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Course Title Credit MUHL M306 History of Western Art Music I 3 credits
Fall semester 2013
(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 Communications/Music 202 e-mail [email protected] Office hour: Monday 2:00 (subject to change), or by appointment
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 History I (13f)—1
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 passed Theory III may not continue, even if they pass History I.
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: • differentiate by ear or eye between unknown musical works of different genres and style periods before c. 1750 • identify by ear or eye a group of known compositions composed before c. 1750 • explain the significance of a group of major composers active before c. 1750 • define key terms relating to music composed before c. 1750 • explain major historical and cultural influences on the composition, performance, and transmission of music before c. 1750
Textbooks and other materials to be purchased by student Burkholder, J. Peter, Donald J. Grout, and Claude V. Palisca, A History of Western Music. 8th ed. New York and London: W. W. Norton & Company, 2010. ISBN 978-0-393-93125-9
Burkholder, J. Peter, and Claude V. Palisca, eds. Norton Anthology of Western Music. Vol. 1: Ancient to Baroque. 6th ed. New York and London: W. W. Norton & Company, 2010. ISBN 978-0-393-93126-6
I have no real objections to your sharing the textbook, or using the library copy—as long as you do the reading, of course (!). On the other hand, you must own your own copy of the anthology! You should use it constantly, bring it to each class, take notes in it, and otherwise take full ownership of the music it contains.
Other reading and/or listening material will also be available electronically or on reserve in Monroe Library.
Optional materials available for purchase Burkholder, J. Peter, and Claude V. Palisca, eds. Norton Recorded Anthology of Western Music. Vol. 1: Ancient to Baroque. 6th ed. New York: W. W. Norton & Company, 2010. ISBN 978-0-393-11309-9
You are not required to buy this, but it’s convenient, especially around test times (since there are about 50 of you, and only one set of recordings) and in case of evacuation. While it’s a lot of money up front ($90 for six CDs, according to their web site), it’s a good investment and not a bad deal. One copy of the recordings is on reserve in the library.
Course requirements / Types of assignments Required work for this course will include reading (from the textbook and other sources), listening, and score study (mostly, but not entirely, from the required anthology). Students will also have to take exams, complete a series of writing and other assignments, and participate in class discussion. Short video lectures (10-20 minutes) are also available and will largely replace in-class lectures. If there’s a topic that confuses you or interests you that isn’t covered by a video lecture, I’d be glad to add more over the course of the semester! (One on one conversation is naturally always an option as well....) History I (13f)—2
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! A study guide is available on Blackboard if you need it, and feel free to come to me for advice as well if you feel at all uncomfortable about your study habits.
This course has a Blackboard web page. Go to
You must occasionally read your loyno account!!! I realize material is sent to the campus community which 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. Please also 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. I will also set up a Facebook group if there is interest. DrAlice Clark will gladly accept friend requests and enroll interested students in a class group.
Special accommodations If you have a disability and wish to receive accommodations, please contact Sarah Mead Smith, Director of Disability Services, at 504-865-2990. If you wish to receive test accommodations (e.g., extended test time), you will need to give the course instructor an official Accommodation Form from Disability Services. The Office of Disability Services is located in Marquette Hall 112.
Academic integrity All work you do for this class is expected to be your own, and academic dishonesty (including, but not limited to, plagiarism on papers or cheating on exams) will be punished. A summary of the University’s definitions and procedures concerning academic integrity can be found in the Undergraduate Bulletin ( http://2013bulletin.loyno.edu/academic-honor-code). If you are uncertain how to use and cite the work of others within your own work, consult reference works such as Kate L. Turabian, A Manual for Writers of Term Papers, Theses, and Dissertations, 6th ed., revised and edited by John Grossman and Alice Bennett, Chicago Guides to Writing, Editing, and Publishing (Chicago: University of Chicago Press, 1996), or see the instructor.
Everything you turn in for a grade in this class must represent your own work unless I specifically say otherwise. Studying together is very useful, and I encourage it, but when you sit down to take a Blackboard quiz, write an essay, etc., you need to do that work alone. The act of putting your name on an assignment and/or submitting it (on paper or electronically) represents a statement that, on your honor, it represents your work. Penalties for submitting the work of others as your own may include (but are not limited to) a lowered grade on the assignment, a zero for the assignment, or even failure of the course. Note that the new Academic Honor Code (see link above) requires that all instances of academic dishonestly must be reported to the relevant department chair and associate dean.
I expect you always to be ethical in how you use library resources and other pieces of intellectual property. That includes, but it not limited to, respecting copyright law and properly attributing your use of the words, images, music, or ideas of others. These principles are not always clearly articulated, but they are important; please let me know if you need to discuss particular aspects.
Emergency Statement At times, ordinary university operations are interrupted as a result of tropical storms, hurricanes, or other emergencies that require evacuation or suspension of on-campus activities. To prepare for such emergencies, History I (13f)—3
all students will do the following during the first week of classes: 1. Practice signing on for each course through Blackboard. 2. Provide regular and alternative e-mail address and phone contact information to each instructor.
In the event of an interruption to our course due to an emergency requiring an evacuation or suspension of campus activities, students will: 3. Pack textbooks, assignments, syllabi and any other needed materials for each course and bring them during an evacuation/suspension. 4. Keep up with course work during the evacuation/suspension as specified on course syllabi and Blackboard. 5. Complete any reading and/or writing assignments given by professors before the emergency began.
Assuming a power source is available during the evacuation or suspension, students will: 6. Log on to the university web site (www.loyno.edu) within 48 hours of an evacuation or suspension and continue to monitor that site regularly for general information. 7. Log on to each course through Blackboard or e-mail within 48 hours of an evacuation or suspension to receive further information from instructors regarding assignments, etc. 8. Complete Blackboard and/or other on-line assignments posted by professors. Students are required to turn in assignments on time both during the evacuation/suspension period and once the university campus has reopened. 9. Contact professors during an evacuation/suspension (or, if power is unavailable, as soon as classes resume on campus) to explain any emergency circumstances that may prevent that student from completing expected work.
Further information about student responsibilities in emergencies is available on the Academic Affairs web site: http://academicaffairs.loyno.edu/students-emergency-responsibilities .
Attendance and participation Note that attendance and participation together count for 5% of your final grade. That does not mean simply showing up, but being prepared, asking and answering questions, and participating in small- and large-group discussion. Perfect but silent attendance will earn a score of not more than 90 in this area. It’s useful to seek always to have 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.
This year, each student will receive three “free” absences. Beyond that, each absence will lead to a five-point deduction in this portion of the final grade. There will be no distinction between excused and unexcused absences. In-class quizzes and other activities cannot be made up if you are absent, and due dates for other assignments will not be modified because of absence from class. If a student is disruptive or clearly not participating in class discussion or other activities, I reserve the right to treat that student as absent for that class.
Late arrivals are distracting. Students who arrive more than five minutes late (or leave class early) will be penalized one point for each occasion (with no “freebies”). My clock (not the clock in the room) is the final authority.
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. Please also ensure that any cell phones or other noise-producing devices are silenced for the duration of class—again this is a courtesy to your colleagues as well as to me. Laptops are permitted for note-taking only; any student found checking e-mail or Facebook or using any electronic device for any other purpose during class, will be forbidden from using such devices. I History I (13f)—4
reserve the right to ask any student to put away any device if it becomes distracting to others.
Evaluation Grades will be calculated as follows: exams (total): 20% final exam: 10% essays (total): 10% group podcast project (total): 20% Blackboard quizzes (total): 20% in-class quizzes and assignments (total): 15% attendance and participation: 5%
The following grading scale will be used: A 93-100 A- 90-92.9 B+ 87-89.9 B 83-86.9 B- 80-82.9 C+ 77-79.9 C 70-76.9 D+ 67-69.9 D 60-66.9 F below 60
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.
Exams (including final exam) • Friday 20 September (monophonic traditions) • Wednesday 9 October (polyphony to c. 1450) • Monday 11 November (sixteenth and early seventeenth centuries) • Final exam: Wednesday 11 December, 9-11am (9:30 section) or Monday 9 December, 11:30-1:30 (11:30 section). This will include a comprehensive component.
Exams may include listening (known and/or unknown) to identify and discuss, score identification, short-answer questions such as definitions, etc. 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.
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 History I (13f)—5
immediately, not later than 15 minutes before the starting time of the exam, and you must provide me with documentation of medical treatment that accounts for your absence at the time of 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 also are obviously required not to discuss the exam that has occurred with others in the class until you have taken the make-up exam.
End-of-unit essays Rather than including essays as part of the exam, I will treat them as take-home assignments, usually due within a class or two of the relevant exam. Further information will be distributed before each exam.
Group podcast assignment See separate handout
Blackboard quizzes This year I am going to rely much more than previously on your mastering basic content through reading and short lectures available on Blackboard. This class preparation will be measured in part by multiple-choice Blackboard quizzes. Material covered on video lectures and Blackboard quizzes may or may not be directly covered in class, and it may in either case appear on exams. Because some material may not be assessed through other means, and because Blackboard can be accessed even if you miss class, I will not drop any assignments in this category.
Other assignments During class I plan for us to spend more time discussing documents, analyzing music, examining facsimiles of musical sources, and so forth. I will often not cover material through traditional lecture during class, but you may always bring questions to me, in or out of class.
Other assignments (in or out of class) may include small group projects, small writing or analysis assignments, “pop” quizzes, etc. In-class assignments cannot be made up, and assignments due at the beginning of class will not be accepted outside of class unless specified otherwise. In keeping with the three “free” absence policy, I will drop at least three assignments in this category at semester’s end.
Late penalties Late papers and assignments of all kinds will be penalized five points or one-third letter grade (depending on whether a numerical or letter grade is given) per day (not class period) late, including weekends. I cannot accept any assignment after I have handed it back to other students. I cannot accept any work electronically unless specified otherwise. Blackboard quizzes cannot be completed after the end of the unit in question. No work of any kind can be accepted after the final exam.
Course materials Additional materials may be added. Make sure you have the call number for all reserve materials you request (books, scores, CDs, etc.), and it wouldn’t hurt to have more information as well, in case the library staff need to search for the relevant item. Not all the library staff (professional or student) are knowledgeable about music, so please be persistent, but patient. Please let me know as soon as possible if you have any difficulty getting your hands on reserve materials: I can’t fix the problem unless I know about it!
Textbook materials Burkholder, J. Peter, Donald J. Grout, and Claude V. Palisca, A History of Western Music. 8th ed. New York and London: W. W. Norton & Company, 2010. On reserve, call number ML160.G872 2010.
Burkholder, J. Peter, and Claude V. Palisca, eds. Norton Anthology of Western Music. Vol. 1: Ancient to Baroque. History I (13f)—6
6th ed. New York and London: W. W. Norton & Company, 2010. On reserve, call number MT6.5.N67 2010 vol. 1.
Burkholder, J. Peter, and Claude V. Palisca, eds. Norton Recorded Anthology of Western Music. Vol. 1: Ancient to Baroque. 6th ed. New York: W. W. Norton & Company, 2010. On reserve, call number CD MSCL 00154 vol. 1 (CDs 1-6). I have also placed on reserve the 5th ed. recordings, CD MSCL 00130—this will not contain everything in the 6th edition recordings, and the CD and track numbers may vary.
Style manuals in reference (get to know the one most relevant for your work, here and in general!) Chicago Manual of Style: The Essential Guide for Writers, Editors, and Publishers. 15th ed. Chicago: University of Chicago Press, 1993. Available in the library, Reference Z253.U69 2003.
Gibaldi, Joseph. MLA Handbook for Writers of Research Papers. 6th ed. New York: Modern Language Association of America, 2003. Available in the library, Reference LB2369.G53 2003.
Publication Manual of the American Psychological Association. 5th ed. Washington, DC: American Psychological Association, 2001. Available in the library, Reference BF76.7.P83 2001.
Other reference and reserve materials Sadie, Stanley, ed., and John Tyrrell, executive ed. The New Grove Dictionary of Music and Musicians. 2nd ed. New York: Grove, 2001. Available in the library, Reference ML100.N48 2001. An online version with updates is also available as part of Oxford Music Online through the library’s database page.
Treitler, Leo, general ed. Strunk’s Source Readings in Music History. Rev. ed. New York: W. W. Norton & Company, 1998. On reserve, call number ML160.S89 1998b.
Weiss, Piero, ed. Opera: A History in Documents. New York and Oxford: Oxford University Press, 2002. On reserve, call number ML1700.O644 2002.
Weiss, Piero, and Richard Taruskin, eds. Music in the Western World: A History in Documents. 2nd ed. Belmont, CA: Thomson Schirmer, 2008. On reserve, call number ML160.M865 2008.
Course outline (subject to change) These assignments are to be done in preparation for class on the given date! Additional assignments of any sort, “pop” quizzes, etc., may be added at any point. Assignments listed here as due in class will not be accepted outside of class, nor can they be turned in to my mailbox or elsewhere during class. At least three of these assignments will be dropped by semester’s end, to go along with your three “free” absences.
Sometimes I take a given day’s reading and/or listening from several different places, and sometimes material is covered in the textbook that doesn’t appear in the anthology or that we actually cover at a different time in class. For instance, I take a rather different approach to the seventeenth century than Burkholder does, focusing on performing forces and genres rather than national traditions. In such cases, you might want to skim parts of the text more than once, to make sure that you get the full advantage of Burkholder’s narrative flow and are also prepared for individual class topics.
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 don’t sing any text at all. We may not sing each of these in class, but being able to do so will also help you learn those pieces. History I (13f)—7
Burkholder = A History of Western Music (textbook) NAWM = Norton Anthology of Western Music
Monday 26 August: Introduction
Wednesday 28 August: The ancient musical legacy I Material to study for class: • Burkholder 3-21 • Epitaph of Seikilos (NAWM 1) • excerpt from Euripides, Orestes (NAWM 2) • images of Greek art and artifacts on Blackboard • Beatles 3000 (YouTube; link on Blackboard) Assignment: Write a one-paragraph reflection, to turn in at the beginning of class: What types of evidence exist for us to learn about ancient Greek music? For one type, explain briefly what it can tell us, and why it is incomplete or may be untrustworthy. (NB: for these sorts of assignments, you might want to make some notes for yourself, since you won’t have the actual assignment in front of you during class!)
Friday 30 August: The ancient musical legacy Blackboard quiz on Burkholder chapter 1 due by midnight Material to study for class: • Documents and other primary sources on Blackboard (bring a copy to class!) • Review anthology examples and images on Blackboard Assignment: Write a one-paragraph reflection, to turn in at the beginning of class: Choose any one of the themes given on the handout (power of music, uses of music, performance) and briefly explain how any two excerpts shed light on that theme.
Monday 2 September: Labor Day—NO CLASS
Wednesday 4 September: Types and styles of chant I Material to study for class: • Burkholder 22-32, 47-61 • Mass for Christmas Day (NAWM 3): listen to the whole, but be able to sing the following: • first phrase of introit (“Puer natus est nobis...datus est nobis”) • first statement of Kyrie (“Kyrie eleison”) • first phrase of gradual (“Viderunt omnes”) • opening of Credo (through “visibilium omnium”) Assignment: Write a paragraph, to turn in at the beginning of class, comparing the musical style of any two chants from the Christmas Mass.
Friday 6 September: Chant and the psalms Material to study for class: • Review chants for the Christmas Mass, focusing especially on the Proper chants • chants from Vespers for Christmas Day (NAWM 4; be able to sing antiphon Tecum principium and the first verse of the psalm Dixit dominus)
Monday 9 September: “Gregorian” chant Material to study for class: • video lecture (link on Blackboard) • documents on Blackboard (bring a copy to class) • image of St. Gregory from Hartker Antiphoner (link on Blackboard; also reproduced at the top of History I (13f)—8
this syllabus!) Assignment: Write two short dialogues (not more than a page each) between Charlemagne and one of his singers—one from the perspective of John the Deacon’s narrative, one from the perspective of the Monk of St-Gall.
Wednesday 11 September: Chant theory Material to study for class (continued on next page): • video lectures (notation, modal system, solmization; links on Blackboard) • Burkholder 32-46 • Be able to sing by memory: first phrase of Christmas introit (“Puer natus est nobis…datus est nobis”) • Be able to explain the modal assignment of each chant in the Christmas Mass and Vespers excerpts in the anthology. If you don’t understand the reasons for the modal classification, bring questions!
Friday 13 September: Extensions to the liturgy Blackboard quiz on Burkholder chapters 2-3 due by midnight Material to study for class: • video lecture (link on Blackboard) • Burkholder 61-67 and 84-91 • Victimae paschali laudes, sequence for Easter (NAWM 5) (be able to sing!) • Christmas sequences Natus ante saecula and Laetabundus (optional; available on Blackboard) • tropes on Puer natus est nobis (NAWM 6; two other tropes are available on Blackboard) • organa from Musica enchiriadis (NAWM 14) Assignment: Write a paragraph, to turn in at the beginning of class, explaining why one might write a trope for a chant. Include a sample trope (text only) that you write on the phrase “Lord have mercy.”
Monday 16 September: Secular monophony I Material to study for class: • video lecture (link on Blackboard) • Burkholder 68-83 • Bernart de Ventadorn, Can vei la lauzeta mover (NAWM 8; additional performances available on Blackboard) • Comtessa de Dia, A chantar (NAWM 9; additional performances available on Blackboard) Assignment: Write a paragraph explaining the basic stylistic features of one of the troubadour songs. How is it similar from chant, and how different?
Wednesday 18 September: Secular monophony II Blackboard quiz on Burkholder chapter 4 due by midnight Material to study for class: • Walther von der Vogelweide, Palästinalied (NAWM 11) • Cantiga 159: Non sofre Santa Maria (NAWM 12) • La quarte estampie real (NAWM 13; be able to sing/play)
Friday 20 September: EXAM 1: monophonic traditions
Monday 23 September: Music at Notre-Dame de Paris I: organum Material to study for class: • video lecture on development of early polyphony (link on Blackboard) History I (13f)—9
• Burkholder 91-112 • Two-part organum on Viderunt omnes (NAWM 17; be able to sing first phrase of chant, through omnes ) • Perotin, four-part organum on Viderunt omnes (NAWM 19) Assignment: Write a passage of two-part organum based on the first four notes of Viderunt omnes.
Wednesday 25 September: Music at Notre-Dame de Paris II: the motet Blackboard quiz on Burkholder chapter 5 due by midnight Material to study for class (continued on next page): • Clausulae on Dominus (NAWM 18; be able to sing tenor) • Ave virgo virginum (NAWM 20) • motets on tenor Dominus (NAWM 21, especially 21a; be able to sing tenor) • Philippe de Vitry, In arboris empiro / Tuba sacra fidei / T. Virgo sum (NAWM 24) Assignment: Write a passage of discant based on the first eight notes of the Dominus melisma.
Friday 27 September: TBA
Monday 30 September: Fourteenth-century France Blackboard quiz on Burkholder chapter 6 due by midnight Material to study for class: • video lecture • Burkholder 111-43 • Philippe de Vitry, In arboris empiro / Tuba sacra fidei / T. Virgo sum (NAWM 24) • Guillaume de Machaut, Messe de Nostre Dame, Kyrie (NAWM 25; be able to sing chant of opening Kyrie) • Machaut, Rose, liz (NAWM 27)
Wednesday 2 October: introduction to transcription group project Material to study for class: • Tutorial on fourteenth-century French notation (http://diamm.nsms.ox.ac.uk/moodle/ ; note that you must register on this site): do at least the first unit (Introduction: the note-shapes and principles of fourteenth-century French notation), and preferably the second as well (on imperfect time, minor prololation, the same mensuration used in Machaut’s B3 below). • Look at Machaut’s ballade 3 (On ne porroit penser) in MS C (Paris, Bibliothèque Nationale de France, MS fonds français 1586, ff. 158v-159; links on Blackboard). Assignment: Try to transcribe the melody of the first phrase of the cantus line (the texted part at the top of the second column on f. 158v) of this ballade. Use 2/4 meter, with the breve as the half note.
Friday 4 October: Toward the “international” style Material to study for class: • video lecture • Burkholder 167-79; also review earlier material in Burkholder on medieval music in England and Italy; you might also want to go ahead and read chapter 7 • Jacopo da Bologna, Non al suo amante (NAWM 29) • Francesco Landini, Non avrà ma’ pietà (NAWM 31) • Sumer is icumen in (NAWM 23; be able to sing mm. 1-10 of melody and both parts of pes) • John Dunstaple, Quam pulchra es (NAWM 33) • Gilles de Bins, dit Binchois, De plus en plus (NAWM 34) • Du Fay, Christe redemptor omnium (NAWM 36; be able to sing first verse of chant) Assignment: Write a paragraph, to turn in at the beginning of class, from the perspective of a French History I (13f)—10
composer who hears English and Italian music for the first time. First of all, where are you that allows you to have this experience? Second, what is your reaction to this music?
Monday 7 October: Du Fay and the flowering of the “international style” Blackboard quiz on Burkholder chapters 7-8 due by midnight Material to study for class (continued on next page): • video lecture • Burkholder 146-66 and 179-98 • Guillaume Du Fay, Resvellies vous (NAWM 35) • Du Fay, Christe redemptor omnium (NAWM 36) • Du Fay, Se la face ay pale (NAWM 37a; be able to sing the first two lines of the tenor) • Du Fay, Missa Se la face ay pale (NAWM 37b) • Johannes Ockeghem, Missa prolationum, Kyrie (NAWM 39) Assignment: Write a paragraph, to turn in at the beginning of class, comparing the musical style of Resvellies vous to that of Se la face ay pale. Which reflects most clearly the more “forward-looking” aspect of Du Fay’s style, and which the more “backward-looking”? Why?
Wednesday 9 October: EXAM 2: Polyphony to c. 1450
Friday 11 October: Josquin des Prez and his contemporaries Blackboard quiz on Burkholder chapter 9 due by midnight Material to study for class: • video lecture • Josquin, Ave Maria...virgo serena (NAWM 41) • Josquin, Missa Pange lingua (NAWM 42) • Josquin, Mille regretz (NAWM 43) • Luis de Narváez, intabulation of Mille regretz (NAWM 63a) Assignment: Write a paragraph, to turn in at the beginning of class, comparing the musical style of Josquin’s motet to that of Philippe de Vitry.
Monday 14 October: Fall break—NO CLASS
Wednesday 16 October: music and reformation I Material to study for class: • Burkholder 211-39 • documents on Blackboard (bring a copy to class) • Martin Luther and others, chorales (NAWM 44) • Loys Bourgeois, Psalm 134 (NAWM 45) • Giovanni Pierluigi da Palestrina, Missa Papae Marcelli (NAWM 47) Assignment: Write a paragraph, to turn in at the beginning of class, outlining the basic issues under debate regarding music and liturgy in the reformation.
Friday 18 October: TBA
Monday 21 October: music and reformation II Blackboard quiz on Burkholder chapter 10 due by midnight Material to study for class: • review material assigned for previous class • William Byrd, Sing Joyfully unto God (NAWM 46) • Tomás Luis de Victoria, O magnum mysterium and Missa O magnum mysterium (NAWM 48) History I (13f)—11
• Orlande de Lassus, Cum essem parvulus (NAWM 49)
Wednesday 23 October: Secular song in the sixteenth century I Material to study for class (continued on next page): • Burkholder 240-63 • Juan del Encina, Oy comamos y bebamos (NAWM 50) • Marco Cara, Io non compro più speranza (NAWM 51) • Jacques Arcadelt, Il bianco e dolce cigno (NAWM 52) • Luca Marenzio, Solo e pensoso (NAWM 54) • Thomas Weelkes, As Vesta was from Latmos hill (NAWM 60) Assignment: Choose a single moment in either of the Italian madrigals where you think the text is particularly well expressed, and write a paragraph (to turn in at the beginning of class) explaining what the composer does to express the text at that moment. (Be sure to make clear where that moment can be found in the score!)
Friday 25 October: Secular song in the sixteenth century Blackboard quiz on Burkholder chapter 11 due by midnight Material to study for class: • Burkholder 240-63 • Claudin de Sermisy, Tant que vivray (NAWM 56) • Orlande de Lassus, La nuict froide et sombre (NAWM 57) • Claude le Jeune, Revecy venire du printans (NAWM 58) • Thomas Morley, My bonny lass she smileth (NAWM 59) • Thomas Weelkes, As Vesta was from Latmos hill (NAWM 60) • John Dowland, Flow, my tears (NAWM 61)
Monday 28 October: Instrumental music in the sixteenth century Blackboard quiz on Burkholder chapter 12 due by midnight Material to study for class: • Burkholder 264-85 • Tielman Susato, dances from Danserye (NAWM 62) • Luis de Narváez, intabulations from Los seys libros del Delphin (NAWM 63) • Byrd, Pavana Lachrymae (NAWM 64) • Giovanni Gabrieli, Canzon septimi toni a 8 (NAWM 65) Assignment: Make a list or chart, to turn in at the beginning of class, of the main types/sources of instrumental music in the sixteenth century, giving an example of each from your anthology.
Wednesday 30 October: The creation of opera I: Florence, 1600 Material to study for class: • Burkholder 287-328 • Claudio Monteverdi, Cruda Amarilli (NAWM 66) • Giulio Caccini, Vedrò ‘l mio sol (NAWM 67) • Jacopo Peri, L’Euridice (NAWM 68) • Monteverdi, Orfeo (Taruskin/Gibbs 67, NAWM 69) Assignment: Write a paragraph, to turn in at the beginning of class, comparing the Peri and Monteverdi excerpts. Which do you prefer, and why?
Friday 1 November: The creation of opera II: Venice, 1637 Blackboard quiz on Burkholder chapters 13-14 due by midnight Material to study for class: History I (13f)—12
• Monteverdi, L’incoronazione di Poppea (NAWM 70) • Antonio Cesti, Orontea (NAWM 71) Assignment: Write a paragraph, to turn in at the beginning of class, explaining how the style of Monteverdi’s Poppea differs from his earlier Orfeo. Which do you prefer, and why?
Monday 4 November: vocal music for church and chamber Blackboard quiz on Burkholder chapter 15 due by midnight Material to study for class: • Burkholder 329-53 • Barbara Strozzi, Lagrime mie (NAWM 72) • G. Gabrieli, In ecclesiis (NAWM 74) • Giacomo Carissimi, Jepthe (NAWM 76) • Schütz, Saul, was verfolgst du mich? (NAWM 78) Assignment: Choose a single moment in any of these pieces where you think the text is particularly well expressed, and write a paragraph (to turn in at the beginning of class) explaining what the composer does to express the text at that moment. (Be sure to make clear where that moment can be found in the score!)
Wednesday 6-Friday 8 November: TBA
Monday 11 November: EXAM 3: Sixteenth and early seventeenth centuries
Wednesday 13 November: the French tragédie en musique Material to study for class: • Burkholder 354-83 • Jean-Baptiste Lully, Armide (NAWM 83) Assignment: Write a dialogue (not more than a page, to turn in at the beginning of class) between an Italian and a Frenchman, each arguing for the superiority of that nation’s operatic style in the second half of the 17th century.
Friday 15 November: dramatic music in England Blackboard quiz on Burkholder chapter 16 due by midnight Material to study for class: • Henry Purcell, Dido and Aeneas (NAWM 86) Assignment: Write a dialogue (not more than a page, to turn in at the beginning of class) between an Italian and a Englishman, each arguing for the superiority of that nation’s operatic style in the second half of the 17th century.
Monday 18 November:: Baroque instrumental music I: keyboard music Material to study for class: • Burkholder 344-53, 367-72, 390-411, 420-35 • Girolamo Frescobaldi, Toccata 3 from Toccate d’intavolatura...libro 1 (NAWM 79) • Girolamo Frescobaldi, Ricercare after the Credo, from Mass for the Madonna (NAWM 80) • Elisabeth-Claude Jacquet de la Guerre, Suite in A minor (NAWM 85) • Dietrich Buxtehude, Praeludium in E Major, BuxWV 141 (NAWM 92) • J. S. Bach, Prelude and Fugue in A minor, BWV 543 (NAWM 96) • J. S. Bach, chorale prelude on Durch Adams Fall, BWV 637 (NAWM 97; be able to sing the chorale tune) Assignment: Make a list/chart of the main types/styles within baroque keyboard music, giving an example from among the works in your anthology. History I (13f)—13
Wednesday 20 November: Baroque instrumental music II: ensemble music Blackboard quiz due by midnight Material to study for class: • Biagio Marini, Sonata IV per il violino per sonar con due corde (NAWM 81) • Archangelo Corelli, Trio Sonata in D Major, op. 3 no. 2 (NAWM 91) • recommended: Corelli, Trio sonata in A Major, op. 4 no. 3 (on Blackboard) • Antonio Vivaldi, Violin Concerto in A minor, op. 3 no. 6 (NAWM 93) Assignment: Make a list/chart of the main types/styles within baroque ensemble music, giving an example from among the works in your anthology.
Friday 22 November: Handel and opera seria Material to study for class: • Burkholder 384-90, 414-21, 436-39, and 454-67 • Alessandro Scarlatti, Clori vezzosa, e bella (NAWM 89) • A. Scarlatti, La Griselda (NAWM 90) • George Frideric Handel, Giulio Cesare (NAWM 99) Assignment: Write a dialogue (not more than a page, to turn in at the beginning of class) between two operagoers, one attacking and one defending opera seria.
Monday 25 November: Handel and the English oratorio Blackboard quiz due by midnight Material to study for class: • Handel, Saul (NAWM 100) Assignment: Write a dialogue (not more than a page, to turn in at the beginning of class) between two Londoners, one turned off by Handel’s Italian operas and the other trying to convince the first one to go hear a performance of one of Handel’s English oratorios.
Wednesday 27-Friday 29 November: Thanksgiving holiday—NO CLASS
Monday 2 December: Johann Sebastian Bach I Material to study for class: • Burkholder 439-54 • J. S. Bach, Prelude and Fugue in A minor, BWV 543 (NAWM 96) • J. S. Bach, chorale prelude on Durch Adams Fall, BWV 637 (NAWM 97) Assignment: Make a chart, to turn in at the beginning of class, comparing the basic features of J. S. Bach’s life and career to Handel’s.
Wednesday 4 December: Johann Sebastian Bach II Blackboard quiz due by midnight Material to study for class: • J. S. Bach, Nun komm, der Heiden Heiland, BWV 62 (NAWM 98; be able to sing chorale tune) Assignment: Make a chart, to turn in at the beginning of class, comparing the basic features of opera seria, English oratorio, and Lutheran cantata.
Friday 6 December: TBA
FINAL EXAM: Wednesday 11 December, 9-11am (9:30 section) or Monday 10 December, 11:30-1:30 (11:30 section). This will include both material covered since the last exam and a comprehensive component. Please remember that you must take the exam with the section in which you are enrolled. Also please remember that you may not discuss the exam with anyone between 11:30 am Monday and 11 am Wednesday.