MUSIC AND THE (FA 49D.01) SYLLABUS Lecturer: Rana Gediz İren ([email protected]) Spring 2021 Wednesdays, 2-5pm

Course Description This course gives a broad overview of Western art (a.k.a. ) from the Middle Ages to our times, using an interdisciplinary approach. The course will concentrate on the masterpieces of music from each time period, which will be studied within their historical and cultural contexts and in relation to the representative examples of visual arts (, and architecture in particular) of their times. The class aims to awaken and encourage an appreciation of Western and to allow students to draw comparisons and enjoy the connections between different art forms. No previous musical knowledge is needed.

Course Objectives • Learn new musical repertoire and new pieces of visual art • Grasp the historical trajectory of both Western art music and of the visual arts • Learn how to think critically of arts as dynamic cultural products

Course Material Musical examples will be heard and videos will be watched in each class. I will assign readings or some listening as homework most weeks. None of this will take more than half an hour of your time per week.

Required Reading Joseph Kerman and Gary Tomlinson, Listen, 7th edition, Bedford/St. Martin’s Press, 2011. Craig Wright, The Essential Listening to Music, 6th edition, Cengage Learning, 2013. E. H. Gombrich, The Story of Art, Phaidon Press.

Evaluation 1. Mid-term exam (25%) 2. Final exam (25%) 3. Two assignments (50%) (25% each)

Assignments: 1. A Response Paper (2 pages) on an online classical music concert, which will be assigned to you (25%). If anyone has a chance to attend a live classical music concert this term, they can do the Response Paper on that concert. 2. A Response Paper (2 pages) on the exhibitions “For Eyes that Listen” and “Rainforest V” at ARTER in Istanbul (25%). For those of you who are not in Istanbul, alternatives will be discussed individually.

These assignments are given to enrich your experiences of live art productions, and provide you with a chance to express your own thoughts and ideas. I therefore strongly urge you to refrain from plagiarism.

Exams: There will be an online mid-term exam on Week 7 and an online final exam at the end of term. The mid-term exam will cover all material presented until the exam; the final exam everything after the mid-term exam (but drawing on what you should have assimilated through the entire course). The exams will consist of: 1. A listening section, for which a list will be given a week before each exam. 2. A multiple choice section. If you miss the mid-term exam, a make-up exam can only be offered if you provide a Doctor’s report. If you miss the final exam without notification or an explanation, your grade for the class will be submitted as NP.

Course Policies If the course has to be delivered online this term, we will use Moodle and Zoom as learning platforms. We will do 3 consecutive Zoom sessions for each class, each of 40 minutes. We will take breaks when it makes sense to break-up, so you should make sure you are totally available during the assigned period. Course schedules reflecting what we will cover that week will be available for each weeks’ class on Moodle, but please be aware that I will not record and post classes, nor put slides on Moodle. It is therefore essential that you attend the class and take notes. Most weeks a reading will be assigned, and you are expected to read this. As this is a multidisciplinary course, no book alone will cover the entire course material. You are advised to read the chapter on each period for both visual arts and music of the relevant books listed above as required reading, but you will only be examined on the material covered in class. Please raise questions and offer comments at any time by using the chat function on Zoom or, if I cannot see your question, then by unmuting yourselves.

Class Schedule (This schedule is only indicative and intends to give you a flavour of the class. Not all pieces will be covered if the course is held online this term, as using the full 3 hours can be too tiring for all. The shortened schedules for each class will be posted on Moodle each week.)

Class 1 : Introduction: Syllabus and course overview Introduction, discussion of syllabus, course overview. Reflect on the common elements and differences between visual arts and music. The beginnings – Greek and Roman heritage. Basic introduction to the elements of music: Instrumentation, Harmony , Melody, Rhythm and Metre. Listening: Excerpts from: Ø Promenade. 1. The Gnome from Pictures at an Exhibiton, Modest Mussorgsky (1874) Ø The Sugar Plum Fairy, Act II, from The Nutcracker, Pyotr Ilyich Tchaikovsky (1892) Ø Epitaph of Seikilos, (1st Century) Ø Stasimon of Orestes, (5th Century BC) Ø Bolero, Maurice Ravel (1928)

Class 2 : The Middle Ages The role of the church in arts - a highly religious art, characterised by iconographic illustrating scenes from the Bible, manuscript illumination, church architecture and sculpture. Gregorian chant, development of notation in

churches and monasteries. Architecture of Gothic cathedrals and the parallels between the development of Gothic architecture and polyphony in France. . Listening: Ø Anonymous, Gregorian Chant Puer Natus est Nobis Ø Anonymous, Gregorian Chant Ut Queant Laxis Ø Anonymous, Gregorian Chant Viderunt omnes Ø Leoninus, Viderunt omnes (Notre Dame de Paris) (c. 1160) Ø Perotinus, Viderunt omnes (Notre Dame de Paris) (c. 1198) Ø Guillaume de Machaut, Kyrie from the Messe de Notre Dame (Cathedral de Reims) (c. 1364) Ø Baude Cordier, Belle, Bonne, Sage (14th C.) Ø Baude Cordier, Tout par compass (14th C.) Ø Jacob Senleches, La harpe de melodie (14th C.)

Class 3 : The Renaissance The Renaissance in arts and its reflection to music in Italy. Court patronage, co-existence of musicians, architects and artists. Leonardo da Vinci, Michelangelo and Raphael. Architects Alberti, Brunelleschi and Bramante. Guillaume Dufay’s Nuper Rosarum Flores and the Cathedral of Florence. ‘Cori Spezzati': Venetian Polychoral Music. Palladio’s villas in the Veneto. The Sistine Chapel in the Vatican and Palestrina and de Victoria’s music. Listening: Ø Anonymous, Bella gerit Ø Guillaume Dufay, Nuper Rosarum Flores (1436) Ø Guillaume Dufay, Lamentatio sanctae matris ecclesiae Constantinopolitanae (1454) Ø Heinrich Isaac, Quis dabit capiti meo aquam (Lament on the death of Lorenzo de' Medici) (1492) Ø Jacques Arcadelt, Il Bianco e dolce cigno (The White and Sweet Swan) (b. 1538) Ø Josquin des Prez, Ave Maria…Virgo serena (c.1475) Ø Josquin des Prez, Missa Pange Lingua - Kyrie (1515) Ø Giovanni Pierluigi da Palestrina, Missa Papae Marcelli - Kyrie (1557) Ø Tomas Luis de Victoria, O magnum mysterium (1572) Ø Giovanni Gabrieli, Salvator Noster a 15 voci, in 3 cori (Our Saviour for 15 voices in 3 choirs) (b. 1615)

Class 4 : The Baroque Period I: Early Baroque - The birth of Opera, Oratorio and Cantata. Italian court patronage, the academies and the development of monody. Drama, movement and expressivity in visual arts: Caravaggio, Velazquez, Bernini, Borromini. New musical genres in the early 1600s in Italy: Music for the courts (opera and cantata) and music for the prayer hall (oratorio). Public Opera in the 17th Century in Venice. The French Tragedie en musique in the context of Louis IVth's palaces and André Le Notre’s garden designs for Versailles and Chantilly. Listening: Ø Excerpts from Claudio Monteverdi, Orfeo (1607) o Toccata o Vi ricorda o boschi ombrosi o Ahi, caso acerbo! o Tu sei morta o E la virtute un raggio Ø Monteverdi or colleague, Pur ti Miro from L’Incoronazione di Poppea (1642) Ø Giacomo Carissimi, Historia di Jephta (1648) Ø Francesco Cavalli, Giasone, Delizie contente (1649) Ø Luigi Rossi, Lamento d’Arione (c.1635) Ø Jean-Baptiste Lully, Armide (1686) o Ouverture o Enfin il est en ma puissance Act 2, Scene 5 o Les plaisirs ont choisi pour asile Act 5, Scene 2

Class 5 : The Baroque Period II: The High for different performance contexts and spaces, the different cases of J.S Bach, Vivaldi and Handel. Vivaldi in Venice at the Pietà. J.S. Bach in Weimar, Köthen and Leipzig. Handel’s music for the Opera and the conception of Oratorios for London. Listening: Ø , in excelsis Deo 1st Mov. (1715) Ø Antonio Vivaldi, Four Seasons, Spring 1st Mov. Op. 8 RV 269 (c. 1720) Ø Antonio Vivaldi, Four Seasons, Winter 1st Mov. Op. 8 RV 269 (c. 1720) Ø Antonio Vivaldi, from , Gelido in ogni veno (Frozen in every vein) (1727) Ø J.S. Bach, The Toccata and Fugue in D minor, BWV 565 (c. 1710) Ø J.S. Bach, Brandenburg Concerto No. 4 in G major, 1st Mov. BWV 1049 (1721) Ø J.S. Bach, Ich habe genug, BWV 82 (1727) Ø J.S. Bach, Matthaus Passion, Erbarme Dich BWV 82 (1727) Ø Georg Friderich Handel, Rinaldo (1711) § Cara Sposa § Lascia ch'io pianga Ø Georg Friderich Handel, Giulio Cesare in Egitto (Julius Ceasar) V’adoro Pupille (I adore you, pupils) (1724) Ø Georg Friderich Handel, Hallelujah chorus from the Messiah HWV 56 (1742)

Class 6 : Classical Period The Enlightenment, balance, clarity and elegance in music, parallel to Neoclassical art and architecture, including Canova’s and Jacques-Louis David's paintings. Sonata, symphony and the sonata form. Haydn’s early symphonies composed at the Esterhazy Palace (Neoclassical Architecture). Mozart, the piano concerto and the Singspiel. Transition from Classical to with Beethoven. Listening: Ø Christoph Willibald Gluck, of the Furies and chorus from Orfeo et Euridice (1762) Ø Joseph Haydn, Symphony No. 6 in D major Le matin (Morning). (Hoboken 1/6) (1761) Ø Joseph Haydn, Symphony No. 94 in G Major (Surprise) II. Andante Ø Joseph Haydn, Symphony No. 45 in F♯ minor (Farewell) IV. Finale Ø Wolfgang Amadeus Mozart, Piano Concerto No. 20 in d minor I. Allegro (1785) Ø Wolfgang Amadeus Mozart - Concerto for Piano and Orchestra No. 23 in A major K 488 2. Adagio (1786) Ø Wolfgang Amadeus Mozart, The Magic Flute, Hell’s Revenge (1791) Ø Ludwig van Beethoven, Sonata No. 14 “Moonlight” I. Adagio sostenuto and III. Presto agitato Ø Ludwig van Beethoven - Symphony No. 5 in c minor, Op. 6, I and IV. (1808) Ø Ludwig van Beethoven, Symphony No. 9 "Choral" (Finale) (1824)

Class 7 : Mid- term Exam

Class 8 : Romanticism I Expansive symphonies, virtuosic piano music, passionate songs which took inspiration from art and literature. Delacroix’s paintings of themes from Romantic poetry. Caspar David Friedrich and J.M.W. Turner, John Constable’s romantic landscape painting. First class to concentrate on songs and piano works. Schubert, Mendelssohn, Schumann and Brahms’ lieder. Chopin, Schumann and Liszt’s music for the piano. Nationalism in music. Listening: Ø Franz Schubert, Erlkönig, D. 328 (1815) Ø Felix Mendelssohn, Auf Flügeln des Gesanges (On Wings of Song) (1834) Ø Robert Schumann, Im wunderschönen Monat Mai from Dichterliebe Op. 48 (1840) Ø Johannes Brahms Wie Melodien zieht es mir Opus 105 N. 1 (1888)

Ø Frédéric Chopin Nocturne Op. 9 No. 2 (1830-32) Ø Frédéric Chopin Mazurka No. 5, Op. 7 No. 1 (1830-32) Ø Robert Schumann, Träumerei from Kinderszenen, Op. 15 No. 7 (1838) Ø Franz Liszt – Années de pèlerinage – Deuxième année: Italie no. 7 Apres une Lecture du Dante: Fantasia quasi Sonata (1849) Ø Franz Liszt, Hungarian Rhapsody No. 2 (1846-1853) Ø Johannes Brahms, Hungarian Dances No. 5 (1869)

Class 9 : Romanticism II Expansive symphonies after Beethoven’s 9th, the contributions of Brahms and Mahler. Wagner and the Gesamtkunstwerk - Festspielhaus Bayreuth. Verdi and nationalism in music in Italy. Listening: Ø Richard Wagner, Tannhauser - Overture (1845) Ø Richard Wagner, - Prelude to Act 1 (1857-1859) Ø Richard Wagner, Der Ring des Nibelungen (The Ring of the Nibelung) - Die Walküre (The Valkyrie), WWV 86B - The Ride of the Valkyries (1870) Ø Giuseppe Verdi, Va Pensiero, Nabucco (1842) Ø Giuseppe Verdi, La Traviata, Brindisi (1853) Ø Johannes Brahms, Symphony no. 1 in c minor Op. 68, 1 and IV (1876) Ø Johannes Brahms, Symphony no. 3 in F major Op. 90, III. Poco Allegretto (1883) Ø Gustav Mahler - Symphony no. 5, c sharp minor, IV. Adagietto (1901-2)

Class 10 : Impressionism in fine arts, Monet, Degas, Pissarro and Renoir. The influence of the Gamelan and of Japanese prints. The French composers Claude Debussy, Gabriel Fauré and Maurice Ravel’s music in relation with French “Symbolist” literature - Verlaine, Mallarmé, etc. A pre-cursor to : . Listening: Ø Claude Debussy, La Mer (The Sea) L. 109 (1905) Ø Claude Debussy, Pagodes from Estampes (Prints), L.100 (1903) Ø Claude Debussy, Nuages (Clouds) from Nocturnes L. 91 (1899) Ø Claude Debussy, Prélude à l’après-midi d’un faune (1894) Ø Gabriel Fauré Clair de lune, Op. 46 No 2 (1887) Ø Maurice Ravel, Oiseaux Tristes (Sad birds) from Miroirs (Mirrors) (1904-1905)

Class 11 : Modernism The two World Wars - new art experiments: New forms to express modern life. The German Expressionists and Strauss’s Salome. The Austrian Expressionists and the 2nd Viennese School (Arnold Schoenberg, Alban Berg, Anton Webern) Kandinsky’s relationship with Schoenberg. Paris, , and the Ballets Russes (Matisse and Picasso’s relationship with Diaghilev). Stravinsky and Le Sacre du printemps (1913). Musical Responses to WW2. Listening: Ø Richard Strauss, Dance of the Seven Veils from Salome (1905) Ø Arnold Schoenberg, Three Piano Pieces, Opus 11, I and III (1909) Ø Alban Berg, Wozzeck (1922) Ø Anton Webern, Symphonie, Opus 21, I. (1928) Ø Igor Stravinsky, , Part 1. Adoration of the Earth: The Augurs of Spring: Dance of the Young Girls (1913) Ø Olivier Messiaen, Quartet for the End of Time, I. Crystal Liturgy (1941) Ø Richard Strauss, Metamorphosen (1945) Ø Krzysztof Penderecki, Threnody to the Victims of Hiroshima (1960) Ø Benjamin Britten, Lacrimosa from The War Requiem (1962)

Class 12 : 20th Century New sound materials, - Space as a compositional parameter: The Philips Pavilion. Abstract and indeterminacy in music. Ligeti and new sonorities. in architecture and music. in visual arts and music. Postminimalism. Opera, film and sacred music at the end of the 20th Century. Listening: • Iannis Xenakis, Metastaseis (1953-54) • Edgar Varèse, Poème électronique (1958) • György Ligeti, Atmospheres (1961) and Kyrie (from Requiem (1963-5) • John Cage, Aria (1960) • John Cage, 4’33’ (1952) • John Cage, Ryoanji (1983-1985) • Alfred Schnittke, Symphony No 1 (1974) • , Electric Counterpoint (1987) • , Short Ride in a Fast Machine (1986) • , Violin Concerto No. 2 ‘The American Four Seasons’ (2009)

Class 13 : 21st Century Sound Art (Bill Fontana, Max Neuhaus, Susan Phillipsz, Janet Cardiff). Recent collaborations between contemporary composers and visual artists. • Max Richter, Recomposed by Max Richter: Vivaldi - The Four Seasons (2012) • Max Richter, The Shores of Scotland from Mary Queen of Scots (2018) • Anna Meredith, Five Telegrams (2018) • Anna Meredith, Songs for the M8 (2005) • Kaija Saariaho, L'Amour De Loin (2000) • Georg Friedrich Haas, Homage to Bridget Riley (2019) • Thomas Ades, In Seven Days (2008) • Julia Wolfe, Fuel (2007) • Julia Wolfe, Spinning (2016) • Rebecca Saunders, Chroma (2003+) • Rebecca Saunders, Myriad (2015) • Ólafur Arnalds/Joachim Sauter, Symphonie Cinétique (2013)

Optional Reading

Music Boran, İlke and Yıldız Şenürkmez, Kıvılcım. 2015. Kültürel Tarih Işığında Çoksesli Batı Müziği. Yapı Kredi Yayınları. Burkholder, P., Grout, D.J., 2010. Palisca, C. A History of Western Music, W. W. Norton & Company. Brown, G. H. 2010. “Process as Means and Ends in Minimalist and Postminimalist Music” Perspectives of New Music, Vol. 48, No. 2 (SUMMER 2010), pp. 180-192 Büke, Aydın. 2012. Romantizmin Işığı Clara. Can Yayınları. Büke, Aydın. 2012. Mozart, bir Yaşam Öyküsü. Can Yayınları. Gloag, Kenneth, 2012. Postmodernism in Music. Cambridge: Cambridge University Press Griffiths, Paul. 2006. A Concise History of Western Music. Cambridge University Press. Griffiths, Paul. 1981. A Guide to Electronic Music. W W Norton & Co Inc. Isserlis, Steven, 2001. Why Beethoven Threw the Stew. Faber and Faber Ltd. (Also available in Turkish though Pan Yayıncılık). (This is a book intended for children, but gives a simple and funny account of music history)

Isserlis, Steven, 2006. Why Handel Waggled His Wig. Faber and Faber Ltd. (Also available in Turkish though Pan Yayıncılık). (This is a book intended for children, but gives a simple and funny account of music history) Nicholls, D. 1998. Avant-garde and experimental music. In D. Nicholls (Ed.), The Cambridge History of American Music (The Cambridge , pp. 517-534). Cambridge: Cambridge University Nyman, M. 1974. Experimental Music: Cage and Beyond. Cambridge: Cambridge University Press. Ross, Alex. 2009. The Rest is Noise: Listening to the Twentieth Century. Picador. Taruskin, R. 2009. Music in the Early Twentieth Century: Oxford History of Western Music.Oxford: Oxford University Press Taruskin, R. 2009. Music in the Late Twentieth Century: Oxford History of Western Music. Oxford: Oxford University Press Ziegler, Robert (ed.) 2013. Music: The Definitive Visual History, DK.

Fine Arts, Architecture and Music Adams, Courtney S. “Artistic Parallels between Arnold Schoenberg's Music and Painting (1908-1912)” College Music Symposium, 1995, Vol. 35 (1995), pp. 5-21 Ausoni, Alberti. 2009. Music in Art, Guide to Imagery. Getty Publications. Baliç. İ. (Ed.) 2013. Sarkis Caje / Ryoanji Yorumu. İstanbul: ARTER Batchelor, David. 1997. Movements in , Minimalism. Tate Gallery, UK. Bandur, Markus, 2001. Aesthetics of Total : Contemporary Research from Music to Architecture, Basel: Birkhèauser Benedict, Michael (ed.), 2014. Music in Architecture, Architecture in Music. Centre for American Architecture and Design. The University of Texas at Austin. Bernard, J. 1993. “The Minimalist Aesthetic in the Plastic Arts and in Music,” Perspectives of New Music 31 no. 1 (1993): 86-132. Brown, K. 2002. Visual Art. In D. Nicholls (Ed.), The Cambridge Companion to John Cage (Cambridge Companions to Music, pp. 109-127). Cambridge: Cambridge University Press. Celant, Germano (ed). 2014. Art or Sound. Milano: Fondazione Prada. Clarke, J. 2012. “Iannis Xenakis and the Philips Pavilion”. The Journal of Architecture. Volume 17 Number 2. Cole, R. 2014. ‘Sound Effects (O.K., Music)’: Steve Reich and the Visual Arts in New York City, 1966– 1968. Twentieth-Century Music, 11(2), 217-244. Coleman, Patrick (ed.) 2015. The Art of Music. New Haven: Yale University Press. Droste, Magdalena. 2011. 1919-1933. Taschen. de Jong, Klaas (ed.), 2012. Music, Space and Architecture, Amsterdam: Amsterdam Academy of Architecture Duberman, M. B. 1972/2009 Black Mountain: an Exploration in Community. Northwestern University Press. Howard, Deborah and Moretti, Laura, 2009. Sound and space in Renaissance Venice: architecture, music, acoustics. New Haven: Yale University Press Hahl-Koch, J. (Ed). 1984. Arnold Schoenberg, : Letters, Pictures, and Documents, translated by John Crawford. London: Faber and Faber. İstanbul Modern. 2014. Çok Sesli: Türkiye’de Görsel Sanatlar ve Müzik Janson, H.W. and Kerman, J. A History of Art and Music. Prentice Hall, New York Kanach, Sharon, 2008. Music and Architecture: Architectural Projects, Texts, and Realizations / Iannis Xenakis; compilation, translation, and commentary Hillsdale, N.Y.: Pendragon Press

Kandinsky, W. and Marc, F. (Ed.) 2005. The Blaue Reiter Almanac. Museum of Fine Arts, Boston; Documentary Ed. Boston: MFA Publications. Kandinsky, W. 2017. Concerning the spiritual in art. New York: Dover Publications. Kılıçaslan, Hare and Tezgel, Işık Ece, 2012. Architecture and Music in the Baroque Period, Procedia - Social and Behavioral Sciences 51 pp. 635 – 640 Little, Stephen, 2004. …isms: Understanding Art. A&C Black Visual Arts, Herbert Press: London Maizels, M. 2017. “Steve Reich, , and the Discovery of Process”. PAJ: A Journal of Performance and Art 39(1), 24-37. Melvin, Jeremy, 2006. …isms: Understanding Architectural Styles. Universe. Muecke, Mikesch W. 2007. Resonance: Essays On The Intersection of Music and Architecture, Ames, Iowa: Culicidae Architectural Press Reich, S. 1968. "Music as a Gradual Process" in Writings about Music. Halifax: Nova Scotia College of Art and Design; New York: New York University Press, 1974 Schorske, C. E. 1980. Fin-de-Siecle Vienna. Politics and Culture. New York: Alfred A. Knopf Shaw-Miller, Simon. 2002. Visible Deeds of Music: Art and Music from Wagner to Cage. Yale University Press. Trachtenberg, Marvin. 2001. Architecture and Music Reunited: A New Reading of Dufay's "Nuper Rosarum Flores" and the Cathedral of Florence, Renaissance Quarterly, 10/2001, Vol.54, Issue 3 Wieseman, Marjorie. Vermeer and Music. The Art of Love and Leisure. National Gallery Company, London. Wold, Milo and Cykler, Edmund. 1955. An Introduction to Music and Art in the Western World. C Brown Company Publishers – Dubuque, Iowa Vergo, Peter. 2005. That Divine Order. Phaidon Press. Vergo, Peter. 2012. The Music of Painting: Music, Modernism and the Visual Arts from the Romantics to John Cage. Phaidon Press.

Sound Art: Caleb, K. 2011. Sound (Documents of ). London: Whitechapel Gallery. Collins, N., Schedel, M., & Wilson, S. 2013. Sound art. In Electronic Music (Cambridge Introductions to Music, pp. 151-163). Cambridge: Cambridge University Press. Kahn, Douglas. 1999. Noise, Water, Meat: History of Sound in the Arts. Cambridge, MA: MIT Press. Krogh Groth, S. and Schulze, H. (Eds.) 2020. The Bloomsbury Handbook of Sound Art. London: Bloomsbury. LaBelle, B. 2015. Background Noise: Perspectives on Sound Art. London: Bloomsbury. Licht, Alan 2007. Sound Art: Beyond Music, Between Categories. New York: Rizzoli. Licht, Alan 2019. Sound Art Revisited. London: Bloomsbury. Sexton, J. 2007. “Reflections on Sound Art” in J. Sexton (Ed.), Music, Sound and Multimedia: From the Live to the Virtual (pp. 85-104). Edinburgh: Edinburgh University Press. Van’t Klooster, A. 2017. “Electronic Sound Art and Aesthetic Experience” in N. Collins & J. D'Escrivan (Eds.), The Cambridge Companion to Electronic Music (Cambridge Companions to Music, pp. 225-237). Cambridge: Cambridge University Press. Voegelin, S. 2010. Listening to Noise and Silence: Towards a Philosophy of Sound Art. New York: Continuum.

Online Sources Classic FM: http://www.classicfm.com/discover-music/periods-genres/ BBC: http://www.bbc.co.uk/programmes/articles/2FvDWTYSlVmCstDqy5LccTy/discovering-the-great-composers The Met’s Heilbrunn Timeline of Art History: http://www.metmuseum.org/toah/