DOCSLIB.ORG

Course Syllabus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Course Syllabus Music 241: Music History I From the Middle Ages to the Early Baroque Fall 2020: M-W (2:30-3:45) Steve Saunders Office: 235 Bixler Phone: x5677; e-mail: sesaunde Office Hours: Just about any time via Zoom! Overview Music 241 concentrates on what is sometimes called “early music,” music in the Western tradition from the Medieval, Renaissance, and early Baroque periods (to ca. 1700). The course deals with composers, their works, and the cultures in which the musical compositions arose, treating its subjects from several viewpoints: historical, cultural, and analytical. Music 241 will introduce you to: 1) a variety of musical compositions, representing the range of styles and genres cultivated in the Medieval, Renaissance, and early Baroque; 2) the historical and analytical questions posed by those works, and most fundamentally; 3) questions about the nature of historical understanding--the ways in which historians think about and study such music. Textbook Purchases • Richard Taruskin and Christopher H. Gibbs. The Oxford History of Western Music: College Edition. Second Edition. New York: Oxford University Press, 2019. (OHWM) [Required] • Robert Holzer and David Rothenberg, eds., The Oxford Anthology of Western Music [Required] Note: It’s fine to buy either the first or second edition of the anthology. Class Web Pages www.colby.edu/music/saunders/MU241 The main class web pages contain assignments, public domain scores, streaming audio files, video resources, and supplementary links. https://moodle.colby.edu/mod/folder/view.php?id=296197 The Moodle page has pdf files of all reserve readings. There is a link to this page from the class web page, above. Requirements and Evaluation Grading Your grade in Music 241 will be based on: 1. The score on a midterm exam (25%), and final exam (25%). Both the midterm and final will have two sections: a listening/score study portion, and a written portion. The midterm covers first portion of the course; the final covers the second half of the semester and is not cumulative. 2. Grade on quizzes (10%). There will be 6-8 short quizzes. You may drop your two lowest quiz grades. Some will be announced quizzes others will be short, take-home projects. There are no make-ups of quizzes; a missed quiz counts as one of the dropped grades. 3. Class Participation (5%) 4. Grade on an oral presentation on a scholarly article (10%) 5. Grade on a longer research paper (25%) This semester each student will write a research paper as part of an exhibition catalogue about a chant manuscript owned by Colby. More details TBA. Attendance Policy Success in MU 241 requires attending classes, keeping up with reading and listening assignments, and completing projects as required. You may miss two class meetings for illness, emergencies, athletic conflicts, etc. without penalty—provided that you notify me before class of your absence. Each unexcused absence beyond two lowers the semester grade by 3 percentage points. Academic Integrity Honesty, integrity, and personal responsibility are cornerstones of a Colby education and provide the foundation for scholarly inquiry, intellectual discourse, and an open and welcoming campus community. Academic dishonesty includes, but is not limited to: violating clearly stated rules for taking an exam or completing homework; plagiarism (including material from sources without a citation and quotation marks around any borrowed words); claiming another’s work or a modification of another’s work as one’s 2 own; buying or attempting to buy papers or projects for a course; fabricating information or citations; misrepresentations to faculty within the context of a course; and submitting the same work, including an essay that you wrote, in more than one course without the permission of the instructors. For more on recognizing and avoiding plagiarism, see: libguides.colby.edu/avoidingplagiarism 3 Music 241: Tentative Course Schedule DATE TOPICS ASSIGNMENT (To be completed before each class) W Aug. 26 Music and History (Meet in Miller Library Special Collections) _________________________________________ M Aug. 31 Chant I: Music/Text/Style Read Syllabus Explore Class Web Page and Moodle Page Read: OHWM, 3-4; 8-11; 21-23 http://ege.denison.edu Listen: 1-2: Justus ut palma (Antiphon and Psalm) 1-3: Justus ut palma (Introit) 1-4: Jusus ut palma (Alleluia) W Sept. 2 Chant II: Catholic Liturgy in the Read: OHWM, 11-14; 23-25 Medieval Era Fassler, Neumes and Square Notation Listen: 1-2: Justus ut palma (Antiphon and Psalm) 1-7a Hymn: Ave maris stella 1-8: Kyrie IV M Sept. 7 Chant III: Liturgical Books and an Read: OHWM, 15-21 Introduction to Mode Listening: 1-4f: Agnus Dei II W Sept. 9 Chant IV: Notation, Transmission and Read: OHWM, 14; 30-31 Orality Hiley, Gregorian Chant, 100-108 Kelly, Capturing Music, 1-16; 41-48; 51-54 Listen: Justus ut palma (Gradual) M Sept. 14 Chant V: Performing Chant Read: Hiley, Gregorian Chant, 215-18 Bergeron, Finding God at Tower Records Brunner, The Performance of Plainchant Listen: O solis ortus cardine (3 recordings) Iste confessor (1 recording) Laetentur caeli (2 recordings) W Sept. 16 Working Session with Chant Assignment TBA Manuscripts (Meet in Miller Library Special Collections or Virtual Meetings with Me) M Sept. 21 Elaborating the Liturgy Read: OHWM, 25-30 Listen: Victimae paschali laudes (Sequence) Dies Irae (Sequence) Ave maris stella (hymn) Quem quaertis (Trope) Regina caeli laetare (Marian antiphon) W Sept. 23 Fauvel, Vitry, Machaut and Music of the Read: OHWM, 72-86 Ars nova Listen: Anon., L’autre jour Vitry, Tribum/Quoniam/Merito Machaut, Felix virgo/Inviolata Machaut, En mon cuer Machaut, Rose, liz M Sept. 28 Politics and the Motet: Read: OHWM, 64-68; 93-97 Dufay’s “Nuper rosarum flores” Wright, Nuper Rosarum Zazula, Out of Proportion Listen: Ciconia, Doctorum principem Dufay, Nuper rosarum flores 4 W Sept. 30 Island and Mainland: Read: OHWM: 101-115 Listen: 34, Anon., Sumer is icumen in Music in the Early 15th Century 36, Dunstable, Quam pulchra es 37, Du Fay, Ave maris stella 38, Binchois, Anguished grief M Oct. 5 Emulation and Imitation: Read: OHWM: 113-25; 130-32 Atlas, A Fictive Composition Manual Sacred Music in the 15th and Early 16th Eisenberg, Arms and the Mass Centuries Listen: 40, Anon, Caput Mass, Kyrie 40, Ockeghem, Caput Mass, Kyrie 41, L’home armé tune 41, Busnoys, L’homme armé, Agnus Dei W Oct. 7 Musica ficta and Editions of Early Music Read: Atlas, “Editing a Chanson” Atlas, “Musica ficta” Listen: TBA M Oct. 12 Fall Break: No Classes _________________________________________ W Oct. 14 Art Perfected: From Josquin to Read: OHWM: 133-42; 146-61 Palestrina Listen: 46, Josquin, Ave Maria 48, Josquin, Benedicta es 50, Palestrina, Missae PM, Kyrie 52, Byrd, Two Settings of Agnus Dei M Oct. 19 Exam #1 _______________________________________ W Oct. 21 No Class _______________________________________ M Oct. 26 Vernacular Song in the 16th Century: Read: OHWM: 163-65; 174-82 Frottola, Villanella, and Chanson Listen: 55 Cara, Mal un muta per effecto 56 Sermisy, Tant que vivray --, Janequin, La guerre 57b, Lasso, “Matona mia cara” 59, Rore, De le belle contrade d’oriente W Oct. 28 Speaking of Sex: The Late Italian Read: OHWM: 182-89; 208-210 Madrigal McClary, Modal Subjectivities, Chapter 3 Macy, Speaking of Sex Listen: 58, Arcadelt, Il bianco e dolce cigno 60, Marenzio, Solo e pensoso __, Wert, “Tirsi morir volea” M Nov. 2 The Monodic Revolution Read: OHWM: 191-202 Sanford, “National Singing Styles” Caccini, Le nuove musiche (excerpt) Listen: 65 Caccini, “Amarilli, mia bellast __ Caccini, “Udite, udite amanti” __ Grandi, “O quam tu pulchra es” Chapter Drafts Due 5 W Nov. 4 Monteverdi and the Birth of Opera Read: OHWM, 202-216 Listen: __, Monteverdi, Lament of the Nymph 67, Monteverdi, Orfeo, Act II 68, Monteverdi, Pur ti miro M Nov. 9 Approaches to the Analysis of Early Read: Chafe. Monteverdi’s Tonal Language Listen: Monteverdi, “Zefiro torna” 17th-Century Music: Cantus, Hexachord, Monteverdi, “Cruda Amarilli” and Mode W Nov. 11 Seventeenth-Century Instrumental Music Read: OHWM, 218-221; 247-53 Listen: Frescobaldi, Cento partite Corelli, Trio Sonata in g minor, Op. 3, #11 Vivaldi, “Spring Concerto” M Nov. 16 How to be HIP: The Historically Read: Hoyt and Gallant, Online Articles Informed Performance Movement Taruskin, Letting the Music Speak Kelly, Early Music: A Very Short Intro Listen: Bach, Mass in b minor Bach, Brandenburg Cto. 5 (excerpts) W Nov. 18 Opera After Monteverdi Read: OHWM, 240-47 McClary Gender Ambiguity/Erotic Excess Inglis-Arkell, What Did it Mean to be a Castrato M Nov. 23 Presentation of Research Projects _______________________________________ TBA Final Exam _______________________________________ 6 Scholarly Articles/Chapters for Oral Reports • Thomas Forest Kelly, Capturing Music: The Story of Notation (New York: W. W. Norton, 2015), pp. 1-16; 41-48; 51-54. [Sept. 9 The book from which these excerpts come is a fascinating read—written for nonspecialist readers, it is less an introduction to the history of musical notation than an exploration of the history of ideas around notation, for example, memory, the impermanence of sound, the intimate ties between word and music. • Lance W. Brunner, “The Performance of Plainchant: Some Preliminary Observations of the New Era,” Early Music 10/3 (1982): 316-28.[Sept. 14 How to perform Gregorian Chant has been a highly controversial issue. This article provides a survey of some (relatively) recent research on the performance of Gregorian Chant, particularly matters of rhythm, ornamentation, and vocal production. A good choice for someone interested in performance: the presenter will lead us through the article and how it applies to several recorded performances of chant. • Craig Wright, “Dufay's ‘Nuper rosarum flores.’ King Solomon's Temple, and the Veneration of the Virgin,” Journal of the American Musicological Society, Vol.
Load more

Recommended publications
  • The Influence of Plainchant on French Organ Music After the Revolution
    Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2013-8 The Influence of Plainchant on rF ench Organ Music after the Revolution David Connolly Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Musicology Commons Recommended Citation Connolly, D. (2013) The Influence of Plainchant on rF ench Organ Music after the Revolution. Doctoral Thesis. Dublin, Technological University Dublin. doi:10.21427/D76S34 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact arrow.admin@tudublin.ie, aisling.coyne@tudublin.ie. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License The Influence of Plainchant on French Organ Music after the Revolution David Connolly, BA, MA, HDip.Ed Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Music Dublin Institute of Technology Conservatory of Music and Drama Supervisor: Dr David Mooney Conservatory of Music and Drama August 2013 i I certify that this thesis which I now submit for examination for the award of Doctor of Philosophy in Music, is entirely my own work and has not been taken from the work of others, save and to the extent that such work has been cited and acknowledged within the text of my work. This thesis was prepared according to the regulations for postgraduate study by research of the Dublin Institute of Technology and has not been submitted in whole or in part for another award in any other third level institution.
    [Show full text]
  • 03-26-21 Choral Conc Rec Lchaim
    FSU CHAMBER SINGERS UNIVERSITY CHORALE TROUBADOURS DR.SCOTT RIEKER, CONDUCTOR DR. JOSEPH YUNGEN, PIANO FEATURING Cantor Richard Bessman (B’er Chayim) Friday March 26, 2021 Pealer Recital Hall 7:30 p.m. Woodward D. Pealer Performing Arts Center PROGRAM Psalm 23 ............................................................................................................................................ Max Wohlberg Richard Bessman, baritone (1907–1996) UNIVERSITY CHORALE Wana Baraka ............................................................................................................................. arr. Shawn Kirchner Nathan Richards, conductor (b. 1970) Adon Olam No. 1 from Shir Zion .................................................................................................... Salomon Sulzer Kristen Feaster, conductor (1804–1890) Mizmor le David (Psalm 23) ............................................................................................................ Moshe S. Knoll Hannah PolK, conductor (b. 1960) Haleluyah haleli (Psalm 146) ........................................................................................................... Salamone Rossi (1570–c.1630) Avodath Hakodesh ................................................................................................................................ Ernest Bloch V. Benediction Richard Bessman, baritone (1880–1959) TROUBADOURS Hine Ma Tov ................................................................................................................................
    [Show full text]
  • Sacred Music Winter 2016 | Volume 143, Number 4
    Sacred Music Winter 2016 | Volume 143, Number 4 Editorial Harmony | William Mahrt . 3 Articles A Change of Panting Heart: An Overview of Music in the Papal Liturgies at St. Peter’s Basilica from the Second Vatican Council to 2013 | Wilfrid Jones . 9 The Grammar and Rhetoric of Gregorian Chant | William Mahrt . .29 Repertory Antonio Salieri’s De profundis: Rediscovering a Gem | Jane Schatkin Hettrick . .39 News Sacred Music Workshop in Lincoln, Nebraska | Amy Flamminio . .50 CMAA Announcements . .53 Formed as a continuation of Cæcilia, published by the Society of St. Cæcilia since 1874, and The Catholic Choir- master, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America since its inception in 1964. Office of Publication: 12421 New Point Drive, Richmond, VA 23233. Email: sacredmusic@musicasacra.com; Website: www. musicasacra.com Editor William Mahrt Managing editor Jennifer Donelson Editor at large Kurt Poterack Ty pesetter Judy Thommesen Church Music Association of America Officers and board of directors President William Mahrt Vice- president Horst Buchholz Secretary Mary Jane Ballou Treasurer Adam Wright Chaplain Father Robert Pasley Director of Publications Jeffrey Tucker Directors Jennifer Donelson, David Hughes, Susan Treacy, Edward Schaefer, Jonathan Ryan Directors emeriti Rev. Father Ralph S. March, S.O.Cist. †, Kurt Poterack, Paul F. Salamunovich †, Calvert Shenk †, Very Rev. Monsignor Richard J. Schuler †, Rev. Father Robert Skeris, Scott Turkington General manager Janet Gorbitz Membership in the Church Music Association of America includes a subscription to the quarterly journal Sa- cred Music. Membership is $60.00 annually (U.S.), $60 (Canada), and $65 (other countries).
    [Show full text]
  • 2019 OSAA Choir Program
    CHOIR APRIL 29 – MAY 1, 2019 * OREGON STATE UNIVERSITY * CORVALLIS 2018 - 2019 Community starts small. And grows one person at a time. Visit onpointcu.com today! Federally insured by NCUA. Equal Housing Opportunity. OSAA / ONPOINT COMMUNITY CREDIT UNION STATE CHAMPIONSHIPS Welcome to the OSAA / OnPoint Community Credit Union State On behalf of OnPoint Community Credit Union and our valued Championships! members, welcome to the OSAA/OnPoint Community Credit Union State Championships! In 1918, administrators at 36 high schools came together in recognition of the need for consistent and equitable rules for high At OnPoint, it’s the people and communities we serve that matter school activities in Oregon. As the OSAA celebrates its 100-year most. From our members and employees, to our neighbors and centennial, we remain steadfast in our efforts to support our community partners, we are committed to helping people prosper. member schools and their students. A trusted financial partner with deep roots in education, OnPoint’s community connection is strengthened by the passion and At the OSAA we believe high school activities provide opportunities commitment of our nearly 700 employees and 360,000 members. for students to receive a complete education that challenges both mind and body. These opportunities enrich and expand our Since our founding in 1932, OnPoint has made it a priority to students’ school experience and prepare them to be successful in deepen our presence in the community by supporting students, the future. schools and educators. We value enriching education and equipping students with the tools they need to reach their full Participation in activities teaches students how to be part of potential.
    [Show full text]
  • Key Themes in the Bishops' Document
    NATIONAL ASSOCIATION of PASTORAL MUSICIANS PASTORAL April-May 2008 Music Sing to the Lord Key Themes in the Bishops’ Document One Bread, One Body By John Foley, SJ You’ll fi nd it in the new 2008 Breaking Bread Cocp.org/bbsa 1-800-LITURGY (548-8749) | ocp.org Travel with the leader, as more than 1,000 choirs have done. P e t er’sWay Choir Tours The programs you’ve been dreaming about! You’re invited to a preview! VIENNA, MELK,SALZBURG - European Masters NOV 7-13, 2008 $ 1,295 (plus tax) SPAIN - Barcelona to Madrid JAN 5-12, 2009 $ 1,295 (plus tax) HOLY LAND - Songs of the Scriptures JAN 8-17, 2009 $ 1,095 (plus tax) ITALY- Gregorian Chant Study Week in Italy JAN 15-22, 2009 $ 1,495 (plus tax) ROME, FLORENCE, ASSISI,VATICAN-Roman Polyphony JAN 15-22, 2009 $ 795 (plus tax) IRELAND - Land of Saints and Scholars JAN 26-FEB.2,‘09 $995/550* (plus tax) ENGLAND - Wesley Heritage & English Cathedrals FEB 5-11, 2009 $ 1,295 (plus tax) GREECE - Footsteps of St. Paul FEB 11-18, 2009 $ 1,195 (plus tax) FRANCE - Best in French Liturgical Music FEB 12-19, 2009 $ 1,295 (plus tax) Continuing Education Programs for Music Directors Enjoy these specially designed programs at substantially reduced rates. Fully Refundable from New York when you return with your own choir! *Special Price by invitation to directors bringing their choir within two years. Now is the time to plan for these international events: 2008/2009 Pauline Jubilee: Special choral events scheduled at St.
    [Show full text]
  • Spring Films P 2011P
    Spring Films P 2011p PLUS: MUSIC, ART, AUDIO BOOKS, AND MORE! The definitive collection on the Shroud of Turin Three award-winning films by acclaimed British film producer and director David Rolfe. SEE PAGE 7 The story of St. Josephine Bakhita, patron of Sudan “A very beautiful film...” Pope Benedict XVI SEE PAGE 3 The award-winning documentary on the SEE Carmelite nuns PAGE 5 Winner of mutiple awards, this British box-office hit is now on DVD in the US for the first time! 1-800-651-1531 • www.ignatius.com New Spring Films Lourdes A Story of Faith, Science and Miracles ernard Guillaumet, a non-Christian French Bjournalist, is assigned the job of doing a story on Lourdes in the late 1990s. Just before he leaves for Lourdes, Bernard learns that his wife is preg- nant. However, he is not told that this pregnancy could put her life at risk—and that doctors are suggesting an abortion. While researching for his report on Lourdes, Bernard comes across the pages of an old family manuscript. The manuscript was written by his ancestor, Henri Guillaumet, a positivist scientist and non- believer who met Bernadette at Lourdes in 1858, a meeting which profoundly affected Henri and forced him to reconsider the miracles performed following the apparitions of the Madonna of Lourdes. One of the most important miracles Giullaumet had to reconsider was the healing of his wife Claire, who had been on her death bed as a result of tuberculosis, and was completely restored by the miraculous waters of the grotto in which Bernadette saw the Our Lady.
    [Show full text]
  • University Microfilms International
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • SACRED MUSIC Winter 2003 Volume 130 No.4
    SACRED MUSIC Winter 2003 Volume 130 No.4 . _0- ----...... .' - ..... - ~ ...... --. -, ., View from Southwest. Cathedral, Canterbury Romanesque and Gothic. Begull 1070. Largely 1175-1452 SACRED MUSIC Volume 130, Number 4, Winter 2003 FROM THE EDITOR 3 SARTO, THE 'CONSERVATIVE REFORMER' -100 YEARS OF THE MOTU PROPRIO OF POPE ST. PIUS X 5 Fr. Dr. Robert A. Skeris MOTU PROPRIO - TRA LE SOLLECITUDINI (INTRODUCTION, GENERAL PRINCIPLES) 10 Pope St. Pius X FERIAL MASS IN ENGLISH 12 Composer A CORRECTIONS TO: "NARROWING THE FACTUAL BASIS OF 19 THE AD ORIENTElvl POSITION Fr. Timothy D. Johnson REVIEWS 20 NEWS 25 CONTRIBUTORS 27 SACRED MUSIC Continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America. Office of Publication: 134 Christendom Drive, Front Royal, VA 22630-5103. E-mail: kpoterack@hotmail.com Editorial Assistant: Christine Collins News: Editorial Staff Music for Review: Calvert Shenk, Sacred Heart Major Seminary, 2701 West Chicago Blvd., Detroit, MI 48206 Susan Treacy, Dept. of Music, Franciscan University, Steubenville, OH 43952-6701 Membership, Circulation and Advertising: P.O. Box 960, Front Royal, VA 22630 CHURCH MUSIC ASSOCIATION OF AMERICA Officers and Board of Directors President Father Robert Skeris Vice-President Father Robert Pasley General Secretary Rosemary Reninger Treasurer Vincent Sly Directors Rev. Ralph S. March, S.O. Cist. Kurt Poterack Father Robert Pasley Paul F. Salumunovich Rosemary Reninger Brian Franck Rev. Robert A. Skeris Calvert Shenk Susan Treacy Ralph Stewart Monsignor Richard Schuler Vincent Sly Stephen Becker Membership in the Church Music Association of America includes a subscription to SACRED MUSIC.
    [Show full text]
  • The Byzantine Communion Chant for Easter in 14Th
    THE BYZANTINE COMMUNION CHANT FOR EASTER IN 14TH-CENTURY MANUSCRIPTS by HORST BERNHARD LOESCHMANN B. Mus., The University of British Columbia, 1976 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Department of Music) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1982 © Horst Bernhard Loeschmann, 1982 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of Misin The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date October 18, 1982 DE-6 (3/81) ABSTRACT It is only recently that the attention of musicologists has been directed to the study of Eastern church music as transmitted in 14th and 15th-century Byzantine manuscripts. This constitutes a reversal of the prejudices held by most pioneers in the discipline, who believed that the musical oeuvre of the late Byzantine empire was only a pallid reflection of a once magnificent style, and was, therefore, unworthy of detailed examina• tion. In its support of the current reassessment of the late Byzantine musical style, this study shows that, in spite of the declining fortunes of the empire, the composers of that time fashioned a vital and distinguished culmination to a millenium of liturgical composition.
    [Show full text]
  • SUBJECT: Liturgical Music
    SUBJECT: Liturgical Music LMUS 406 Applied Piano (0-2) Students will develop technical skills and knowledge of performance practices at the graduate level, including the ability to play a large variety of repertoire fluently and with understanding. Secondary organ students will develop sufficient techniques and familiarity with the instrument to play knowledgeably and/or coach others in parish settings. LMUS 407 Applied Organ (0-2) Development of technical skills and knowledge of performance practices, including the ability to play a large variety of repertoire fluently and with understanding. Study and performance of major works of significant periods and schools of organ literature. For secondary organ students, development of techniques and familiarity with the instrument to play knowledgeably and/or coach others in pastoral settings. LMUS 408 Applied Voice (0-2) Fundamentals of singing and vocal pedagogy (breathing, efficient use of voice, diction, etc.) addressing differing musical styles and their interpretation based on the performance practices of given periods in music history. Study and performance of significant bodies of solo repertoire. Technique and pedagogical skills appropriate to choral directors, section leaders, and coaches for cantors and song leaders. LMUS 409 Applied Composition (0-2) Individualized coaching in advanced composition of sacred music and music appropriate for liturgical use. Work in various forms and styles, depending on the needs and interests of individual students. Prerequisite: permission of the instructor and the liturgical music program director. LMUS 410 Gregorian Chant I: Introduction (1) Introduction to the basics of Gregorian Chant, with the primary aim of facility and confidence in singing easier Latin chants.
    [Show full text]
  • The Benedictine Monks of Santo Domingo De Silos Chant II Mp3, Flac, Wma
    The Benedictine Monks Of Santo Domingo De Silos Chant II mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Classical Album: Chant II Country: US Released: 1995 Style: Medieval MP3 version RAR size: 1312 mb FLAC version RAR size: 1638 mb WMA version RAR size: 1361 mb Rating: 4.7 Votes: 153 Other Formats: AIFF DTS MP4 WAV MP2 TTA XM Tracklist 1 Da Pacem, Domine - Introit 3:14 2 Haec Dies Quam Fecit Dominus - Gradual 2:52 3 Victimae Paschali Laudes - Sequence 1:54 4 Alleluia. Vir Dei Benedictus - Alleluia 3:41 5 Kyrie, Fons Bonitatis - Trope 3:41 6 Quam Magnificata Sunt Opera Tua Domine - Responsory 1:20 7 Ut Queant Laxis Resonare Fibris - Hymn 1:32 8 Cibavit Eos Ex Adipe Frumenti - Introit 2:58 9 Oculi Omnium In Te Sperant - Gradual 3:02 10 Spiritus Domini Replevit Orbem Terrarum - Introit 3:27 11 Alleluia. Veni Sancte Spiritus - Alleluia 2:29 12 Os Justi Meditabitur Sapientiam - Gradual 2:37 13 Kyrie "Lux Et Origo" 1:39 14 Gloria In Excelsis Deo 3:37 15 Sanctus Dominus Deus Sabaoth 1:20 16 Agnus Dei, Qui Tollis Peccata Mundi 1:26 17 Ave Mundi Spaes Maria - Sequence 4:07 18 Media Vita In Morte Sumus - Responsory 5:33 19 Salve, Regina, Mater Misericordiae - Antiphon 3:13 Credits Art Direction – Jay Barbieri Conductor [Direction] – Ismael Fernández De La Cuesta Cover [Cover Art] – Marvin Mattelson Performer – The Benedictine Monks Of Santo Domingo De Silos Notes Stereo [ADD] Recorded 21XI.1972, Teatro Real, Madrid Other versions Title Category Artist Label Category Country Year (Format) The Benedictine CDC 7243 5 Chant II (CD, Angel CDC 7243
    [Show full text]
  • Sacred Music Volume 114 Number 1
    Fra Angelico Christ surrounded by Angels in the midst of the Blessed. Altarpiece of San Domenico, National Gallery, London SACRED MUSIC Volume 114, Number 1, Spring 1987 FROM THE EDITORS Triumphalism 3 Revolution in the Church 4 The Angels in Our Pictures 6 CANONESSES AND PLAINCHANT Duane I.CM. Galles 7 LATIN LITURGICAL MUSIC IN FRANCE DURING THE REIGN OF LOUIS XIV R. David Henry 13 SCHOLA CANTORUM OF THE PACIFIC Reverend Theodore C. Ley, S.M. 19 SEVENTY-FIFTH ANNIVERSARY OF THE PONTIFICAL INSTITUTE OF SACRED MUSIC Monsignor Robert J. Hayburn 21 OPEN FORUM 23 NEWS 24 REVIEWS 27 CONTRIBUTORS 32 EDITORIAL NOTES 32 SACRED MUSIC Continuation of Caecilia, published by the Society of St. Caecilia since 1874, and The Catholic Choirmaster, published by the Society of St. Gregory of America since 1915. Published quarterly by the Church Music Association of America. Office of publications: 548 Lafond Avenue, Saint Paul, Minnesota 55103. Editorial Board: Rev. Msgr. Richard J. Schuler, Editor Rev. Ralph S. March, S.O. Cist. Rev. John Buchanan Harold Hughesdon William P. Mahrt Virginia A. Schubert Cal Stepan Rev. Richard M. Hogan Mary Ellen Strapp Judy Labon News: Rev. Msgr. Richard J. Schuler 548 Lafond Avenue, Saint Paul, Minnesota 55103 Music for Review: Paul Salamunovich, 10828 Valley Spring Lane, N. Hollywood, Calif. 91602 Rev. Ralph S. March, S.O. Cist., Eintrachstrasse 166, D-5000 Koln 1, West Germany Paul Manz, 1700 E. 56th St., Chicago, Illinois 60637 Membership, Circulation and Advertising: 548 Lafond Avenue, Saint Paul, Minnesota 55103 CHURCH MUSIC ASSOCIATION OF AMERICA Officers and Board of Directors President Monsignor Richard J.
    [Show full text]