Course Title Credit MUHL M306 History of Western Art Music I 3 credits
Fall semester 2012
(image from the Hartker Antiphoner, Abbey of St-Gall, Cod. Sang. 390, copied c. 990-1000; http://www.e- codices.unifr.ch/en/csg/0390/13/medium )
Instructor Dr. Alice V. Clark phone 865-3065 Communications/Music 202 e-mail [email protected] Office hours: TW 2:00 (subject to change), or by appointment
Classes MWF 9:30-10:20 (section 001) or 11:30-12:20 (section 002), CM 204g
Bulletin description This course is the first part of a two-semester survey of western art music, this semester covering music and ideas about music from antiquity to the mid-eighteenth century. Where relevant, we will consider influences on western art music from other cultures and styles.
Prerequisites MUTH M103 (Theory II) and MUHL M106 (Introduction to Music Literature), or permission of instructor.
Note that both Theory III and History I are prerequisites for History II, so students in this class should have completed or be concurrently enrolled in Theory III, and students who have not passed Theory III may not continue, even if they pass History I.
Course objectives and learning outcomes This class will cover western art music composed before c. 1750. We will consider not only the history of musical style, but also as appropriate how music was composed, performed, transmitted, and used as part of broader culture. By the end of the semester, students should be able (among other things) to: differentiate by ear or eye between musical works of different style periods before c. 1750 identify by ear or eye a group of known compositions composed before c. 1750 History I (12f)—2 identify major composers active before c. 1750 define key terms relating to music composed before c. 1750 explain major historical and cultural influences on the composition, performance, and transmission of music before c. 1750
Textbooks and other materials to be purchased by student Burkholder, J. Peter, Donald J. Grout, and Claude V. Palisca, A History of Western Music. 8th ed. New York and London: W. W. Norton & Company, 2010. ISBN 978-0-393-93125-9
Burkholder, J. Peter, and Claude V. Palisca, eds. Norton Anthology of Western Music. Vol. 1: Ancient to Baroque. 6th ed. New York and London: W. W. Norton & Company, 2010. ISBN 978-0-393-93126-6 i>clicker: ISBN 9780716779391; www.iclicker.com . You can buy (new or used) or rent this at the bookstore. Note that you must have this and bring it to every class! You may borrow one from a friend, but you cannot share one with someone also taking the course (in either section) this semester.
I have no real objections to your sharing the textbook, or using the library copy—as long as you do the reading, of course (!) On the other hand, you must own your own copy of the anthology! You should use it constantly, bring it to each class, take notes in it, and otherwise take full ownership of the music it contains.
Other reading and/or listening material will also be available electronically or on reserve in Monroe Library.
Optional materials available for purchase Burkholder, J. Peter, and Claude V. Palisca, eds. Norton Recorded Anthology of Western Music. Vol. 1: Ancient to Baroque. 6th ed. New York: W. W. Norton & Company, 2010. ISBN 978-0-393-11309-9
You are not required to buy this, but it’s convenient, especially around test times (since there are about 60 of you, and only one set of recordings) and in case of evacuation. While it’s a lot of money up front ($90 for six CDs, according to their web site), it’s a good investment and not a bad deal. One copy of the recordings is on reserve at the library, along with a copy of the fifth edition recordings (which will have many, but not all, of the pieces in the anthology, sometimes in a different performance).
Course requirements / Types of assignments Required work for this course will include reading (from the textbook and other sources), listening, and score study (mostly, but not entirely, from the required anthology). Students will also have to take exams, complete a series of writing and other assignments, and participate in class discussion.
Note that higher-education professionals generally say that each hour spent in class should be supported by 2-3 hours of work out of class; while we all know that doesn’t usually happen, you should do more than simply show up! A study guide is available on Blackboard if you need it, and feel free to come to me for advice as well if you feel at all uncomfortable about your study habits.
This course has a Blackboard web page. Go to
You must occasionally read your loyno account!!! I realize material is sent to the campus community which you may not find relevant to your life, but we need to be able to reach you, and this is usually the easiest way History I (12f)—3 to do so. I encourage you to put any other addresses you may wish in your Blackboard profile, so I can have an alternate way to contact you if need be (say in case of evacuation...), but your loyno account will remain my primary way to contact you out of class. I will also set up a Facebook group if there is interest.
Special accommodations If you have a disability and wish to receive accommodations, please contact Sarah Mead Smith, Director of Disability Services, at 504-865-2990. If you wish to receive test accommodations (e.g., extended test time), you will need to give the course instructor an official Accommodation Form from Disability Services. The Office of Disability Services is located in Monroe Hall 405.
Academic integrity All work you do for this class is expected to be your own, and academic dishonesty (including, but not limited to, plagiarism on papers or cheating on exams) will be punished. A summary of the University’s definitions and procedures concerning academic integrity can be found in the Undergraduate Bulletin (http://2012bulletin.loyno.edu/undergraduate/academic-regulations-details#integrity). If you are uncertain how to use and cite the work of others within your own work, consult reference works such as Kate L. Turabian, A Manual for Writers of Term Papers, Theses, and Dissertations, 6th ed., revised and edited by John Grossman and Alice Bennett, Chicago Guides to Writing, Editing, and Publishing (Chicago: University of Chicago Press, 1996), or see the instructor.
Everything you turn in for a grade in this class must represent your own work unless I specifically say otherwise. Studying together is very useful, and I encourage it, but when you sit down to take a Blackboard quiz, write an essay, etc., you need to do that work alone. The act of putting your name on an assignment and/or submitting it (on paper or electronically) represents a statement that, on your honor, it represents your work. Penalties for submitting the work of others as your own may include (but are not limited to) a lowered grade on the assignment, a zero for the assignment, or even failure of the course.
I expect you always to be ethical in how you use library resources and other pieces of intellectual property. That includes, but it not limited to, respecting copyright law and properly attributing your use of the words, images, music, or ideas of others. These principles are not always clearly articulated, but they are important; please let me know if you need to discuss particular aspects.
Emergency Statement In the event that there is an interruption to our course due to the cancellation of classes by the university as the result of an emergency, we will continue our course on Blackboard within 48 hours after cancellation. All students are required to sign on to Blackboard and to keep up with course assignments within 48 hours of evacuation and routinely check for announcements and course materials associated with each class. Class handouts will be posted under “course materials.” Students should be familiar with their responsibilities during emergencies, including pre-evacuation and post-evacuation for hurricanes. This information is available on the Academic Affairs web site: http://academicaffairs.loyno.edu/students-emergency-responsibilities . Additional emergency planning information is also available: http://academicaffairs.loyno.edu/emergency-planning .
Attendance and participation Note that attendance and participation together count for 5% of your final grade. That does not mean simply showing up, but being prepared, asking and answering questions, and participating in small- and large-group discussion. Perfect but silent attendance will earn a score of not more than 90 in this area. It’s useful to seek History I (12f)—4 always to have something to ask or something interesting to contribute for each class—in this kind of course that may not always be possible, but it’s a worthy goal. I’ve given some questions to think about below.
This year, each student will receive three “free” absences. Beyond that, each absence will lead to a five-point deduction in this score. There will be no distinction between excused and unexcused absences. In-class quizzes and other activities cannot be made up if you are absent, and due dates for other assignments will not be modified because of absence from class. If a student is disruptive or clearly not participating in class discussion or other activities, I reserve the right to treat that student as absent for that class.
Late arrivals are distracting. Students who arrive more than five minutes late (or leave class early) will be penalized one point for each occasion. My clock (not the clock in the room) is the final authority.
Please don’t talk while music is playing! Performers on a recording can’t be distracted, but conversation distracts others in the room. Besides, as musicians, listening to music should be one of the most important things we do, and it deserves your full attention. Please also ensure that any cell phones or other noise- producing devices are silenced for the duration of class—again this is a courtesy to your colleagues as well as to me. Laptops are permitted for note-taking only; any student found checking e-mail or Facebook or using any electronic device for any other purpose during class, will be forbidden from using such devices. I reserve the right to ask any student to put away any device if it becomes distracting to others.
Evaluation Grades will be calculated as follows: exams (total): 20% final exam: 10% essays (total): 10% writing/web assignment (total): 20% Blackboard quizzes (total): 20% in-class quizzes and assignments (total): 15% attendance and participation: 5%
The following grading scale will be used: A 93-100 A- 90-92.9 B+ 87-89.9 B 83-86.9 B- 80-82.9 C+ 77-79.9 C 70-76.9 D+ 67-69.9 D 60-66.9 F below 60
Note that the state certification board requires that music education students get a grade not lower than C in all music courses; music education students who earn a grade below C must therefore retake the course and may not be permitted to enroll in History II until they have done so.
Exams (including final exam) Friday 21 September (monophonic traditions) Wednesday 10 October (polyphony to c. 1500) Monday 12 November (sixteenth and seventeenth century) Final exam: Wednesday 12 December, 9-11am (section 001) or Monday 10 December, 11:30-1:30 (section 002). This will include a comprehensive component. History I (12f)—5
Exams may include listening (known and/or unknown) to identify and discuss, score identification, short- answer questions such as definitions, etc. 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 the starting time of the exam, and you must provide me with documentation of medical treatment that accounts for your absence at the time of the exam. Scheduling of make-up exams is at my discretion, and, while I will do my best to take your schedule into consideration, the time and format of the exam are not negotiable. I reserve the right to give you a totally different, and perhaps less congenial, format, such as all score identification, or all essay, or even oral. You also are obviously required not to discuss the exam that has occurred with others in the class until you have taken the make-up exam.
End-of-unit essays Rather than including essays as part of the exam, I will treat them as take-home assignments, usually due within a class or two of the relevant exam. Further information will be distributed before each exam.
Writing/web assignments See separate handout
Other assignments (including Blackboard quizzes) This year I am going to rely much more than previously on your mastering basic content through Blackboard quizzes rather than through traditional lecture followed by exam. That, I hope, will allow us to take more class time for discussion and such. This area is therefore worth much more of your final grade than in the past, and I may not drop any Blackboard quiz grades. Material covered on Blackboard quizzes may or may not be directly covered in class, and it may in either case appear on exams.
Other assignments (in or out of class) may include small group projects, small writing or analysis assignments, “pop” quizzes, etc. Some of these will use the clickers you are required to bring to each class. In-class assignments cannot be made up. In keeping with the three “free” absence policy, I will drop at least three assignments in this category at semester’s end.
Late penalties Late papers and assignments of all kinds will be penalized five points or one-third letter grade (depending on whether a numerical or letter grade is given) per day (not class period) late, including weekends. I cannot accept any assignment after I have handed it back to other students. I cannot accept any work electronically unless specified otherwise. Blackboard quizzes cannot be completed after the end of the unit in question. No work of any kind can be accepted after the final exam.
History I (12f)—6 Course materials Additional materials may be added. Make sure you have the call number for all reserve materials you request (books, scores, CDs, etc.), and it wouldn’t hurt to have more information as well, in case the library staff need to search for the relevant item. Not all the library staff (professional or student) are knowledgeable about music, so please be persistent, but patient. Please let me know as soon as possible if you have difficulty getting your hands on reserve materials: I can’t fix the problem unless I know about it!
Textbook materials Burkholder, J. Peter, Donald J. Grout, and Claude V. Palisca, A History of Western Music. 8th ed. New York and London: W. W. Norton & Company, 2010. On reserve, call number ML160.G872 2010.
Burkholder, J. Peter, and Claude V. Palisca, eds. Norton Anthology of Western Music. Vol. 1: Ancient to Baroque. 6th ed. New York and London: W. W. Norton & Company, 2010. On reserve, call number MT6.5.N67 2010 vol. 1.
Burkholder, J. Peter, and Claude V. Palisca, eds. Norton Recorded Anthology of Western Music. Vol. 1: Ancient to Baroque. 6th ed. New York: W. W. Norton & Company, 2010. On reserve, call number CD MSCL 00154 vol. 1 (CDs 1-6). I have also placed on reserve the 5th ed. recordings, CD MSCL 00130—this will not contain everything in the 6th edition recordings, and the CD and track numbers may vary.
Style manuals in reference (get to know the one most relevant for your work, here and in general!) Chicago Manual of Style: The Essential Guide for Writers, Editors, and Publishers. 15th ed. Chicago: University of Chicago Press, 1993. Available in the library, Reference Z253.U69 2003.
Gibaldi, Joseph. MLA Handbook for Writers of Research Papers. 6th ed. New York: Modern Language Association of America, 2003. Available in the library, Reference LB2369.G53 2003.
Publication Manual of the American Psychological Association. 5th ed. Washington, DC: American Psychological Association, 2001. Available in the library, Reference BF76.7.P83 2001.
Other reference and reserve materials Sadie, Stanley, ed., and John Tyrrell, executive ed. The New Grove Dictionary of Music and Musicians. 2nd ed. New York: Grove, 2001. Available in the library, Reference ML100.N48 2001. An online version with updates is also available as part of Oxford Music Online through the library’s database page.
Treitler, Leo, general ed. Strunk’s Source Readings in Music History. Rev. ed. New York: W. W. Norton & Company, 1998. On reserve, call number ML160.S89 1998b.
Weiss, Piero, ed. Opera: A History in Documents. New York and Oxford: Oxford University Press, 2002. On reserve, call number ML1700.O644 2002.
Weiss, Piero, and Richard Taruskin, eds. Music in the Western World: A History in Documents. 2nd ed. Belmont, CA: Thomson Schirmer, 2008. On reserve, call number ML160.M865 2008.
Course outline (subject to change) Please note that these assignments are to be done in preparation for class on the given date! Additional assignments of any sort, “pop” quizzes, etc., may be added at any point.
Sometimes I take a given day’s reading and/or listening from several different places, and sometimes material is covered in the textbook that doesn’t appear in the anthology or that we actually cover at a different time in class. For instance, I take a rather different approach to the seventeenth century than Burkholder does, History I (12f)—7 focusing on performing forces and genres rather than national traditions. In such cases, you might want to skim parts of the text more than once, to make sure that you get the full advantage of Burkholder’s narrative flow and are also prepared for individual class topics.
Where I ask you to be able to sing something, don’t worry: all singing will be done as a group, and I will never ask individuals to sing alone! Also, don’t worry about pronunciation of foreign-language texts—just do what you can, and it’s OK if that means you don’t sing any text at all. We may not sing each of these in class, but being able to do so will also help you learn those pieces.
Burkholder = A History of Western Music (textbook) NAWM = Norton Anthology of Western Music
Monday 27 August: Introduction
Wednesday 29 August-Friday 31 August: The ancient musical legacy (Blackboard quiz on Burkholder chapter 1 due by midnight Friday 31 August) reading: Burkholder 3-21, plus additional material to be distributed images: links on Blackboard listening/score study: Epitaph of Seikilos (NAWM 1) excerpt from Euripides, Orestes (NAWM 2) questions for thought: What types of evidence are available to us to study ancient Greek music? What are the values and limits of each? Why should we study ancient Greek music and ideas about music? What do we owe to antiquity? Imagine yourself as an upper-class Greek: how do you experience music, and what kinds of music do you encounter?
Monday 3 September: Labor Day—NO CLASS
Wednesday 5 September- Friday 7 September: Types and styles of chant Blackboard quiz on Burkholder chapters 2-3 due by midnight Friday 14 September reading: Burkholder 22-32, 47-61 listening/score study: Mass for Christmas Day (NAWM 3) chants from Vespers for Christmas Day (NAWM 4) optional (available on Blackboard): video of Latin Mass celebrated by Bishop Fulton Sheen (1941) be able to sing (for each class through 14 September): first phrase of introit (“Puer natus est nobis...datus est nobis”) first statement of Kyrie (“Kyrie eleison”) first phrase of gradual (“Viderunt omnes”) opening of Credo (through “et invisibilium”) antiphon Tecum principium (complete) and first verse of psalm Dixit Dominus questions for thought: Why use music in worship? What are the benefits, and the dangers? Chant all sounds the same to many people, but how can one categorize individual pieces in terms of use, musical style, or other factors? (Be sure to have an example of each category of chant you create.) History I (12f)—8
Monday 10 September: “Gregorian” chant reading: documents to be distributed questions for thought: What historical factors affected the development of chant? What is “Gregorian” about Gregorian chant? Why did it come into being when and where it did?
Wednesday 12 September: Chant theory reading: Burkholder 32-46 be able to sing by memory: first phrase of Christmas introit (“Puer natus est nobis…datus est nobis”) questions for thought: How did medieval musicians classify chant according to mode? Be able to explain the modal assignment of each “sung” item in the Christmas Mass (NAWM 3), as well as the antiphon Tecum principium (NAWM 4a) How does the theory codified by people like Guido of Arezzo represent a radically new type, as opposed to the speculative theory of antiquity as transmitted by people like Boethius? What is Guido’s goal, and how does that differ from Boethius’s?
Friday 14 September: Extensions to the liturgy Blackboard quiz (Burkholder chapters 2-3) due by midnight reading: Burkholder 61-67 and 84-91 listening/score study: Victimae paschali laudes, sequence for Easter (NAWM 5) Christmas sequences Natus ante saecula and Laetabundus (available on Blackboard) tropes on Puer natus est nobis (NAWM 6; two other tropes are available on Blackboard) Hildegard of Bingen, Ordo virtutum (NAWM 7) organa from Musica enchiriadis (NAWM 14) organum on Alleluia Justus ut palma (NAWM 15) Jubilemus, exultemus (NAWM 16) be able to sing: sequence Victimae paschali laudes (all verses except 6) chant (bottom voice) of Alleluia Justus ut palma (NAWM 15, alleluia only) questions for thought: Why and how do musicians add to the codified liturgy of “Gregorian” chant?
Monday 17 September-Wednesday 19 September: Secular monophony Blackboard quiz on Burkholder chapter 4 due by midnight Wednesday 19 September reading: Burkholder 68-83 listening/score study: Bernart de Ventadorn, Can vei la lauzeta mover (NAWM 8; additional performances available on Blackboard) Comtessa de Dia, A chantar (NAWM 9; additional performances available on Blackboard) Walther von der Vogelweide, Palästinalied (NAWM 11) Cantiga 159: Non sofre Santa Maria (NAWM 12) La quarte estampie real (NAWM 13) be able to sing/play (please bring your instrument, or be prepared to vocalize): La quarte estampie real (in any octave, at written pitch) (continued on next page)
History I (12f)—9 questions for thought: Why and how does secular song come into being? When does it get written down? What information about its performance cannot be transmitted through notation? How does secular song use musical styles similar to / different from chant?
Friday 21 September: EXAM 1: monophonic traditions
Monday 24-Wednesday 26 September: Music at Notre-Dame de Paris Blackboard quiz on Burkholder chapter 5 due by midnight Wednesday 26 September reading: Burkholder 91-112 listening/score study (plus additional material to be distributed): Two-part organum on Viderunt omnes (NAWM 17) Clausulae on Dominus (NAWM 18) Perotin, four-part organum on Viderunt omnes (NAWM 18) Ave virgo virginum (NAWM 20) motets on tenor Dominus (NAWM 21, especially 21a) be able to sing: first phrase of the gradual Viderunt omnes (NAWM 3d) as used in the two-part organum assigned (NAWM 17, bottom voice, through omnes) tenor of clausula 18a and motet 21a questions for thought: What does the notation of this polyphony tell us, and what doesn’t it tell us? Be able to identify the location of the clausula and motet tenors for items 11-13 within the chant. Why does the first extensive flowering of polyphony happen at the Cathedral of Notre-Dame in Paris? What do the composers of the Notre-Dame school do that’s new?
Friday 28 September-Monday 1 October: Fourteenth-century France Blackboard quiz on Burkholder chapter 6 due by midnight Monday 1 October reading: Burkholder 113-43 listening/score study: Philippe de Vitry, In arboris empiro / Tuba sacra fidei / T. Virgo sum (NAWM 24) Guillaume de Machaut, Messe de Nostre Dame, Kyrie (NAWM 25) Machaut, Foy porter (NAWM 26) Machaut, Rose, liz (NAWM 27) Philippus de Caserta, En remirant (NAWM 28) be able to sing: chant on which Machaut Kyrie is based (NAWM 3b, opening Kyrie only—look at how it is used in Machaut’s Kyrie) questions for thought: How does Machaut’s compositional output reflect his career path? How are his and Vitry’s careers like/unlike what you might have expected? What is new about ars nova notation? How does this innovation bring rhythmic notation closer to our own?
Wednesday 3- Friday 5 October: Toward the “international” style reading: Burkholder 167-79; also review earlier material in Burkholder on medieval music in England and Italy; you might also want to go ahead and read chapter 7 (continued on next page) History I (12f)—10 listening/score study: Jacopo da Bologna, Non al suo amante (NAWM 29) Gherardello da Firenze, Tosto che l’alba (NAWM 30) Francesco Landini, Non avrà ma’ pietà (NAWM 31) Sumer is icumen in (NAWM 23) Alleluia. A newë work (NAWM 32) John Dunstaple, Quam pulchra es (NAWM 33) Gilles de Bins, dit Binchois, De plus en plus (NAWM 34) Du Fay, Christe redemptor omnium (NAWM 36) be able to sing: mm. 1-10 of Sumer is icumen in (both pes and rota melody) first verse of Christe redemptor omnium (chant only) questions for thought: What special features characterize music in Italy, and in England? What factors led to increased contacts between musicians from England, France, and Italy?
Monday 8 October: Du Fay and the flowering of the “international style” Blackboard quiz on Burkholder chapters 7-8 due by midnight reading: Burkholder 146-66 and 179-98 listening/score study: Guillaume Du Fay, Resvellies vous (NAWM 35) Du Fay, Christe redemptor omnium (NAWM 36) Du Fay, Se la face ay pale (NAWM 37a) Du Fay, Missa Se la face ay pale (NAWM 37b) Johannes Ockeghem, Missa prolationum, Kyrie (NAWM 39) be able to sing: the first two lines of tenor of Se la face ay pale (in any octave) questions for thought: How is Du Fay’s career different from/similar to Machaut’s? What effect does his career have on his compositional output? How do Du Fay and Binchois use aspects of French, Italian, and English style in their music?
Wednesday 10 October: EXAM 2: Polyphony to c. 1450
Friday 12-Wednesday 17 October: Josquin des Prez and his contemporaries Blackboard quiz on chapter 9 due by midnight Wednesday 17 October reading: Burkholder 198-210 listening/score study: Heinrich Isaac, Innsbruck, ich muss dich lassen (NAWM 40) Josquin, Ave Maria...virgo serena (NAWM 41) Josquin, Missa Pange lingua (NAWM 42) Josquin, Mille regretz (NAWM 43) Luis de Narváez, intabulation of Mille regretz (NAWM 63a) questions for thought: Compare Josquin’s career to Machaut’s. What effect might his employment have on his music? What are the main features of musical style at this point? Compare a work from the middle ages (such as Vitry’s motet or Machaut’s Mass) to one from c. 1500 (such as Ave Maria...virgo serena) What factors lead to / reflect Josquin’s high reputation, from his day to ours? History I (12f)—11
Monday 15 October: Fall break—NO CLASS
Friday 19-Monday 22 October: music and reformation Blackboard quiz on chapter 10 due by midnight Monday 22 October reading: Burkholder 211-39 listening/score study: Martin Luther and others, chorales (NAWM 44) Loys Bourgeois, Psalm 134 (NAWM 45) William Byrd, Sing Joyfully unto God (NAWM 46) Giovanni Pierluigi da Palestrina, Missa Papae Marcelli (NAWM 47) Tomás Luis de Victoria, O magnum mysterium and Missa O magnum mysterium (NAWM 48) Orlande de Lassus, Cum essem parvulus (NAWM 49) questions for thought: What led to the reformation? How are reforming trends reflected differently in different areas? How are reformation and counter-reformation ideas reflected in music and liturgy? Imagine yourself as an English lay person: what kinds of church music are you hearing, and why does that change over the course of the period?
Wednesday 24-Friday 26 October: Secular song in the sixteenth century Blackboard quiz on chapter 11 due by midnight Friday 26 October reading: Burkholder 240-63 listening/score study: Juan del Encina, Oy comamos y bebamos (NAWM 50) Marco Cara, Io non compro più speranza (NAWM 51) Jacques Arcadelt, Il bianco e dolce cigno (NAWM 52) Luca Marenzio, Solo e pensoso (NAWM 54) Claudin de Sermisy, Tant que vivray (NAWM 56) Orlande de Lassus, La nuict froide et sombre (NAWM 57) Claude le Jeune, Revecy venire du printans (NAWM 58) Thomas Morley, My bonny lass she smileth (NAWM 59) Thomas Weelkes, As Vesta was from Latmos hill (NAWM 60) John Dowland, Flow, my tears (NAWM 61) questions for thought: Why and how do madrigal composers go beyond the expressive concerns of previous generations? Choose a moment in any one madrigal where you think the text is particularly well expressed, and be prepared to explain that moment. (This includes being able to locate it both in the score and on the CD.) Why do composers in France/Germany/Italy/England develop distinct secular song types in the sixteenth century? How do those types vary from one region to another?
Monday 29 October: Instrumental music in the sixteenth century Blackboard quiz on chapter 12 due by midnight reading: Burkholder 264-85 listening/score study: Tielman Susato, dances from Danserye (NAWM 62) (continued on next page) History I (12f)—12 Luis de Narváez, intabulations from Los seys libros del Delphin (NAWM 63) Byrd, Pavana Lachrymae (NAWM 64) Giovanni Gabrieli, Canzon septimi toni a 8 (NAWM 65) questions for thought: Why is instrumental music more prominent in the sixteenth century than before? How do composers (and performers) create instrumental music? What models do they use, and what compositional styles?
Wednesday 31 October-Friday 2 November: TBA
Monday 5-Wednesday 7 November: Toward opera: two creation stories Blackboard quiz on chapters 13-14 due by midnight Wednesday 7 November reading: Burkholder 287-328, and additional reading TBA listening/score study: Claudio Monteverdi, Cruda Amarilli (NAWM 66) Giulio Caccini, Vedrò ‘l mio sol (NAWM 67) Jacopo Peri, L’Euridice (NAWM 68) Monteverdi, Orfeo (Taruskin/Gibbs 67, NAWM 69) Monteverdi, L’incoronazione di Poppea (NAWM 70) Antonio Cesti, Orontea (NAWM 71) questions for thought: What factors (musical, intellectual, historical, and social) led to the birth of opera? How are the Peri and Monteverdi tellings of the Orpheus story similar? How are they different? Which do you prefer, and why? How are the styles and conventions of Orfeo and Poppea different? What do these differences tell us about changes in operatic practice between the early seventeenth century and the middle of the century?
Friday 9 November: vocal music for church and chamber Blackboard quiz on chapter 15 due by midnight reading: Burkholder 329-53 listening/score study: Barbara Strozzi, Lagrime mie (NAWM 72) Gabriel Bataille, Ma bergere non légere (NAWM 73) G. Gabrieli, In ecclesiis (NAWM 74) Alessandro Grandi, O quam tu pulchra es (NAWM 75) Giacomo Carissimi, Jepthe (NAWM 76) Heinrich Schütz, O lieber Herre Gott (NAWM 77) Schütz, Saul, was verfolgst du mich? (NAWM 78) questions for thought: How do composers use the styles of opera in church and chamber music? What other influences affect composers of sacred music, and how are those influences used?
Monday 12 November: EXAM 3: Sixteenth and early seventeenth centuries
Wednesday 14-Friday 16 November: opera and related genres in seventeenth-century France and beyond Blackboard quiz on chapter 16 due by midnight Friday 16 November (continued on next page) History I (12f)—13 reading: Burkholder 354-83 listening/score study: Jean-Baptiste Lully, Armide (NAWM 83) Lully, Te Deum (NAWM 84) Henry Purcell, Dido and Aeneas (NAWM 86) Tomás de Torrejón y Velasco, La púrpura de la rosa (NAWM 87) Juan de Araujo, Los coflades de la estleya (NAWM 88) questions for thought: What factors affect the development of opera in France, and how do composers respond? Imagine yourself as a French operagoer: what are you looking for in opera, and how does Armide provide (or not provide) those things? What factors affect the development of dramatic music in England, and how do composers respond? Imagine yourself as an English or Spanish theatergoer: what are you looking for in a dramatic work, and how does Dido or La púrpura de la rosa provide (or not provide) those things?
Monday 19 and Monday 26 November: Baroque instrumental music Blackboard quiz due by midnight Monday 26 November reading: Burkholder 344-53, 367-72, 390-411, 420-35 listening/score study: Girolamo Frescobaldi, Toccata 3 from Toccate d’intavolatura...libro 1 (NAWM 79) Girolamo Frescobaldi, Ricercare after the Credo, from Mass for the Madonna (NAWM 80) Biagio Marini, Sonata IV per il violino per sonar con due corde (NAWM 81) Denis Gaultier, La Coquette virtuose (NAWM 84) Elisabeth-Claude Jacquet de la Guerre, Suite in A minor (NAWM 85) Archangelo Corelli, Trio Sonata in D Major, op. 3 no. 2 (NAWM 91) recommended: Corelli, Trio sonata in A Major, op. 4 no. 3 (on Blackboard) Dietrich Buxtehude, Praeludium in E Major, BuxWV 141 (NAWM 92) Antonio Vivaldi, Violin Concerto in A minor, op. 3 no. 6 (NAWM 93) François Couperin, Vingt-cinquième ordre (NAWM 94) J. S. Bach, Prelude and Fugue in A minor, BWV 543 (NAWM 96) J. S. Bach, chorale prelude on Durch Adams Fall, BWV 637 (NAWM 97) be able to sing: the melody on which the chorale prelude is based questions for thought: Why does instrumental music become more important in the seventeenth century than before? How do composers have to work differently when there is no text? How can you divide these pieces into a few basic trends?
Wednesday 21-Friday 23 November: Thanksgiving holiday—NO CLASS
Wednesday 28 November-Friday 30 November: Handel and opera seria Blackboard quiz due by midnight Friday 30 November reading: Burkholder 384-90, 414-21, 436-39, and 454-67 listening/score study: Alessandro Scarlatti, Clori vezzosa, e bella (NAWM 89) A. Scarlatti, La Griselda (NAWM 90) (continued on next page) History I (12f)—14 George Frideric Handel, Giulio Cesare (NAWM 99) Handel, Saul (NAWM 100) questions for thought: Why does Handel move from writing Italian opera to English oratorio? Imagine yourself as a London theatergoer: what do you like (or not like) about Handel’s operas and oratorios?
Monday 3-Wednesday 5 December: Johann Sebastian Bach Blackboard quiz due by midnight Wednesday 5 December reading: Burkholder 439-54 listening/score study: J. S. Bach, Prelude and Fugue in A minor, BWV 543 (NAWM 96) J. S. Bach, chorale prelude on Durch Adams Fall, BWV 637 (NAWM 97) J. S. Bach, Nun komm, der Heiden Heiland, BWV 62 (NAWM 98) be able to sing: chorale on which Cantata 62 is based (see the last movement or NAWM 44b) questions for thought: How does J. S. Bach’s life and career differ from Handel’s? What effect does that have on his compositional output? Why is the cantata so central to Lutheran worship? How does this cantata work?
Friday 7 December: overflow / final thoughts
FINAL EXAM: Wednesday 12 December, 9-11am (section 001) or Monday 10 December, 11:30-1:30 (section 002). This will include both material covered since the last exam and a comprehensive component. Please remember that you must take the exam with the section in which you are enrolled. Also please remember that you may not discuss the exam with anyone between 11:30 am Monday and 11 am Wednesday.