Course Title Credit MUHL M306 History of Western Art Music I 3 credits

Fall semester 2018

What’s going on here? The guy on the left who’s gesturing—who is he? (You probably don’t know his name, but what can you tell about him?) What’s the guy on the right doing? And what’s up with that bird?? Stay tuned!

(image from the Hartker Antiphoner, Abbey of St-Gall, Cod. Sang. 390, copied c. 990-1000; http://www.e- codices.unifr.ch/en/csg/0390/13/medium )

Instructor Dr. Alice V. Clark phone 865-3065 Monroe Hall 303 (note office location!!) e-mail [email protected] Office hours by appointment (avclark.youcanbook.me). This is not a throwaway line; I really do want to see you! I’m around campus a lot, so you’re welcome to drop by my office, but I ask you to make an appointment just to ensure that I’ll be there. You can also find me in Roussel lobby between the 9:30 and 11:30 sections on most class days, and I may announce occasional periods when I’ll be hanging out in the Starbucks area for informal conversation.

Classes MWF 9:30-10:20 (section 001) or 11:30-12:20 (section 002), CM 204g

Bulletin description This course is the first part of a two-semester survey of western art music, this semester covering music and ideas about music from antiquity to the mid-eighteenth century. Where relevant, we will consider influences on western art music from other cultures and styles.

Prerequisites MUTH M103 (Theory II) and MUHL M106 (Introduction to Music Literature), or permission of instructor.

Note that both Theory III and History I are prerequisites for History II, so students in this class should have completed or be concurrently enrolled in Theory III, and students who have not History I (18f)—2 passed Theory III may not continue, even if they pass History I. If you have any questions about this, please ask.

Course objectives and learning outcomes This class will cover western art music composed before c. 1750. We will consider not only the history of musical style, but also as appropriate how music was composed, performed, transmitted, and used as part of broader culture. By the end of the semester, students should be able (among other things) to: • identify by ear or eye a group of known compositions composed before c. 1750 • apply principles derived from known compositions to identify unknown examples of major genres and styles of music practiced before c. 1750 • define key terms relating to music composed before c. 1750 • explain the significance of a group of major active before c. 1750 • explain major historical and cultural influences on the composition, performance, and transmission of music before c. 1750

Students should also become more comfortable reading scholarly literature in music and using basic tools of scholarly research (such as Grove Music Online and RILM), developing skills they can use in other settings.

We’ll cover over a thousand years’ worth of music this semester! Sometimes we’ll focus more on aspects of musical style, sometimes more on aspects of historical or cultural framework. Most or all of this material will be new to you, and some may even seem strange, but this is part of the foundation of later music. On the other hand, this music comes from and reflects a world different from our own, and thinking about these different ways of “musicking” (as one author has put it) might inspire you to do something new!

Textbooks and course materials A-R Online Music Anthology: Go to www.armusicanthology.com to register and subscribe. Individual subscriptions are $60 for six months of unlimited use (including unlimited printing). There will be lists for our class (one per unit) with links to the pieces on the syllabus, and perhaps some others as well. Please make sure you have the pieces we’re studying in class on a given day, whether in hard copy or on an electronic device, so that we can talk about specific aspects as needed. This is important!

We will not have a separate textbook this fall: instead, we will use readings from the A-R Anthology and other sources. All material outside the A-R Anthology will be available electronically (usually by way of Blackboard) or on reserve in Monroe Library.

It should go without saying, but you must have paper and a writing implement for every class! On some days you will also need to have staff paper, which can be easily printed for free at sites such as http://www.blanksheetmusic.net/ . I will try to signal here or before class the days we will be using staff paper, but it should go without saying that staff paper is as essential as “regular” paper for music students! History I (18f)—3

Just to underline: bring to every class hard copies of whatever pieces from the anthology I’ve asked, a pencil, regular paper, and staff paper! As Dr. Frazier tells her choirs, if you don’t have the music for that day’s rehearsal, you are absent—here too, you cannot be fully present if you don’t have the material you need.

Course requirements / Types of assignments There will be some listening and/or reading in preparation for each class, and often I will also post a short video lecture; sometimes I will ask you to think about something, and even bring to class a short assignment. (Those usually aren’t in the syllabus yet, but I’ll get them to you in advance.) During class I will not lecture extensively, but we will engage in discussion and you will do various activities (solo, pair, small group, and/or full class); these may include a short assignment or quiz at the beginning of class to make sure you have done the necessary preparation help identify areas of difficulty.

Naturally there will be exams (I know—but studies show learning increases when it is tested!), but you will see that they count for only half your final grade, far less in many other classes. Because studies also show it helps learning to go back over material, there will this year be a limited comprehensive component of each exam. Unknown listening—that is, identifying pieces you do not know by comparing them to pieces you do know—will be a significant feature of these exams, especially the comprehensive components. We’ll talk about all that later.

Writing is also important, and so is reflection. While it’s not realistic for you to create full- blown research papers in this class, I do want you to practice expressing yourself in writing, whether in the form of open-ended reflections or arguments supported with evidence. I also want you to practice reading scholarly literature in music. You will therefore complete several special topic assignments and article report assignment.

I’m trying to vary the assignments and activities so everyone can do things they like— which probably means sometimes you’ll end up doing things you don’t like. I hope all these activities will help you learn, in one way or another. Exams are necessary, but as you’ll see they only count for half of your final grade. Unknown listening is a particularly useful way to test your learning, because the ability to extrapolate from pieces you do know to new material is a high-level cognitive skill.

Note that higher-education professionals generally say that each hour spent in class should be supported by 2-3 hours of work out of class; while we all know that doesn’t usually happen, you should do more than simply show up! That’s not just because I say so, but because you won’t get much out of the class if you aren’t prepared.

How should you spend that out of class time? I’d suggest the following: • Start by reviewing the previous class: listen to the music (with score), reread your notes, and identify anything you don’t understand or any questions you have. See if you can fill in those gaps by going back over the reading, score, or video; if you can’t, ask! It can also help History I (18f)—4 to ask yourself what the most important points are, and maybe think of what exam questions might look like. • Look to the next class: start by listening to the music (with score). If it’s got text, read the text in English to get a general idea, but also identify important words or phrases in the original, and look at how they are set to music. (This is one of those times you might want to draw circles or otherwise point to things in the score itself. This is why I ask you to bring hard copies of some items for class: just as you need to mark up the score of any piece you perform, it helps to mark up scores you study as well!) After you’ve done this, listen to the piece again, paying attention to what you’ve marked in the score. • Do any reading that’s assigned for the next class, and watch the video. Write down any questions you have, and make notes about what you think is most important about this material. • Look ahead: note when the next test is, start reading for the next article report or working on the next special topic. (If assignment due dates and exam dates aren’t in your calendar, put them there!) • On a regular basis (maybe not for every class): o identify useful terms and practice definitions o for each piece we’ve studied, identify who-what-when-where-why-how, and think about how that piece fits into the historical narrative o compare pieces to identify differences in genre, , style period o rewrite notes, combining notes from different sources, making corrections, etc. o look for connections: how can you generalize in your own words, for instance, what baroque style is, how it’s different from what came before (and after), what cultural features relate to it, etc. o think about what you’d ask if you were the one making an exam! o think about what elements you’ll want to put on your cheat sheet for the next exam

Note that some of this can be time-shifted, so in a particularly busy week you can focus on the basics, and the next week you can do some of the bigger-picture things. Also note that, while the final pieces can’t be added until the end of the unit, you can have much of the legwork for the exam in small units, over time.

In the end, this is your education—I’ve had mine—and if it’s going to be effective, you must take control of your learning. Like a personal trainer, I can help, but the ultimate responsibility, and the ultimate benefit, is yours. You are always welcome to come to me for advice if you feel at all uncomfortable about your study habits or want additional tips.

It is often easiest to communicate with me by e-mail between classes; barring emergencies or natural disasters, I will answer messages within 24 hours, except on weekends, during breaks, and while out of town at conferences. (This is a minimal goal, and in real life I usually will reply much sooner, even on weekends!) You are welcome to stop by my office or catch me at a concert or elsewhere, but be aware that I may not have exact answers about specific questions such as due dates (which are listed here or and/on Blackboard).

History I (18f)—5 You must occasionally read your loyno account!!! I realize material is sent to the campus community that you may not find relevant to your life, but we need to be able to reach you, and this is usually the easiest way to do so. Feel free to add an alternative e-mail address and an emergency phone number to your Blackboard profile, so I can have an alternate way to contact you if need be (say in case of evacuation...), but your loyno account will remain my primary way to contact you out of class.

University policies A number of University policies that apply to this and other classes are separately communicated, but I’ll call attention to some of them here: • Academic integrity: everything you submit for this class should represent your work, and I expect you to be ethical in how you use library materials, the A-R Anthology, and other resources. That includes, but it not limited to, respecting copyright law and properly attributing your use of the words, images, music, or ideas of others. This is a matter not only of intellectual property but of personal integrity, and it is also a service to your reader. Academic dishonesty (including, but not limited to, unauthorized collaboration on assignments, plagiarism on papers and essays, and cheating on exams) will receive a penalty; this goes for the person providing information for copying as much as for the person doing the copying. If you have any questions, please ask. • Accessible education: I am glad to do what I can to help students who need accommodations, but keep in mind that you must begin that process with the Office for Accessible Education. Once you have documentation from them, we can talk! • Emergency procedures: remember that the beginning of the fall semester coincides with the height of hurricane season! We always hope to be spared, but if there is an evacuation, we are required to continue class electronically. • Finally, there are a wealth of support services available to all students, most housed in the Student Success Center and the University Counseling Center. Please don’t be afraid to get whatever help you need!

Attendance, participation, and class conduct For each regular class meeting, you can earn up to ten points; this includes a combination of passive participation (being present and attentive), active participation (answering and asking questions, etc.), and activities (quizzes, discussion questions, in-class assignments, etc., whether or not they are collected). My expectation is that every student who is present and engaged for the entire class will receive all ten points, but that doesn’t mean simply showing up does the job. Of course, you can’t earn points if you’re absent, or late for that matter. If a student is disruptive or clearly not participating in class discussion or other activities, I reserve the right to deduct points from the daily score. Similarly, failure to bring to class necessary material (including scores, staff paper, etc.) may also result in a loss of daily points. Enough daily points are available to allow for three “free” absences for the term, consistent with the attendance policy many use, and extra credit is available.

During class I plan for us to spend more time discussing documents and articles, studying music, examining facsimiles of musical sources, and so forth. To succeed in this course, you need to History I (18f)—6 come prepared to participate. That doesn’t mean that you have all the answers; indeed, sometimes it’s more important to have questions, and those questions can sometimes shape what we do in class. It’s useful to seek always to bring in something to ask or something interesting to contribute for each class—in this kind of course that may not always be possible, but it’s a worthy goal.

Be aware that we may sometimes deal with difficult or controversial issues—but we do it as historians, so our goal is not to defend our own beliefs or express our own feelings, but rather to learn about how others have thought and felt, whether or not we agree with those views and feelings today. Let’s all work to maintain an open atmosphere where ideas can be exchanged and challenged while still remembering the fundamental human dignity of everyone in the class. Free speech allows for speech that may offend, but not speech that threatens or harasses, and disruptive behavior is a violation of the Student Code of Conduct. Learning how to deal appropriately and effectively with ideas that may offend us (whether we choose to engage or let go) is a useful skill—especially in these difficult times. I’m glad to discuss any concerns you may have privately.

Please don’t talk while music is playing! Performers on a recording can’t be distracted, but conversation distracts others in the room. Besides, as musicians, listening to music should be one of the most important things we do, and it deserves your full attention.

Technology: Practice being truly present by limiting your use of electronic devices to what is relevant to class, and be aware that your inappropriate use of such technology distracts others in the class (including me). If there is an emergency that requires you to keep an eye on your phone (beyond any class-related activity), please let me know before class, as a courtesy to your colleagues as well as to me. (I will follow this policy as well.) If that emergency requires you to answer your phone (by either voice or text), you should leave the room. I will not place rules on the use of electronics at this time, though I reserve the right to do so later if it becomes a problem. I know staying away from texting, e-mail, and Facebook for an hour can sometimes feel like a challenge, but this is a good time to practice.

Life is about showing up—physically and metaphorically. Here and in every other class, you’ll get out what you put in, so be present and be prepared.

Evaluation Grades will be calculated as follows: exams (100 points each): 400 points final exam: 100 points in-class activities (10 points/day): 300 points article reports (35 points each): 100 points special topics (50 points each): 150 points total: 1000 points

You can earn up to 50 points extra credit for in-class activities; you can also earn extra credit by doing all four article reports (up to 40 points) and/or all four special topics (up to 50 points of extra credit), or you may choose only to do three of each with no penalty. Keep in mind, History I (18f)—7 however, that I will only apply up to a total of 100 points of extra credit—there are limits! The grading system is already set up to balance effort and achievement, with tests as only half of the final grade.

The grading scale is as follows: A excellent 930-1000 points A- 900-929 B+ 870-899 B above average 830-869 B- 800-829 C+ 770-799 C average 700-760 D+ 670-699 D minimal pass 600-699 F fail below 600

Note that the state certification board requires that music education students get a grade not lower than C in all music courses; music education students who earn a grade below C must therefore retake the course and may not be permitted to enroll in History II until they have done so. Music industry studies students are also required to earn a grade of C or above in all music coursework. Graduate students taking this course as remedial work must earn a grade of B or above to pass.

Exams (including final exam) • Wednesday 12 September (monophonic traditions) • Wednesday 3 October (polyphony to c. 1450) • Friday 26 October (fifteenth and sixteenth centuries) • Friday 30 November (baroque) • Final exam: Wednesday 12 December, 9-11am (9:30 section) or Monday 10 December, 11:30-1:30 (11:30 section). Note that you must take the exam at the officially assigned time, with the section in which you are registered! This exam will be comprehensive; details to follow.

Exams may include listening (known and/or unknown) to identify and discuss, score identification, short-answer questions such as definitions, etc. Each exam will have a limited cumulative component, because research shows that such continual review helps learning. More information will follow. Exam dates are subject to change.

You must take each exam (including the final) with the section in which you are registered. I will only approve an exception for a compelling reason, and only well in advance of the exam. (A holiday plane reservation does not constitute a compelling reason, nor does a jury, so schedule such things accordingly.) Also, you are all on your honor not to discuss any exam between 9:30 and 12:30 on the day in question (or between 11:30am Monday and 11am Wednesday in the case of the final). The two sections may have exams that are completely different, or totally identical, or anything in between—you can’t know in advance, so finding out what happened on one exam therefore really wouldn’t help with the other one anyway. History I (18f)—8

If you must miss an exam, you must tell me in advance, and you must provide documentation sufficient to schedule a make-up exam. This is mostly to protect the class as a whole, including the students who take the test at the scheduled time. If your absence is due to a professional commitment like a conference, you must discuss it with me well in advance, and you will more than likely need to take the exam before you go. You must also provide me with written documentation of that commitment in advance—it’s your responsibility, not mine or any other faculty member’s. If it is something sudden, such as illness, you must inform me immediately, not later than 15 minutes before the starting time of the exam, and you must provide me with official documentation that accounts for your absence at the time of the exam. (I don’t need to know medical details, as long as a medical professional certifies that you had reason to miss the exam.) Scheduling of make-up exams is at my discretion, and, while I will do my best to take your schedule into consideration, the time and format of the exam are not negotiable. I reserve the right to give you a totally different, and perhaps less congenial, format, such as all score identification, or all essay, or even oral. You obviously may not discuss the exam that has occurred with others in the class until you have taken the make- up exam.

Special topics (3 total) These are in place of formal papers; one involves making an argument based on evidence, but in some other cases the writing is more reflective, and for one you will create your own program of sixteenth-century music. There are four topics, one for each unit, but you may choose only to do three, or you may do the fourth for extra credit. More information will follow.

Article reports (3 total) These involve reading specific examples of scholarly literature and doing a written evaluation assignment. As with the special topics, I am assigning four, one for each unit, but you may choose to do three, or do the fourth for extra credit; in each case I give you a choice of articles to read. More information will follow.

Daily assignments These may include quizzes (closed- or open-note), written reflections, or other assignments, whether at the beginning of class or part of class activities. I will also often ask you to do a small assignment to turn in at the beginning of class. Since all these are part of your daily participation, points can’t be made up if you are absent, nor will I accept these assignments after the class in question.

Late work Unless specified otherwise, late assignments outside of daily class work (which of course can’t be turned in late) will be penalized 5% or one-third letter grade (depending on whether a numerical or letter grade is given) per day (not class period) late, including weekends. Absence from class does not affect assignment due dates, and late penalties can only be waived because of documentation comparable to that needed for makeup exams. (Note that, as with exams, if your absence is because of a conflict known in advance, you should submit the assignment early.) I cannot accept any assignment after I have handed it back to other students—or, in the History I (18f)—9 case of assignments submitted electronically, posted grades on Blackboard. Assignments must be submitted in the format requested—for instance, if I ask you to post an essay on Blackboard, you may not e-mail it to me instead. No work of any kind can be accepted after the final exam.

The bottom line for most of these rules is fairness: it’s not fair to those who show up and do work on time if some of you can take tests, turn in assignments, etc., late without any penalty. On the other hand, I’d nearly always rather you do the work late than not at all! In a required course like this one, we all have to try to make policies as uniform as possible.

Course schedule (subject to change) All music can be found in the A-R Anthology unless specified otherwise; essays from the anthology are cited in full on first mention, then by author and short title. There are four course lists associated with this class (one per unit); please let me know if you have difficulty finding those lists or are in any way unsure which pieces are meant. (There are, for instance, some cases of similarly-titled pieces! I will do my best to make my intentions clear here and on those course lists, but please do ask if you aren’t sure.) Recordings of those pieces will appear on Naxos playlists where possible; where a piece is not available on Naxos I will try to make a recording available through some other means, and post that information on Blackboard. Other material will be posted on Blackboard or available through the library, either through electronic resources or on reserve in hard copy.

These assignments are to be done in preparation for class on the given date! This outline is an effort to plan out most of the assignments and out-of-class work for the semester, but I can’t promise it is completely comprehensive. Additional assignments (especially daily assignments to bring to class) or changes to these assignments are therefore possible. I will make every effort to give you that information as far in advance as possible, both in class and on Blackboard.

Please ensure that you can look at the music we are studying on a given day. I won’t require you to bring hard copies—though it is still difficult to take notes on PDFs or web pages—but I do ask that you have access to scores. (If you want suggestions about which pieces might be more worth printing, so as to be sustainable in your printing, feel free to ask.) Where I ask you to be able to sing something, don’t worry: all singing will be done as a group, and I will never ask individuals to sing alone! Also, don’t worry about pronunciation of foreign-language texts— just do what you can, and it’s OK if that means you just sing “la la la.” Even if we don’t sing each of these during class, being able to do so will also help you learn those pieces.

Monday 20 August: Introduction

We start with a brief glance at ancient Greece. The notational system they use is not ours, and there is little or no continuity of practice, but many important ideas about music come to us from the Greeks.

History I (18f)—10 Wednesday 22 August: The ancient musical legacy • listen: Epitaph of Seikilos • read: source readings posted on Blackboard: as you read, make two lists or sets of notes: one of who is writing and the major threads of musical thought represented, and one of who and what seems to you to be missing. This will serve as the basis of discussion, so bring these lists to class! You will also probably want to have these texts available to you during class as well. • watch: video lecture on fragments and notation (links to this and all other video lectures will be available on Blackboard) • bring to class: On a sheet of paper you will turn in as you enter class, write down (a) three major themes or ideas that come out of this material, (b) for each of those themes or ideas, point to a specific text excerpt, image, or musical example that exemplifies that theme or idea, and (c) a short list (ideally about three items) of people, things, or ideas that are missing—in other words, what can’t we know about ancient Greek music, at least based on the evidence you have in front of you? Make sure these things are also in your notes, so you can use them during the class period! • (You will see that I’ve posted several extras on Blackboard; those are not required, but some of you may find some of them interesting. I’ll probably continue to post such things, and I’ll try to label them clearly as extras—but let me know if you aren’t sure, or for that matter if you want to know more!)

“Gregorian” is the first substantial musical repertory in the western art tradition. It was the foundation of musical study through the and beyond, and it continued to be a living repertory at least until the Second Vatican Council of the 1960s! We will therefore linger here for a while. Bring the music for these to each class throughout this section of the course, and be prepared to sing them at any time!

Friday 24 August: Types and styles of chant I • listen: Third Mass for Christmas Day (Use the PDF posted on Blackboard rather than the A-R Anthology edition, so you can start to learn to read the square notation natural to chant! The Naxos playlist includes not only the sung items but several of the recited prayers and readings, so you can get a sense of the difference between the two styles, but we’ll be focusing only on the sung items, and those are the only ones you have in notated form.) • be able to sing the following sections of the Mass: o first phrase of Introit (“Puer natus est nobis, et filius datus est nobis”) o first statement of Kyrie (“Kyrie eleison”) o first phrase of Gradual (“Viderunt omnes fines terrae”) o opening of Credo (through “visibilium omnium”) • read: o James Maiello, “” (A-R Anthology), pp. 1-4. We will cover this article (and other such articles from the anthology) in small pieces, but you will probably want to reread it as a whole later! • watch: video lecture (vocabulary: Proper/Ordinary, calendar, syllabic/neumatic/melismatic History I (18f)—11 • bring to class: have with you at a minimum the four chants specified above (Introit, Kyrie, Gradual, Credo), and be able to sing! As requested above, try to use the square notation in the PDF I’ve posted on Blackboard, because all other chants I give you will use this notation. (Feel free to bring questions.) Start to think about how these four chant types are different from each other; we’ll focus on that more during class.

Monday 27 August: Chant and the psalms • listen: review chants for the Christmas Mass, focusing especially on the style and structure of the introit and gradual • read: o commentary to the Mass for Christmas Day (A-R Anthology; note that this text begins on p. 13 of the 29-page file, following the Propers for the Midnight Mass for Christmas Day, which we won’t use.) o Fiona McAlpine, “Genres and Forms in the Middle Ages,” pp. 1 and 3-4 • watch: video lecture (psalmody and the Daily Office) • bring to class: Try to define in your own words the terms “antiphonal” and “responsorial” as they refer to the performance of psalms.

Wednesday 29 August: “Gregorian” chant • (listen: review known listening and practice unknown listening) • read: documents on Blackboard • watch: video lecture (Khan Academy on Carolingian Renaissance, https://www.khanacademy.org/humanities/medieval-world/carolingian1/v/charlemagne-and- the-carolingian-revival, 11:35; this may not seem directly relevant, but try to relate aspects of this lecture to the development of chant and the story outlined in your readings) • watch: image of St. Gregory from Hartker Antiphoner (link on Blackboard; also reproduced at the top of this syllabus! Think about the questions I’ve asked there: what’s going on here?)

Friday 31 August: Chant theory • (listen: review known listening and practice unknown listening) o Be able to sing by memory: first phrase of Christmas introit (“Puer natus est nobis”) o Be able to explain the modal assignment of each chant in the Christmas Mass. If you don’t understand the reasons for the modal classification of one or more chants, bring questions! • read: Maiello pp. 4-6 on the modes and Fiona McAlpine, “Music Theory in the Middle Ages” (A-R Anthology), pp. 1-3 on chant • watch: video lecture on modes • bring to class: any notes/questions you have on the modal classifications of the chants in the Christmas Mass

Monday 3 September: Labor Day—NO CLASS

History I (18f)—12 Wednesday 5 September: Extensions to the liturgy • special topic 1 due by 11:59pm • listen: o sequences and tropes for Christmas (on Blackboard) o , O frondens virga (, discussed in Bain article; text and translation posted on Blackboard. The recording I’ve posted on the Naxos playlist uses the antiphon as it would have been used in the liturgy, to bookend a psalm; you may listen to the antiphon alone if you wish to limit yourself, which is just under two minutes.) • read: o Maiello pp. 15-17 on tropes and sequences o McAlpine, “Genres,” pp. 4-5 on the sequence o Kendra Preston Leonard, pp. 1-5 (This begins with antiquity, but it ends with Hildegard of Bingen, so it can be one way you can start to think of this unit as a whole. This might also be a good time to start reviewing Maiello’s essay and other material, since the first unit exam is a week away!) • watch: video lecture on sequences and tropes

(Thursday 6 September: Mass of the Holy Spirit) Think about how what we’ve been looking at here is reflected in the modern Roman Catholic Mass. Feel free to bring thoughts and questions to class, or talk with me outside of class.

We’ll close this unit by considering the birth of secular song in medieval Europe. Though here we’ll focus on where it all began, with the in what is now southern France, from there grew the music of the trouvères in northern France and England and other forms of vernacular song across Europe. Not all of these are really secular, but one of the central features of medieval culture is the intertwining of what we separate as sacred and secular—as we’ll see in the cantigas in honor of the Virgin Mary!

Friday 7 September: Secular monophony I (troubadours) • listen: o multiple recordings of , Can vei la lauzeta mover (There are nine performances on the Naxos playlist; you probably don’t have time to listen to them all in full, but please listen to at least one complete performance, as well as portions of the others! Think about which performance/s you prefer, and why.) o , A chantar (The performance I put on the Naxos playlist is very long, so you may stop after a couple of verses. The track that precedes the song is a reading of her vida; I thought it might be interesting to hear the Occitan read aloud.) • read: o commentary on Bernart’s song o Bernart’s vida (posted on Blackboard) o Robert Falck and John Haines, “Bernart de Ventadorn,” Grove Music Online (use hard copy in the library’s reference section or access as Oxford Music Online from the library’s list of databases) o Karen Cook, “Comtessa (Beatriz?) de Dia” (A-R Anthology) History I (18f)—13 o Maiello pp. 6-7 and McAlpine, “Genres,” p. 5 on secular song • watch: video lecture

Monday 10 September: Secular monophony II (Cantigas de Santa Maria) • listen: o examples of Cantigas (Prologue and cantigas 1, 140, and 159) (Where possible, I’ve given you a couple of different performances on the Naxos playlist. I’ve also included the performance of Haec dies by Ensemble , mentioned in Haines’ article; I’ll post on Blackboard YouTube links to other examples he discusses.) • read: o Karen Cook, “Cantigas de Santa Maria” (A-R Anthology) o John Haines, “The Arabic Style of Performing ,” Early Music 29/3 (August 2001): 369-78. • watch: video lecture

Wednesday 12 September: EXAM 1: monophony

Friday 14 September: no class (National Seminar) • article report I due by 11:59pm

Western Europe is one of the few places that developed polyphonic music; most forms of music around the world remained monophonic, at least until modern times. Actually, I think we lost something of the ability to hear melodic nuance in the process, so it’s not all good! Moreover, it’s worth keeping in mind that monophony is still the central part of the musical world of most medieval people: chant is still sung, and dance and other forms of instrumental music remain monophonic (and mostly unwritten) for a long time. Here, however, we will turn our attention to this new musical development, starting with its first major flourishing in writing, at the Cathedral of Notre-Dame in Paris.

Monday 17 September: Music at Notre-Dame de Paris I: organum • listen: two-part organum on Viderunt omnes (be able to sing first phrase of chant, “Viderunt omnes”) • read: o commentary on Viderunt omnes o Maiello pp. 7-11 on early polyphony o McAlpine, “Theory,” pp. 7-9 on Notre-Dame polyphony (You may want to skim pp. 3-7 to fill in the story of early polyphony, but we’ll focus on the Notre-Dame style.) • watch: video lecture • BRING STAFF PAPER TO CLASS!

Wednesday 19 September: Music at Notre-Dame de Paris II: discant and the clausula • listen: o review two-part organum on Viderunt omnes, especially sections in discant style o clausulae on Dominus History I (18f)—14 o Factum est / Dominus () • read: o Edward H. Roesner, “Leoninus,” Grove Music Online o Johannes de Garlandia, excerpt from De musica mensurabili (posted on Blackboard; read less for the details of the rules than the basic principles of the rhythmic modes) • watch: video lecture • BRING STAFF PAPER TO CLASS!

Friday 21 September: the medieval motet • listen: o (review Factum est / Dominus) o , In arboris / Tuba sacre fidei / Virgo sum o , Qui es promesses / Ha! Fortune / Et non est qui adiuvet (M8, printed as appendix in Clark, “Guillaume de Machaut,” pp. 16-18, cited below) • read: o Clark, “Guillaume de Machaut,” pp. 5-7 on Machaut’s M8 (A-R Anthology) o Maiello pp. 12-15 and 17- 20 on the motet (etc.) and McAlpine, “Theory,” pp. 9-12 on the motet • watch: video lecture

Monday 24 September: Guillaume de Machaut and the polyphonic secular song • listen: Machaut, Je puis trop bien (B28) • read: Clark, “Guillaume de Machaut” (entire) and McAlpine, “Genres,” pp. 6-9 (on the fixed forms) (optional: skim McAlpine, “Theory,” pp. 12-15) • watch/do: o Tutorial on fourteenth-century French notation (link on Blackboard; note that you must register on this site): do at least units 1, 2, and 6 o Look at Machaut’s 3 in MS C (Paris, Bibliothèque Nationale de France, MS fonds français 1586; link on Blackboard). Try to read the cantus (top) line! • BRING STAFF PAPER TO CLASS!!!!

Wednesday 26 September: Fourteenth-century France II • special topic 2 due (post Word or PDF file to Blackboard by 11:59pm on this date) • review material from previous classes (including M8 and B28)

Friday 28 September: Toward the “international” style • listen: o Francesco Landini, Echo la primavera o Francesco Landini, Non avrà ma’ pietà o Sumer is icumen in o (?), Quam pulchra es • read: o Luisa Marchi, “Francesco Landini” (A-R Anthology) (entire) o Karen Cook, “John Dunstaple” (A-R Anthology) (focus on pp. 1-5 and 12-16) History I (18f)—15 o McAlpine, “Genres,” pp. 9-12 (on the ) • watch: video lecture

Monday 1 October: Guillaume du Fay and the flowering of the “international style” • listen: o Du Fay, Nuper rosarum flores / Terribilis est locus iste o Du Fay, Ave regina caelorum (NB: four-voice version!) o Du Fay, Resvellies vous o Du Fay, Se la face ay pale (three-voice version) o Du Fay, Missa Se la face ay pale (Gloria only) • read: o commentaries to Resvellies vous, Se la face ay pale, and Missa Se la face ay pale o Alejandro Enrique Planchart, “Du Fay, Guillaume,” in Grove Music Online: Read the section “Life,” observing the extent of Du Fay’s travels (you don’t have to know them all!), and note down 3-4 particularly important places/positions. • watch: video lecture

Wednesday 3 October: EXAM 2: Polyphony to c. 1450

Josquin is the most important composer you’ve never heard of! He and his contemporaries represent the height of the “international style” created in Du Fay’s time, and he is the first composer to benefit from the new technology of print. That’s not the only major change in store: we’ve got the reformation, the development of new types of secular song, an increased role for emotional expression in music, and the first real flowering of instrumental music (at least in writing). All of that and more will happen in this unit—stay tuned!

Friday 5 October: Josquin des Prez and his contemporaries I • listen: o Josquin, Ave Maria...virgo serena (so called to distinguish it from another motet by Josquin beginning with the words Ave Maria; four-voice version in anthology) o Josquin, Missa Fortuna desperata, Gloria only o Josquin, Missa Pange lingua, Kyrie only o Josquin, Mille regretz • read: o Stephanie P. Schlagel, “Josquin des Prez” (A-R Anthology; entire, but you may skim over discussions of examples we won’t study) o Commentaries on Ave Maria…virgo serena, Missa Pange lingua, and Mille regretz o optional: Jennifer Thomas, “Josquin des Prez, Ave Maria, and the Musical Canon” (A- R Anthology; includes as an appendix an extended analysis of the motet) o even more optional: Seth Coluzzi, “Music Theory of the Renaissance” (A-R Anthology; if you’re particularly interested in this area, let’s talk!) • watch: video lecture

Monday 8 October: Fall break—NO CLASS History I (18f)—16

Wednesday 10 October: “medieval” vs. “renaissance” style • article report 2 due by 11:59pm • listen: review Josquin, Ave Maria...virgo serena and Vitry, In arboris / Tuba sacre fidei / Virgo sum • read: o Stephanie P. Schlagel, “An Introduction to Renaissance Music,” pp. 1-6 and 10-12 o Allen Scott, “Renaissance Genres and Forms,” pp. 1-6

Friday 12 October: music and reformation • listen: o Walter, Ein feste Burg ist unser Gott (chorale setting) o Bourgeois, Or sus, serviteurs du Seigneur (metrical psalm setting) o Giovanni Pierluigi da Palestrina, Pope Marcellus Mass o Tomás Luis de Victoria, O magnum mysterium o Victoria, Missa O magnum mysterium, Kyrie • read: o documents posted on Blackboard (focus on this, and the music, because in class we’re going to have a debate!) o Scott, “Renaissance Genres,” pp. 6-19 o Noel O’Regan, “Giovanni Pierluigi da Palestrina” (A-R Anthology) o commentaries to Walter, Bourgeois, Byrd • watch: video lecture

Monday 15 October: the reformation in England • listen: o Tallis, Audivi vocem (score from ChoralWiki linked on Blackboard) o Thomas Tallis, Verily I say unto you o Byrd, Sing Joyfully Unto God o Byrd, Christ Rising Again o Byrd, Ave verum corpus (score from ChoralWiki linked on Blackboard) • read: o K. Dawn Grapes, “William Byrd” (A-R Anthology) o Joseph Kerman, "Music and Politics: The Case of William Byrd (1540-1623)," Proceedings of the American Philosophical Society 144/3 (September 2000): 275-87. (available on JSTOR; link on Blackboard) • watch: video lecture

Wednesday 17 October: Jesuits and music • read (posted on Blackboard; I know this looks like a lot, but it is actually under 25 pages of text): o David Crook, “ ‘A Certain Indulgence’: Music at the Jesuit College in Paris, 1575- 1590,” in The Jesuits II: Cultures, Sciences, and the Arts, 1540-1773, ed. John W. O’Malley et al. (Toronto: University of Toronto Press, 2006), 454-78. History I (18f)—17 o Paolo Castagna, “The Use of Music by the Jesuits in the Conversion of the Indigenous Peoples of Brazil,” in The Jesuits: Cultures, Sciences, and the Arts, 1540- 1773, ed. John W. O’Malley et al. (Toronto: University of Toronto Press, 1999), 641-58. • bring to class a brief reflection on the following questions (keep a copy for yourself): Compare the types of music that are used in these two very different settings. What kinds of music are approved, and what kinds are forbidden or discouraged? What underlying issues direct those decisions? What are the limitations of our evidence—that is, what can’t the surviving evidence tell us?

Friday 19 October: Secular song in the sixteenth century I • listen: o Marco Cara, Io non compro più speranza o Jacques Arcadelt, Il bianco e dolce cigno o Luca Marenzio, Solo e pensoso o Thomas Weelkes, As Vesta was from Latmos Hill descending • read: o Schlagel, “Renaissance,” pp. 6-9; Scott, “Renaissance Genres,” pp. 19-27, Leonard, “Women,” pp. 5-6 o excerpts from Castiglione’s The Courtier (posted on Blackboard) (Neuls-Bates, Weiss and Taruskin) • watch: video lecture

Monday 22 October: Secular song in the sixteenth century II • listen: you will be assigned a group and one of the following (subject to change) o Sermisy, Tant que vivray o Lassus, La nuict froide et sombre o Villancico o Dowland, Flow, my tears o Weelkes, O Care o Morley, ballett • read: For the piece you are assigned, you should start by reading the Grove article on its composer and genre, as well as the relevant parts (if any) of Schlagel’s and Scott’s essays and the text and translation of the song itself. From there you may expand to other sources of information as needed. • bring to class: notes that you can use to work with other students to make a short presentation to the class about your piece, and to create a set of basic notes that you will send to me for a class handout on these songs.

Wednesday 24 October: Instrumental music in the sixteenth century • listen: o Claude Gervaise, Pavane d’Angleterre and Galliard o Luys de Narváez, Cancio mille regrez o Byrd, Browning my dear a 5 o Merulo, Toccata duodecimo detto VI. Tuono History I (18f)—18 o Andrea Gabrieli, Ricercar del duodecimo tuono • read: o Miranda Kauffmann, “John Blanke, the Trumpeter,” from Black Tudors: The Untold Story (posted on Blackboard) o Schlagel, “Renaissance,” 12-14; Scott, “Renaissance Genres,” pp. 27-31 • watch: video lecture

Friday 26 October: EXAM 3: Fifteenth and sixteenth centuries

The baroque period is said to begin with the development of opera around 1600, but you’ll see that the earliest operas grow out of sixteenth-century developments. Once opera hits the scene, though, it will influence everything through the rest of the course and beyond!

Monday 29 October: The creation of opera I: , 1600 • listen: o Claudio Monteverdi, Cruda Amarilli o Giulio Caccini, Vedrò ‘l mio sol o Monteverdi, excerpts from Orfeo, Act II (pp. 7-19) • read: o Jonathan Rhodes Lee, “Introduction to the Baroque Era,” 1-9 (through Monteverdi) o Kimberly Beck Hieb, “Genres and Forms in the Baroque Era,” 1-4 (through Italian opera) o John Whenham, “Orfeo (i),” in Grove Music Online (you can skim through the discussion of modern performances) o Excerpts from Giovanni Maria Artusi, L’Artusi, ovvero, Delle imperfezioni della moderna musica, and Giulio Cesare Monteverdi, “Declaration,” published with Claudio Monteverdi, Scherzi musicali o Giulio Caccini, excerpt from preface to Le nuove musiche (Weiss and Taruskin, posted on Blackboard) • watch: video lecture • bring to class a piece of paper you can turn in with brief answers to the following questions (keep a copy of your work for you to have during class!): o What is Artusi’s main complaint about Monteverdi’s Cruda Amarilli? What is the gist of Monteverdi’s brother’s response? o Based on Caccini’s words and music, what is he trying to do, and why?

Wednesday 31 October: article report 3 due by 11:59pm (no class)

Friday 2 November: special topic 3 due by 11:59pm (no class)

Monday 5 November: the creation of opera II: Venice, 1637 • listen: Monteverdi, excerpts from L’incoronazione di Poppea (from the bottom of p. 20, Poppea’s “Signor, signor deh, non partire”) • read: Ellen Rosand, “L’incoronazione di Poppea,” in Grove Music Online History I (18f)—19 • watch: video lecture • bring to class a piece of paper you can turn in with brief answers to the following question (keep a copy of your work for you to have during class!): compare Monteverdi’s Orfeo (Mantua, 1607) and Poppea (Venice, 1643), considering aspects of plot, voice types and instruments used, types of music used, and any other factors that seem useful or interesting

Wednesday 7 November: vocal music for church and chamber • listen: o Barbara Strozzi, Lagrime mie o Heinrich Schütz, Veni de Libano (Symphoniae sacrae, op. 6, 1629) o Schütz, Saul, was verfolgst du mich? (Symphoniarum sacrarum tertia pars, op. 12, 1650) o Giacomo Carissimi, Historia di Jepthe (focus on the daughter’s lament and subsequent chorus, pp. 20-end, but at least skim the text of the whole to get a taste of it; the anthology does not provide a translation, but one will be available on Blackboard) • read: o Hieb, “Baroque,” pp. 5-8 (on vocal genres; you may want to revisit some of this later, in relation to Handel and J. S. Bach) o Grove articles on Strozzi, Carissimi (focus on the sections on his life and oratorios) and Schütz (focus on the section on the Symphoniae sacrae) • watch: video lecture

Friday 9 November: the French tragédie en musique • listen: Jean-Baptiste Lully, excerpts from Armide • read: o Hieb, “Baroque,” p. 4 (on Lully and the tragédie lyrique) o Lois Rosow, “Armide (i),” in Grove Music Online • watch: video lecture

Monday 12 November: dramatic music in England • listen o Henry Purcell, excerpts from Dido and Aeneas o Purcell, excerpts from The Fairy Queen • read: o Hieb, “Baroque,” pp. 4-5 (on Purcell and music for theatre) o Curtis Price, “Fairy Queen,” in Grove Music Online o Curtis Price, “Dido and Aeneas,” in Grove Music Online • watch: video lecture

Wednesday 14 November: Baroque instrumental music I: ensemble music • listen: o Archangelo Corelli, Trio Sonata in D Major, op. 3 no. 2 o Corelli, Sonata da camera, op. 2 no. 4 o Antonio Vivaldi, Concerto in A Minor for Two Violins and Orchestra, op. 3 no. 8, RV 522 (first movement only; discussed by Lee) History I (18f)—20 o Vivaldi, Concerto in A Major for Violin and Orchestra, op. 9 no. 2, RV 345 (first movement only; discussed by Brody) • read: o Christopher Brody, “Analytical Approaches to Baroque Music,” pp. 9-13 (on the concerto) o Lee, “Baroque,” pp. 13-17 (on instrumental genres) o Hieb, “Baroque,” pp. 8-10 (on the sonata and concerto); Brody pp. 9-13 • watch: video lecture

Friday 16 November: Baroque instrumental music II: keyboard music • listen: o Elisabeth-Claude Jacquet de la Guerre, Suite in D minor o J. S. Bach, Prelude and Fugue 1 and 2 from Well-Tempered Clavier, Book 1 o J. S. Bach, chorale prelude on Durch Adams Fall, BWV 637 • read: o Brody, “Baroque,” pp. 1-8, 14-18 o Hieb, “Baroque,” pp. 10-12 (on keyboard music) o Leonard, “Women,” pp. 6-8 (includes discussion of Jacquet de la Guerre) o documents relating to Jacquet de la Guerre (Neuls-Bates) • watch: video lecture

Monday 19 November: Handel and opera seria • listen: o George Frideric Handel, excerpt from Orlando, aria “Fammi combattere” (pp. 59-63 of anthology excerpt; discussed by Hurley) o Handel, excerpts from Giulio Cesare • read: o David Hurley, “George Frideric Handel” (A-R Anthology) o David Hunter, “Handel and the Royal African Company,” Musicology Now, 14 June 2015 (http://musicologynow.ams-net.org/2015/06/handel-and-royal-african- company.html ; accessed 6 August 2018) (linked on Blackboard) o Lee, “Baroque,” pp. 9-13 (on opera between Monteverdi and Handel; focus on Alessandro Scarlatti and the da capo aria) o Hieb, “Baroque,” pp. 12-14 (on forms, especially the da capo aria) o Brody, “Baroque,” pp. 18-22 (on aria forms) • watch: video lecture

Wednesday 21-Friday 23 November: Thanksgiving holiday—NO CLASS

Monday 26 November: Johann Sebastian Bach • listen: o J. S. Bach, Prelude and Fugue 1 from Well-Tempered Clavier, Book 1, BWV 856 o J. S. Bach, chorale prelude on Durch Adams Fall, BWV 637 o J. S. Bach, Wachet auf, BWV 140 History I (18f)—21 • read: o Lee, “Baroque,” pp. 17-24 (on musical encyclopedism); Brody, “Baroque,” pp. 23-26 o documents relating to Bach from Weiss and Taruskin and Strunk (posted on Blackboard) o (I may add a reading on JSB’s life and career; the Grove article is long but good.) • watch: video lecture

Wednesday 28 November: Handel and the English oratorio • listen: excerpts from Handel, Saul • read: TBA • watch: video lecture

Friday 30 November: EXAM 4 (baroque)

Monday 3 December: Joseph Amiot, S.J., and music in China • listen (Amiot playlist on Naxos): o Jean-Philippe Rameau, “Les sauvages,” from Suite in G, Nouvelles suites de Pièces de clavecin, and “Les cyclopes,” from Suite in D, Pièces de clavecin (These were among the pieces Amiot played for Chinese visitors to the Jesuit house in Beijing.) o Joseph Amiot, “Le chant des oies sur leur passage,” from Divertissements chinois, book 3 cahier 1 (two performances; note that the longer one seems to include other pieces as well) o Amiot, “Salve regina” (two performances, one over 20 minutes! For that one, if you listen to about five minutes, you should be fine.) • read: o excerpts of texts by Matteo Ricci, S.J., and Jean Baptiste Du Halde, S.J., Jesuits in China in the seventeenth and eighteenth centuries (Strunk; posted on Blackboard) o Stewart Carter, “The Editor from Hell: Information and Misinformation on Chinese Music in Late Eighteenth-Century France,” in Music in Eighteenth-Century Culture, ed. Mary Sue Morrow (Ann Arbor: Steglein Publishing, 2016), 23-47. (posted on Blackboard) o Fredric Lieberman, “Amiot, (Jean) Joseph,” Grove Music Online o Cynthia M. Gessele, “Roussier, Pierre-Joseph,” Grove Music Online o Wikipedia article “Jesuit Chinese Missions” (skim for background) o optional: Victor Anand Coelho, “Music in New Worlds,” in The Cambridge History of Seventeenth-Century Music, ed. Tim Carter and John Butt, The Cambridge (Cambridge: Cambridge University Press, 2005), 88-110. (This ranges over time and space, but it includes an interesting case study from sixteenth-century Goa. We won’t talk about it, but I’ve posted a copy in case anyone is interested.) • bring to class a piece of paper with short answers to the following questions (be sure to have a copy for yourself!): o Carter pretty clearly sets up Roussier as the villain of the piece. What are his crimes? How do you think Roussier might defend his interventions? o The four performances of two pieces by Amiot are different, but they use some of the same performers. Who are the other performers in each recording, and what History I (18f)—22 impact might that have on the performance? Based on what you hear, what do you think Amiot wrote down, and what do the performers add in realizing that notation? o Based on the information available to you, how would you describe the main characteristics of Chinese music? How do you think Amiot, or Roussier, might answer that question? How would you characterize the limits on your knowledge— what don’t you know, and what kinds of evidence would you need to say anything more?

Wednesday 5 December: postmodern reworkings: early music grows up? • special topic 4 due by 11:59pm • listen (I’ll probably focus this more closer to time. Feel free to suggest additions!): o Judy Collins, Lasso! Do donna (arr. J. Rifkin) (more a cover than a reworking, like Sting’s more recent recording of Dowland songs) o Joshua Rifkin, arr., Baroque Beatles Book, overture “I Want to Hold Your Hand” (not a reworking of baroque music, but of Beatles songs in baroque style) o Ottorino Respighi, Antiche danze et arie, suite no. 1 (1917-18) o Maurice Duruflé, Prélude, adagio, et choral varié sur le ‘Veni Creator’ (1930) o John Taverner, In nomine a 4, and Peter Maxwell Davies, Seven In nomine (1963-65) o Luciano Berio, Cries of London (1974-75) o Alfred Schnittke, Concerto Grosso 1 (1977) (dip into this as time and interest allow) o Kaija Saariaho, Lonh (1996) (uses poetry of Jaufré Rudel) • bring to class a short reflection on the following question: Why do these (or other) musicians look back to early music? Provide examples whenever possible to make your thoughts more concrete. • Bring in (or send me) your own examples of later music that uses early music or ideas/techniques drawn from early music. If you send me information in advance, I can try to make it available to the class, either on the Naxos playlist or through YouTube.

Friday 7 December: wrap-up • article report 4 due by 11:59pm • bring to class a short reflection on the following questions: Why study early music? Has your answer changed from the beginning of the semester; if so, how? What can you take away from this semester’s experiences toward your future work?

FINAL EXAM: We are required to follow the official final exam schedule, and that means you must take the exam at the officially assigned time for the section in which you are registered: MWF 9:30 section: Wednesday 12 December, 9-11am (note earlier start time!) MWF 11:30 section: Monday 10 December, 11:30-1:30 (note earlier exam day!)

This final exam will be entirely comprehensive; details will follow. (Don’t panic!) Please remember that you must take the exam with the section in which you are enrolled.