No. 1 in Bb. 

Priludjun,: free form, one melodic feature developed. 

2-part ? 

other movements; binary form 

3-part ? 

some Romantic piano works in A-B-A. A-B-B, etc. 

rondo ? 

formal 

disection 

with numerous examples. 

III French Overture, Italian Overture, Concerto Grosso, 

IV Using the above as a basis, discussion of Sonata-Allegro, Minuet, 

and Rondo as they 

are

applied to classical symphony. 

Haydn: Symphonies 54, 92, 94 

0

101 * 

The

Manahein School 

(relationship to Baroque) 

Mozart: Symphony No. 32 

V Mozart: Symphony no. 40, 41 

Beethoven: Symphony No. I 

Structural innovations of Mozart; comparison to early Beethoven 

VI Enlargement 

of Sriaia-Allegro and other matters outlined in I. 

Beethoven: Symphony No. 3, No. 5 

Formal enlargements, orchestration, 

contrary motion, sharp contrasts, 

syncopation. 

* Works 

cited are examples 

only; 

the list can 

.

be

expanded whenever time 

allows. 

VII ScPnibe:t, Schumann, Mendelssohn 

VIII Schubert, Schuman, Mendelssoh, 

IX Beoti-oven: 

Symphony No. 9 

9

1 . Beethoven as viewed by the Romantics; 

Influence 

of this symphony on later composers; thematic design. 

X Beethoven influence: 

Bruckner: Symphony No. 7. Further enlargenn4 of &zata-Allegro to 

include more theme groups, all developed. Bruckner's formula for 

beginning of movements; orchestration; Bruckner as organist. 

XI Mahler: his contributions to symphonic literature, form; Beethoven 

influence. 

XII Sibelius: as national figure; approach to S-A form, Problems 

of formal analysis. 

XIII Contemporary developments, nationalism, innovations. 

Nielsen, 

Shostakovitch, 

Pro kofiev, and others. 

These general topics can be expanded or contracted as the 

. ?

or

necessity 

instead 

arrises. 

of symphony 

String 

at anpoint 

Quartet may 

in the 

be used 

course. 

in addition to 

?