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

Fall semester 2019

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

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

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

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

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

Note that both Theory III and History I are prerequisites for History II, so students in this class should have completed or be concurrently enrolled in Theory III, and students who have not passed Theory III may not take History II in the spring. If you have any questions, please ask.

Course objectives and learning outcomes This class will cover western art music composed before c. 1750. We will consider not only the history of musical style, but also as appropriate how music was composed, performed, transmitted, and used as part of broader culture. By the end of the semester, students should be able (among other things) to: • identify by ear or eye a group of known compositions composed before c. 1750 • apply principles derived from known compositions to identify unknown examples of major genres and styles of music practiced before c. 1750 • define key terms relating to music composed before c. 1750 • explain the significance of a group of major active before c. 1750 • explain major historical and cultural influences on the composition, performance, and transmission of music before c. 1750 History I (19f)—2

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

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

Instructor Dr. Alice V. Clark phone 865-3065 Monroe Hall 303 (note office location!!) e-mail [email protected] Office hours by appointment (avclark.youcanbook.me). This is not a throwaway line; I really do want to see you! I’m around campus a lot, so you’re welcome to drop by my office, but I ask you to make an appointment just to ensure that I’ll be there. You can also often find me in Roussel lobby or the 204a conference room during the MWF 10:30 hour (between sections). Pronouns: She, her, hers Preferred title: Dr. (or Professor) Clark

It is often easiest to communicate with me by e-mail between classes; barring emergencies or natural disasters, I will answer messages within 24 hours, except on weekends, during breaks, and while out of town at conferences. (This is a minimal goal, and in real life I usually will reply much sooner, even on weekends!)

Some background: I started my undergraduate career as a music education major, until I encountered a course like this one, which answered questions I hadn’t known how to ask. While I don’t expect you to have a similar experience in this course (!), I hope you will come to value thinking and writing about music as useful in its own right, and as helpful to your work.

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

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

History I (19f)—3 It should go without saying, but you must have paper and a writing implement for every class! On some days you will also need to have staff paper, which can be easily printed for free at sites such as http://www.blanksheetmusic.net/ . I will try to signal here or before class the days we will be using staff paper, but it should go without saying that staff paper is as essential as “regular” paper for music students!

Just to underline: bring to every class whatever pieces from the anthology you’ll need, pencil and paper, and whatever else you need to be able to participate! As Dr. Frazier tells her , if you don’t have the music for that day’s rehearsal, you are absent— here too, you cannot be fully present if you don’t have the material you need.

Course requirements / Types of assignments There will be some listening and/or reading in preparation for each class, and often also a short video lecture; for many days there will also be a pre-class assignment (usually as a Google form, due by 8am). (Pre-class assignments will be posted on Blackboard at least a week in advance.) During class I will not lecture extensively, but we will engage in discussion and activities (solo, pair, small group, and/or full class); these may include short assignments or quizzes.

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

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

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

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

How should you spend that out of class time? I’d suggest the following: • Start by reviewing the previous class: listen to the music (with score), reread your notes, and identify anything you don’t understand or any questions you have. See if you can fill in History I (19f)—4 those gaps by going back over the reading, score, or video; if you can’t, ask! It can also help to ask yourself what the most important points are, and maybe think of what exam questions might look like. • Look to the next class: start by listening to the music (with score). If it’s got text, read the text in English to get a general idea, but also identify important words or phrases in the original, and look at how they are set to music. (This is one of those times you might want to draw circles or otherwise point to things in the score itself.) After you’ve done this, listen to the piece again, paying attention to what you’ve marked in the score. • Do any reading that’s assigned for the next class, watch the video, and do the pre-class assignment if there is one. Write down any questions you have, and make notes about what you think is most important about this material. • Look ahead: note when the next test is, start reading for the next article report or working on the next special topic. (If assignment due dates and exam dates aren’t in your calendar, put them there!) • On a regular basis (maybe not for every class): o identify useful terms and practice definitions o for each piece we’ve studied, identify who-what-when-where-why-how, and think about how that piece fits into the historical narrative o compare pieces to identify differences in genre, , style period o rewrite notes, combining notes from different sources, making corrections, etc. o look for connections: how can you generalize in your own words, for instance, what baroque style is, how it’s different from what came before (and after), what cultural features relate to it, etc. o think about what you’d ask if you were the one making an exam! o think about what elements you’ll want to put on your cheat sheet for the next exam

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

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

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

You must occasionally read your loyno account!!! I realize material is sent to the campus community that you may not find relevant to your life, but we need to be able to reach you, History I (19f)—5 and this is usually the easiest way to do so. Feel free to add an alternative e-mail address and an emergency phone number to your Blackboard profile, so I can have an alternate way to contact you if need be (say in case of evacuation...), but your loyno account will remain my primary way to contact you out of class.

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

I’ll add one more thing here: • Any student who faces challenges securing food or housing and believes this may affect performance in the course is urged to contact the office of Student Affairs, Danna Center 205, for support. (There is, for instance, a food pantry, Iggy’s Cupboard, in the basement of the Danna Center.) You may also contact me or another faculty member, if you are comfortable; we may be able to help you navigate University resources or identify other resources. (adapted from Sara Goldrick-Rab)

Attendance, participation, and class conduct For each regular class meeting, you can earn up to eight points; this includes a combination of passive participation (being present and attentive), active participation (answering and asking questions, etc.), and activities (quizzes, discussion questions, in-class assignments, etc., whether or not they are collected). My expectation is that every student who is present and engaged for the entire class will receive all available points, but that doesn’t mean simply showing up does the job. Of course, you can’t earn points if you’re absent, or late for that matter. If a student is disruptive or clearly not participating in class discussion or other activities, I reserve History I (19f)—6 the right to deduct points from the daily score. Similarly, failure to bring to class necessary material (including scores, staff paper, etc.) may also result in a loss of daily points. Enough daily points are available to allow for three “free” absences for the term, consistent with the attendance policy many use, and extra credit is available.

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

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

In this course and throughout your degree, you may encounter topics that you may find emotionally challenging, even difficult. If some of this makes you feel uncomfortable, that’s completely normal, and I encourage you to talk with me, your friends, and any campus resource that can help you. Keep in mind that education is supposed to challenge and sometimes even threaten your worldviews. If you feel intellectually or emotionally disturbed by what you learn in class, don’t assume that you should be concerned. It may only mean that you are engaging with new perspectives, which is what college is all about. (adapted from Stephen J. Ceci, Scott O. Lilienfeld, and Wendy M. Williams, “The One-Time- Only Trigger Warning,” Inside Higher Ed, 18 October 2016)

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

Technology: Practice being truly present by limiting your use of electronic devices to what is relevant to class, and be aware that your inappropriate use of such technology distracts others in the class (including me). If there is an emergency that requires you to keep an eye on your phone (beyond any class-related activity), please let me know before class, as a courtesy to your colleagues as well as to me. (I will follow this policy as well.) If that emergency requires you to answer your phone (by either voice or text), you should leave the room. I will not place rules on the use of electronics at this time, though I reserve the right to do so later if it History I (19f)—7 becomes a problem. I know staying away from texting, e-mail, and Facebook for an hour can sometimes feel like a challenge, but this is a good time to practice.

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

Evaluation Grades will be calculated as follows: exams (100 points each): 400 points final exam: 100 points in-class activities (8 points/day): 250 points article reports (35 points each): 100 points special topics (50 points each): 150 points total: 1000 points

You can earn extra credit for in-class activities, and also by doing all four article reports (the calculation above is based on three reports, not four). Keep in mind, however, that I will only apply up to a total of 50 points of extra credit—there are limits! The grading system is already set up to balance effort and achievement, with tests as only half of the final grade.

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

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

Exams (including final exam) • Wednesday 10 September (monophonic traditions) • Wednesday 3 October (polyphony to c. 1450) • Friday 25 October (fifteenth and sixteenth centuries) • Monday 2 December (baroque): Note that this is the Monday after Thanksgiving! I didn’t want to do this, but between AMTA, LMEA, and finals, this was the only day I could realistically place this exam. Be sure you are back in town from the break!!! • Final exam: Note that you must take the exam at the officially assigned time, with the section in which you are registered! All students must take the final exam to pass the History I (19f)—8 course, even if they have otherwise earned enough points to pass. This exam will be comprehensive; details to follow. o 9:30 section: Wednesday 11 December, 9-11am o 11:30 section: Monday 9 December, 11:30-1:30

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

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

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

Special topics (3 total) These are in place of formal papers; each involves some combination of reading and writing, and there is some level of choice in each. More information will follow.

Article reports (3 total) These involve reading specific examples of scholarly literature and doing a written evaluation assignment. I am assigning four rounds of reports, one for each unit, but you may choose to do only three, or the fourth will serve as extra credit. In each case I give you a choice of articles to read. More information will follow. History I (19f)—9

Daily assignments These will often take the form of Google forms due by 8am on class days. (They’re due before class both to help you prepare and so that I can look over the responses before class—that’s part of my homework!) There may also be quizzes (closed- or open-note), written reflections, or other assignments during class. Since all these are part of your daily participation, these assignments can’t be turned in late or made up if you are absent.

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

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

Course schedule (subject to change) All music can be found in the A-R Anthology unless specified otherwise. Readings from the anthology are cited in full on first mention, then by author and short title. There are course lists associated with each unit; please let me know if you have difficulty finding those lists or are in any way unsure which pieces are assigned. Recordings will appear on Naxos playlists where possible. Other material will be posted on Blackboard or available through the library, either through electronic resources or on reserve in hard copy.

These assignments are to be done in preparation for class on the given date! This outline is an effort to plan out most of the assignments and out-of-class work for the semester, but I can’t promise it is completely comprehensive. In fact, pre-class assignments don’t appear—but you should count on them happening for nearly every class. Additional assignments or changes to assignments listed here are also possible. I will make every effort to give you that information as far in advance as possible, both in class and on Blackboard.

Please ensure that you can look at the music we are studying during class. I strongly suggest that you save every piece here to PDF as part of your preparation for class; experience has shown that the wireless won’t be effective if all of you are accessing the anthology at once! (Be aware that “printing” to PDF works best on the Chrome browser, so if you’re a Firefox user, as I am, you might want to shift to Chrome when you do this.) I won’t require you to bring hard copies to class, but I can’t overstate the benefit of being able to take notes on scores. History I (19f)—10

Where I ask you to be able to sing something, don’t worry: all singing will be done as a group. Also, don’t worry about pronunciation of foreign-language texts—just do what you can, and it’s OK if that means you just sing “la la la.” Even if we don’t sing each of these during class, being able to do so will also help you learn those pieces.

Monday 19 August: Introduction

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

Wednesday 21 August: The ancient musical legacy • listen and study the score (also read the commentary the follows): Epitaph of Seikilos (A-R Anthology) o How is this music, and its notation, like what you know, and how is it different? • read: source readings posted on Blackboard (You will want to have these texts available to you during class as well, so print or save the files on your laptop, tablet, or phone.) o As you read, make two lists or sets of notes, thinking of the following questions. This will serve as the basis of discussion, so bring these lists to class! (These are for your notes, not to turn in.) . Who (in general terms, not necessarily by name) is writing, and what are the major threads of musical thought represented? . Who and what seems to you to be missing? • watch: video lecture on fragments and notation (links to this and all other video lectures are on Blackboard) • do: pre-class assignment due by 8am (Google Form, link on Blackboard) o identify three major themes or ideas that come out of this material, and for each one cite a specific text excerpt, image, or musical idea that comes out of that material • (You will see that I’ve posted several extras on Blackboard; those are not required, but some of you may find some of them interesting. I’ll probably continue to post such things, and I’ll try to label them clearly as extras—but let me know if you aren’t sure, or for that matter if you want to know more!)

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

History I (19f)—11 Friday 23 August: Types and styles of chant I • listen: Third Mass for Christmas Day (Use the PDF posted on Blackboard rather than the A-R Anthology edition, so you can start to learn to read the square notation natural to chant! The Naxos playlist includes not only the sung items but several of the recited prayers and readings, so you can get a sense of the difference between the two styles, but we’ll be focusing only on the sung items, and those are the only ones you have in notated form.) • be able to sing the following sections of the Mass: o first phrase of Introit (“Puer natus est nobis, et filius datus est nobis”) o first statement of Kyrie (“Kyrie eleison”) o first phrase of Gradual (“Viderunt omnes fines terrae”) o opening of Credo (through “visibilium omnium”) • read: o James Maiello, “” (A-R Anthology), pp. 1-4. We will cover this article (and other such articles from the anthology) in small pieces, but you will probably want to reread it as a whole later! • watch: video lecture

Monday 26 August: Chant and the psalms • listen: review chants for the Christmas Mass, focusing especially on the style and structure of the introit and gradual • read: o commentary to the Mass for Christmas Day (A-R Anthology; note that this text begins on p. 13 of the 29-page file, following the Propers for the Midnight Mass for Christmas Day, which we won’t use.) o Fiona McAlpine, “Genres and Forms in the Middle Ages,” pp. 1 and 3-4 • watch: video lecture (psalmody and the Daily Office)

Wednesday 28 August: “Gregorian” chant • read: documents on Blackboard (bring to class in hard copy or PDF) • watch: video lectures • look: image of St. Gregory from Hartker Antiphoner (link on Blackboard; also reproduced at the top of this syllabus! Think about the questions I asked above: what’s going on here?)

Friday 30 August: Chant theory • (listen: review known listening and practice unknown listening) o Be able to sing by memory: first phrase of Christmas introit (“Puer natus est nobis”) o Be able to explain the modal assignment of each chant in the Christmas Mass. If you don’t understand the reasons for the modal classification of one or more chants, bring questions! • read: Maiello pp. 4-6 on the modes and Fiona McAlpine, “Music Theory in the Middle Ages” (A-R Anthology), pp. 1-3 on chant • watch: video lectures History I (19f)—12

Monday 2 September: Labor Day—NO CLASS

Wednesday 4 September: Extensions to the liturgy • special topic 1 due by 10pm • listen: o sequences and tropes for Christmas (on Blackboard) o , O frondens virga (, discussed in Bain article; text and translation posted on Blackboard. The recording I’ve posted on the Naxos playlist uses the antiphon as it would have been used in the liturgy, to bookend a psalm; you may listen to the antiphon alone, which is just under two minutes.) • read: o Maiello pp. 15-17 on tropes and sequences o McAlpine, “Genres,” pp. 4-5 on the sequence o Kendra Preston Leonard, pp. 1-5 (This begins with antiquity, but it ends with Hildegard of Bingen, so it can be one way you can start to think of this unit as a whole. This might also be a good time to start reviewing Maiello’s essay and other material, since the first unit exam is a week away!) • watch: video lecture

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

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

Friday 5 September: Secular monophony I (troubadours) (continued on next page) • listen: o , Can vei la lauzeta mover (There are multiple performances on the Naxos playlist; you probably don’t have time to listen to them all in full, but please listen to at least one complete performance, as well as portions of the others! Think about which performance/s you prefer, and why.) o , A chantar (The performance I put on the Naxos playlist is very long, so you may stop after a couple of verses. The track that precedes the song is a reading of her vida; I thought it might be interesting to hear the Occitan read aloud.) • read: o commentary on Bernart de Ventadorn’s Can vei la lauzeta mover and the Comtessa de Dia’s A chantar o Bernart’s vida (posted on Blackboard) History I (19f)—13 o Robert Falck and John Haines, “Bernart de Ventadorn,” Grove Music Online (use hard copy in the library’s reference section or access as Oxford Music Online from the library’s list of databases) o Karen Cook, “Comtessa (Beatriz?) de Dia” (A-R Anthology) o Maiello pp. 6-7 and McAlpine, “Genres,” p. 5 on secular song • watch: video lecture

Monday 9 September: Secular monophony II (Cantigas de Santa Maria) • listen: o examples of Cantigas (Prologue and cantigas 1, 140, and 159) (Where possible, I’ve given you a couple of different performances on the Naxos playlist.) • read: o Karen Cook, “Cantigas de Santa Maria” (A-R Anthology) o John Haines, “The Arabic Style of Performing ,” Early Music 29/3 (August 2001): 369-78. (I’ve posted a YouTube playlist with some of the examples he discusses.) • watch: video lecture

Wednesday 10 September: EXAM 1: monophony

Friday 13 September: no class (AVC at Creighton) • article report I due by 10pm

Western Europe is one of the few places that developed polyphonic music; most forms of music around the world remained monophonic, at least until modern times. It’s worth keeping in mind, though, that monophony is still the central part of the musical world of most people in medieval Europe: chant is still sung, and dance and other forms of instrumental music remain monophonic (and mostly unwritten) for a long time. Here, however, we will turn our attention to this new musical development, starting with its first major flourishing in writing, at the Cathedral of Notre-Dame in Paris.

Monday 16 September: Music at Notre-Dame de Paris I: • listen: two-part organum on Viderunt omnes (A-R Anthology, attributed to Leonin; be able to sing first phrase of gradual “Viderunt omnes,” either from this or from the Mass for Christmas Day) • read: o commentary on Viderunt omnes o Maiello pp. 7-11 on early polyphony o McAlpine, “Theory,” pp. 7-9 on Notre-Dame polyphony (You should skim pp. 3-7 to fill in the story of early polyphony, but we’ll focus on the Notre-Dame style.) • watch: video lecture • BRING STAFF PAPER TO CLASS!

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

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

Monday 23 September: Guillaume de Machaut and the polyphonic secular song • listen: Machaut, Je puis trop bien (B28) • read: Clark, “Guillaume de Machaut” (entire) and McAlpine, “Genres,” pp. 6-9 (on the fixed forms) (optional: skim McAlpine, “Theory,” pp. 12-15) • watch/do: o Tutorial on fourteenth-century French notation (link on Blackboard; note that you must register on this site): do at least units 1, 2, and 6 o Look at Machaut’s 3 in MS C (Paris, Bibliothèque Nationale de France, MS fonds français 1586; link on Blackboard). Try to read the cantus (top) line! • BRING STAFF PAPER TO CLASS!

Wednesday 25 September: Fourteenth-century France II • special topic 2 due (post Word or PDF file to Blackboard by 10pm on this date) • review material from previous classes (including M8 and B28)

History I (19f)—15 Friday 27 September: Toward the “international” style • listen: o , Echo la primavera o Sumer is icumen in o (?), Quam pulchra es • read: o commentaries on Sumer is icumen in and Dunstaple’s Quam pulchra es o Luisa Marchi, “Francesco Landini” (A-R Anthology) (entire) o Karen Cook, “John Dunstaple” (A-R Anthology) (focus on pp. 1-5 and 12-16) o McAlpine, “Genres,” pp. 9-12 (on the ) • watch: video lecture

Monday 30 September: and the flowering of the “international style” • listen: o Du Fay, Nuper rosarum flores / Terribilis est locus iste o Du Fay, Ave regina caelorum (NB: four-voice version!) o Du Fay, Resvellies vous o Du Fay, Se la face ay pale (three-voice version) o Du Fay, Missa Se la face ay pale (Gloria only) • read: o commentaries to Resvellies vous, Se la face ay pale, and Missa Se la face ay pale o Alejandro Enrique Planchart, “Du Fay, Guillaume,” in Grove Music Online: Read the section “Life,” observing the extent of Du Fay’s travels (you don’t have to know them all!), and note down 3-4 particularly important places/positions. • watch: video lecture

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

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

Friday 4 October: and his contemporaries (continued on next page) • listen: o Josquin, Ave Maria...virgo serena (so called to distinguish it from another motet by Josquin beginning with the words Ave Maria; use the four-voice version) o Josquin, Missa Fortuna desperata, Gloria only o Josquin, Missa Pange lingua, Kyrie only o Josquin, Mille regretz History I (19f)—16 • read: o Stephanie P. Schlagel, “Josquin des Prez” (A-R Anthology; entire, but you may skim over discussions of examples we won’t study) o commentaries to Ave Maria…virgo serena, Missa Pange lingua, and Mille regretz o optional: Jennifer Thomas, “Josquin des Prez, Ave Maria, and the Musical Canon” (A- R Anthology; includes as an appendix an extended analysis of the motet) o even more optional: Seth Coluzzi, “Music Theory of the ” (A-R Anthology; if you’re particularly interested in this area, let’s talk!) • watch: video lecture

Monday 7 October: “medieval” vs. “renaissance” style • article report 2 due by 10pm • listen: review Josquin, Ave Maria...virgo serena and Vitry, In arboris / Tuba sacre fidei / Virgo sum (make sure you have access to both scores during class!) • read: o Stephanie P. Schlagel, “An Introduction to ,” pp. 1-6 and 10-12 o Allen Scott, “Renaissance Genres and Forms,” pp. 1-6

Wednesday 9 October: music and reformation • listen: o Luther, Ein’ feste Burg ist unser Gott (Walter four-part setting is optional) o Bourgeois, Or sus, serviteurs du Seigneur (Kethe English psalm is optional) o Giovanni Pierluigi da Palestrina, Pope Marcellus Mass o Tomás Luis de Victoria, O magnum mysterium o Victoria, Missa O magnum mysterium, Kyrie • read: o documents posted on Blackboard (focus on this, and the music, because in class we’re going to have a debate!) o commentaries to Bourgeois and Kethe’s metrical psalms, Luther’s and Walter’s settings of Ein’ feste Burg, and Palestrina’s Pope Marcellus Mass o Allen Scott, “The Reformation and Music” (A-R Anthology), pp. 1-5 o Scott, “Renaissance Genres,” pp. 6-19 o Noel O’Regan, “Giovanni Pierluigi da Palestrina” (A-R Anthology) • watch: video lecture

Friday 11 October: the reformation in England (continued on next page) Theme for special topic 3 must be approved by this date (also partner if applicable) • listen: o Tallis, Audivi vocem (score from ChoralWiki linked on Blackboard) o , Verily I say unto you (anthem) o Byrd, Sing Joyfully Unto God (with commentary) o Gibbons, This is the Record of John (verse anthem) o Byrd, Ave verum corpus (score from ChoralWiki linked on Blackboard) History I (19f)—17 • read: o Scott, “Reformation,” pp. 6-7 o K. Dawn Grapes, “” (A-R Anthology) o Joseph Kerman, "Music and Politics: The Case of William Byrd (1540-1623)," Proceedings of the American Philosophical Society 144/3 (September 2000): 275-87. (available on JSTOR; link on Blackboard) • watch: video lecture

Monday 14 October: Fall break—NO CLASS

Wednesday 16 October: Jesuits abroad in the sixteenth century • read: o Paolo Castagna, “The Use of Music by the Jesuits in the Conversion of the Indigenous Peoples of Brazil,” in The Jesuits: Cultures, Sciences, and the Arts, 1540- 1773, ed. John W. O’Malley et al. (Toronto: University of Toronto Press, 1999), 641-58. (PDF posted on Blackboard) o Makoto Harris Takao, “ ‘In their own way’: Contrafactural Practice in Japanese Christian Communities during the 16th Century,” Early Music 47/2 (May 2019): 183- 98. (link posted on Blackboard)

Friday 18 October: Secular song in the sixteenth century I • listen: o Marco Cara, Io non compro più speranza o , Il bianco e dolce cigno o , Solo e pensoso o Thomas Weelkes, As Vesta was from Latmos Hill descending • read: o commentary to Arcadelt’s Il bianco e dolce cigno o Schlagel, “Renaissance,” pp. 6-9; Scott, “Renaissance Genres,” pp. 19-27, Leonard, “Women,” pp. 5-6 o excerpts from Castiglione’s The Courtier (posted on Blackboard) o optional: Emiliano Ricciardi, “Luca Marenzio” (A-R Anthology) • watch: video lecture

Monday 21 October: Secular song in the sixteenth century II • Each of you will be assigned a group and an example of sixteenth-century song to report on in class. To prepare for class, you should start by finding the score and listening to the song, then reading its text and translation. Also read the Grove article on its composer and genre, as well as the relevant parts (if any) of Schlagel’s and Scott’s essays. From there you may expand to other sources of information as needed. • Bring notes to class that you can use to work with other students to make a short presentation to the class about your piece. • Each group should also post basic information to a Google doc by 10pm on this day, so every student can benefit from this process! This is testable material…. History I (19f)—18

Wednesday 23 October: Instrumental music in the sixteenth century • listen: o Claude Gervaise, d’Angleterre and Galliard o Luys de Narváez, Cancio mille regrez o Byrd, Browning my dear a 5 o Merulo, Toccata duodecimo detto VI. Tuono o , Ricercar del duodecimo tuono • read: o commentary to Narváez’s Cancio mille regrez o Miranda Kauffmann, “John Blanke, the Trumpeter,” from Black Tudors: The Untold Story (posted on Blackboard) o Schlagel, “Renaissance,” 12-14; Scott, “Renaissance Genres,” pp. 27-31 • watch: video lecture

Friday 25 October: EXAM 3: Fifteenth and sixteenth centuries

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

Monday 28 October: The creation of opera I: , 1600 • listen: o , Cruda Amarilli o Giulio Caccini, Vedrò ‘l mio sol o Monteverdi, excerpts from Orfeo, Act II (pp. 7-19, from the ritornello that begins “Vi ricordo” through the chorus following “Tu se’ morta”) • read: o commentaries to Cruda Amarilli and Orfeo, Act II o Emily Hagen, “Claudio Monteverdi” (A-R Anthology; focus on pp. 1-16, skimming the discussion of Sfogava con le stelle) o Jonathan Rhodes Lee, “Introduction to the Baroque Era,” 1-9 (through Monteverdi) o Kimberly Beck Hieb, “Genres and Forms in the Baroque Era,” 1-4 (through Italian opera) o John Whenham, “Orfeo (i),” in Grove Music Online (you can skim through the discussion of modern performances) o Excerpts from Giovanni Maria Artusi, L’Artusi, ovvero, Delle imperfezioni della moderna musica, and Giulio Cesare Monteverdi, “Declaration,” published with Claudio Monteverdi, Scherzi musicali o Giulio Caccini, excerpt from preface to Le nuove musiche (Weiss and Taruskin, posted on Blackboard) • watch: video lecture

Wednesday 30 October: article report 3 due by 10pm (no class; AMS) History I (19f)—19

Friday 1 November: special topic 3 due by 10pm (no class; AMS)

Monday 4 November: the creation of opera II: Venice, 1637 • listen: Monteverdi, excerpts from L’incoronazione di Poppea • read: o Hagen, “Monteverdi,” 16-22 o Ellen Rosand, “L’incoronazione di Poppea,” in Grove Music Online • watch: video lecture

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

Friday 8 November: the French tragédie en musique • listen: Jean-Baptiste Lully, excerpts from Armide o read: Hieb, “Baroque,” p. 4 (on Lully and the tragédie lyrique), and Lois Rosow, “Armide (i),” in Grove Music Online • watch: video lecture

Monday 10 November: dramatic music in England • listen o Henry Purcell, excerpts from Dido and Aeneas o Purcell, excerpts from The Fairy Queen • read: o Hieb, “Baroque,” pp. 4-5 (on Purcell and music for theatre) o Alon Schab, “Henry Purcell” (A-R Anthology) o also recommended: Curtis Price’s articles on “Fairy Queen” and “Dido and Aeneas” in Grove Music Online • watch: video lecture

History I (19f)—20 Wednesday 12 November: Baroque instrumental music I: ensemble music • listen: o Archangelo Corelli, Trio Sonata in D Major, op. 3 no. 2 o Corelli, Sonata da camera, op. 2 no. 4 o Antonio Vivaldi, Concerto in A Minor for Two and Orchestra, op. 3 no. 8, RV 522 (first movement only; discussed by Lee) o Vivaldi, Concerto in A Major for and Orchestra, op. 9 no. 2, RV 345 (first movement only; discussed by Brody) • read: o commentary to Corelli’s op. 3 no. 2 o Christopher Brody, “Analytical Approaches to Baroque Music,” pp. 9-13 (on the concerto) o Lee, “Baroque,” pp. 13-17 (on instrumental genres) o Hieb, “Baroque,” pp. 8-10 (on the sonata and concerto); Brody pp. 9-13 • watch: video lecture

Friday 15 November: Baroque instrumental music II: keyboard music • listen: o Elisabeth-Claude Jacquet de la Guerre, Suite in D minor o J. S. Bach, Prelude and Fugue 1 and 2 from Well-Tempered Clavier, Book 1 o J. S. Bach, chorale prelude on Durch Adams Fall, BWV 637 • read: o Brody, “Baroque,” pp. 1-8, 14-18 o Hieb, “Baroque,” pp. 10-12 (on keyboard music) o Leonard, “Women,” pp. 6-8 (includes discussion of Jacquet de la Guerre) o documents relating to Jacquet de la Guerre (Neuls-Bates) • watch: video lecture

Monday 18 November: Handel and opera seria • listen: o George Frideric Handel, excerpt from Orlando, aria “Fammi combattere” (pp. 59-63 of anthology excerpt; discussed by Hurley) o Handel, excerpts from Giulio Cesare (focus on Act I scenes 5-6, especially the arias “Non disperar” and “L’empio, sleale”) • read: o commentary to Giulio Cesare (includes text and translation for all of Act I; you may skip to the two scenes for which you have music) o David Hurley, “George Frideric Handel” (A-R Anthology) o David Hunter, “Handel and the Royal African Company,” Musicology Now, 14 June 2015 (linked on Blackboard) o Lee, “Baroque,” pp. 9-13 (focus on the da capo aria) o Hieb, “Baroque,” pp. 12-14 (on forms, especially the da capo aria) o Brody, “Baroque,” pp. 18-22 (on aria forms) • watch: video lecture History I (19f)—21

Wednesday 20 November: Johann Sebastian Bach • listen: o J. S. Bach, Prelude and Fugue 1 from Well-Tempered Clavier, Book 1, BWV 856 o J. S. Bach, chorale prelude on Durch Adams Fall, BWV 637 o J. S. Bach, Wachet auf, BWV 140 • read: o Matthew J. Hall, “Johann Sebastian Bach” (A-R Anthology; you may skim the discussion of any piece not on this syllabus.) o Lee, “Baroque,” pp. 17-24 (on musical encyclopedism); Brody, “Baroque,” pp. 23-26 o Optional: documents relating to Bach from Weiss and Taruskin and Strunk (posted on Blackboard) • watch: video lecture

Friday 22 November: Handel and the English oratorio • listen: excerpts from Handel, Saul • read: review readings for Monday 18 November • watch: video lecture

Monday 25 November: TBA • article report 4 due by 10pm

Wednesday 27-Friday 29 November: Thanksgiving holiday—NO CLASS

Monday 2 December: EXAM 4 (baroque)

Wednesday 4 December: Joseph Amiot, S. J., and music in China (continued on next page) • listen (Amiot playlist on Naxos): o Jean-Philippe Rameau, “Les sauvages,” from Suite in G, Nouvelles suites de Pièces de clavecin, and “Les cyclopes,” from Suite in D, Pièces de clavecin (These were among the pieces Amiot played for Chinese visitors to the Jesuit house in Beijing.) o Joseph Amiot, “Le chant des oies sur leur passage,” from Divertissements chinois, book 3 cahier 1 (two performances; note that the longer one seems to include other pieces as well) o Amiot, “” (two performances, one over 20 minutes! For that one, if you listen to about five minutes, you should be fine.) • read: o excerpts of texts by Matteo Ricci, S.J., and Jean Baptiste Du Halde, S.J., Jesuits in China in the seventeenth and eighteenth centuries (Strunk; posted on Blackboard) o Stewart Carter, “The Editor from Hell: Information and Misinformation on Chinese Music in Late Eighteenth-Century France,” in Music in Eighteenth-Century Culture, ed. Mary Sue Morrow (Ann Arbor: Steglein Publishing, 2016), 23-47. (posted on Blackboard) o Fredric Lieberman, “Amiot, (Jean) Joseph,” Grove Music Online History I (19f)—22 o Cynthia M. Gessele, “Roussier, Pierre-Joseph,” Grove Music Online o Wikipedia article “Jesuit Chinese Missions” (skim for background)

Friday 6 December: wrap-up • Read: Reinhard Strohm, “ ‘Medieval Music’ or ‘Early European Music’?,” in The Cambridge History of Medieval Music, 2 vols., ed. Mark Everist and Thomas Forrest Kelly, The Cambridge (Cambridge: Cambridge University Press, 2018), vol. 2, 1177- 1200. (PDF posted on Blackboard)

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

This year I am separating the comprehensive final exam from the last unit exam (Monday 2 December), so this will be entirely comprehensive. We will discuss in more detail in class exactly what that will entail. 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 11:30am Monday and 11am Wednesday! If you are in the 9:30 section you may have study groups during that period, of course, but you may not discuss the exam with students in the other section, and all students must be careful not to discuss the exam in settings where students from the other section might hear.