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Course Title Credit MUHL M700 Graduate Review of Music History 2 Crs Course Title Credit MUHL M700 Graduate Review of Music History 2 crs. Fall semester 2004 Instructor Jeannette D. Jones phone 504-813-9334 Communications/Music 204D email [email protected] Office hours: Thurs 4:30-5:30 pm, or by appointment Classes Thursday, 5:30-7:20 pm Graduate Bulletin description According to the results of the entrance test, this course with a B or better is required prior to enrollment in any graduate music history course. It is a one-semester survey of western art music from antiquity to the present and will serve as preparation for graduate music history courses. Prerequisites Graduate standing in music Textbooks and other materials to be purchased by student Mark Evan Bonds, A History of Music in Western Culture (Upper Sadle River, N.J.: Prentice Hall, 2003). ________, ed., Anthology of Scores to A History of Music in Western Culture, Vol. 1 and Vol. 2, (Upper Sadle River, N.J.: Prentice Hall, 2003). ________, ed., Recorded Anthology for A History of Music in Western Culture, Vol. 1 and Vol. 2, (Upper Sadle River, N.J.: Prentice Hall, 2003). Course requirements Required work for this course will include readings from the textbook and other sources, listening, and score study (mostly, but not entirely, from the required anthology). Students will have to take exams, write four short essays, and do other assignments. Special accommodations Students with disabilities are urged to contact the Office of Academic Enrichment and Disability Services as soon as possible so that accommodations can be made. The Office of Disability Services is located on the main campus in the Academic Resource Center, Monroe 405. The director of disability services can be reached by phone at 865.2990 or by email at [email protected]. Academic Integrity In consistency with university policy, you are expected to maintain academic integrity, which includes, but is not limited to, cheating, plagiarism, or misrepresentation of sources, in all your work. See the Graduate Bulletin, p. 39 for further definition and information concerning policies and procedures. All citation must follow a scholarly style manual (e.g. Chicago, MLA, APA). The preferred style for this class is the version of the Chicago style found in Kate Turabian’s A Manual for Writers of Term Papers, Theses, and Dissertations, 6th ed. If there are any questions regarding proper citation, please see the instructor. 2 Course objectives By the end of the semester, you should be able to differentiate by ear between major styles, genres and composers. You should also have a good understanding of the traditional framework of musical history, including some knowledge of the major composers and their cultural context. Finally, you should be better able to write effectively and draw conclusions from your reading and score study. Course outline See end of syllabus. Evaluation Grades will be calculated as follows: Exams: 40% (20% each) Final exam; 25% Essays: 15% (5% each) Other assignments: 10% Attendance & participation: 10% This grading scale is as follows: A 93-100 B+ 89-92 B 83-88 C+ 79-82 C 73-78 D+ 69-72 D 60-68 F below 60 Exams: Thursday, September 30 (music through 16th century) Thursday, November 11 (music through 19th century); take-home exam Thursday, December 16, 7-9 pm (final exam covering the 20th century; will include a comprehensive section) Exams will include listening to identify and describe, short answer questions, and essays. You must plan to take all examinations at their scheduled time. Provisions for make-up exams will be made only if you speak to me before the scheduled exam and only with sufficient documentation. Essays: You will be required to write three short essays, no longer than 1000 words (approx. 5 pages) in length. They are due as follows: Essay #1 (September 23), Essay #2 (November 4), and Essay #3 (December 9). More information is found on your Blackboard account for this class. Assignments must be turned in at the beginning of class the day they are due. They may be emailed before class if prior arrangements have been made with the instructor (for file compatibility, etc.). Late assignments without prior consultation with the instructor will be accepted with penalty up until the next class meeting. If you think you may have trouble turning in the assignment on time, please talk to me in order to resolve any problems. Other assignments: Occasional short exercises will be assigned throughout the course and are available on your Blackboard account for this course. 3 Attendance: Since this course meets only once a week, missing one class results in missing a lot of material. Attendance is required for every meeting. If for some reason you will be unable to attend class, please let me know before class at the earliest you are aware of these circumstances. I will not be taking attendance but note that along with participation it is 10% of your grade. Course materials: Kate L. Turabian, A Manual for Writers of Term Papers, Theses, and Dissertations, 6th ed. (Chicago:University of Chicago Press, 1996). LB2369 .T8 1996 (Reference) William Strunk and E. B. White, Elements of Style, 4th ed. (Boston : Allyn and Bacon, 2000). PE1408.S772 2000 (Reference) Jonathan Bellman, A Short Guide to Writing about Music (New York: Longman, 2000). ML3797 .B4 2000 (Reserve shelf under Clark MUGN-M705) Piero Weiss and Richard Taruskin, eds., Music in the Western World: A History in Documents (New York: Schirmer Books, 1984). ML160.M865 1984 (Reserve shelf under Clark MUHL-M306) Leo Treitler, gen. ed., Strunk’s Source Readings in Music History, rev. ed. (New York and London: W. W. Norton & Company, 1998). ML160 .S89 1998B (Reserve shelf under Clark MUHL-M306) Claude Palisca, ed., Norton Anthology of Western Music and Norton Recorded Anthology of Western Music (New York: W. W. Norton, 2001). MT6.5 .N67 2001 Vol.1 (Reserve shelf under Clark MUHL-M306) and Vol. 2 Course outline Date Lecture Reading Listening Material in Text SEPT 2 Intro., Prologue, Plainchant Mass for Easter Sunday antiquity, ch. 1 Plainchant Vespers on Easter Sunday: Antiphon, Psalm 109 plainchant, Plainchant Hymn Pange lingua gloriosi and Hildegard von Bingen, Ordo Virtutum monophony Beatriz de Dia, A chantar Cantigas de Santa Maria, no. 140 A Santa Maria dadas Walther von der Vogelweide, Palästinalied 9 Polyphony Ch. 2-3 Melismatic organum, Kyrie Cunctipotens genitor deus and music Leonin (?), organum, Haec dies through the Clausula, In saeculum 14th c. Motet, Lonc tens ai mon cuer/In seculum Motet, Huic main/Hec dies Motet, A Paris/On parole/Frese nouvele Conductus, Flos ut rosa floruit Philippe de Vitry (?), Garrit Gallus/In nova fert/Neuma from Roman de Fauvel Guillaume de Machaut, Messe de Nostre Dame, Kyrie Machaut, Je puis trop bien ma dame comparer Machaut, Douce dame jolie Machaut, Ma fin est mon commencement Baude Cordier, Tout par compas Francesco Landini, Ecco la primavera Lorenzo da Firenze, A poste messe 16 Changes in Ch. 4-5 Johannes Ciconia, Docotrum principem/Melodia suavissima/Vir mitis the 15th c.; the Sumer is icumen in 4 Northern John Dunstable, Quam pulchra es composers; Guillaum Du Fay, Flos florum patronage Du Fay, Conditor alme siderum Du Fay, Nuper rosarum flores Du Fay, Se la face ay pale Du Fay, Missa se la face ay pale, Kyrie and Gloria 23 Instrumental Ch. 5-6 Hayne van Ghizeghem, De tous biens plaine music; music Claudin de Sermisy, Tant que vivray in the 16th c. Josquin des Prez, Ave maria…virgo serena Johannes Ockeghem, Missa prolationum, Kyrie Antoine Busnois (?), Fortuna desperata Josquin, Missa Fortuna desperata, Kyrie and Agnus Dei Josquin, Missa Pange lingua, Kyrie Pierre de la Rue (?), Absalon fili mi Johannes Walter, Ein feste Burg ist unser Gott Thomas Tallis, Verily, Verily, I say unto you William Byrd, Sing joyfully unto God Giovanni Pierluigi da Palestrina, Missa Papae Marcelli, Credo Andrea Gabrieli, Ricercar del duodecimo tuono Michael Praetorius, Dances from Terpsichore Luca Marenzio, Solo e pensoso John Dowland, Come, Heavy Sleep Heinrich Isaac, Innsbruck, ich muss dich lassen Luzzasco Luzzaschi, T’amo mia vita 30 Test 1 OCT 7 Humanism; Ch. 7-9 Giacopo Peri, Dunque fra torbid’ onde from Il Canto d’Arione the rise of 17th Guilio Caccini, Sfogava con le stelle c. genres Claudio Monteverdi, Cruda Amarilli Monteverdi, T’amo mia vita Barbara Strozzi, Tradimento! Heinrich Schütz, Singet dem Herren ein neues Lied Schütz, Saul, was verfolgst du mich? Monteverdi, Orfeo, excerpts Monteverdi, L’incoronazione di Poppea, excerpts Jean-Baptiste Lully, Armide, excerpts George Frideric Handel, Guilio Cesare, excerpts Henry Purcell, Dido and Aeneas, excerpts Giacomo Carissimi, Jephte, excerpts Handel, Zadok the Priest Johann Sebastian Bach, Jesu, der du meine Seele, excerpts 14 Instrumental Ch. 10-12 Arcangelo Corelli, Concerto Grosso in F major, Op. 6, No. 2 music and Antonio Vivaldi, Concerto in A minor, Op. 3, No. 8 genres; 18th c.; Elisabeth Jacquet de la Guerre, Pièces de clavecin rise of sonata Girolamo Frescobaldi, Toccata IX from Il Secondo Libro di Toccate form Dietrich Buxtehude, Praeludium in G minor J. S. Bach, The Well-Tempered Clavier, book 1 Johann Pachelbel, Chorale prelude on the Magnificat peregrini toni J. S. Bach, Chorale prelude on Meine Seele erhebt den Herren J. S. Bach, Aria mit dreißig Veränderungen (“Goldberg” Variations) Georg Mattias Monn, Symphony in B Major Domenico Scarlatti, Sonata in D Major, K. 492 Johann Stamitz, Symphony in D Major, Op. 3, No. 2 Johann Christian Bach, Sonata in D Major, Op. 5, No. 2 Carl Philipp Emanuel Bach, Fantasia in C minor 5 Joseph Haydn, Piano Sonata in C minor, Hob. XVI:20 Haydn, String Quartet in C Major, Op. 33, No. 3 Haydn, Symphony No.
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