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Syllabus 251 Fall 041 2 Fall, 2004, meets TR 2:30-3:45 Prof. Hamessley Office hours: TR 10:30-11:30 204 List, 859-4354; e-mail: lhamessl Music 251W Music in Europe Before 1600 Objectives: The primary goal of this course is to familiarize you with the major developments in musical styles and genres during the Middle Ages and Renaissance. Besides the consideration of the theory and specific musical genres of the time, the course will include an examination of the political, economic, and cultural environments that influenced the musical practices of those eras. Required Texts and Materials: You must buy the following texts; however, copies may be on reserve (with the exception of the study guide, which you MUST purchase right away). Barbara Russano Hanning, Concise History of Western Music, 2nd ed. [CHWM] Claude V. Palisca, Norton Anthology of Western Music, v. 1, 4th ed. [NAWM] — scores. J. Peter Burkholder, Study and Listening Guide, 2nd ed. Richard J. Wingell, Writing About Music: An Introductory Guide, 3rd ed. Diana Hacker, A Pocket Style Manual, 3rd ed. You must have an e-mail account. Announcements will be made via e-mail and Blackboard on the web. Bring CHWM and NAWM to each class meeting. Recommended Materials: Although copies of the following CDs will be on reserve, you may choose to buy them at the bookstore. Students find it quite useful to have the musical examples in their room for study when the library is closed. However, there will be listening examples drawn from many other recordings as well, so you will still need to plan listening/study time in the Music Library. There will be regular readings from the Weiss/Taruskin book as well, so buy this book if you don’t want to do the reading in the Music Library. Norton Recorded Anthology of Western Music, 4th ed., v. 1 [NRAWM] — 6-CD set. MT6 G7 H5 2001 Piero Weiss and Richard Taruskin, Music in the Western World. (ML160 M865 1984). [MWW] Additional texts: Although the Concise History of Western Music and the NAWM scores and recordings are required, we will not rely only on them. There are required readings from other music history texts, and musical examples from other anthologies appear in your listening assignments. These are on reserve in the Music Library; thus, you will have to do much of your reading and listening in the Music Library. I use the following abbreviations in your assignments to designate these texts and anthologies. You should use these books if you would like to read about or see additional examples of a particular genre or composer’s work. Texts MMW: Albert Seay, Music in the Medieval World ML172 S4 1975 MR: Howard Mayer Brown, Music in the Renaissance ML172 B86 RM: Allan W. Atlas, Renaissance Music: Music in Western Europe, 1400-1600 ML172 A84 1998 MOR: Giulio Ongaro, Music of the Renaissance ML172 O54 2003 Anthologies AERM: Greenberg and Maynard, Anthology of Early Renaissance Music M2 A517 AMM: Hoppin, Anthology of Medieval Music M1495 A55 ARM: Atlas, Anthology of Renaissance Music: Music in Western Europe, 1400-1600 MT91 A58 1998 EMH: Fuller, European Musical Heritage, 800-1750 M2 E9 1987 HAM: Davison and Apel, Historical Anthology of Music M2 D25 H5 v. 1 and v. 2 HAMW: Briscoe, Historical Anthology of Music by Women M1 H664 1987 HMWC: Bonds, A History of Music in Western Culture, v. 1 M2 B88 2003 suppl. MM: Marrocco and Sandon, Medieval Music M1 M4 MMB: Parrish, Masterpieces of Music Before 1750 M2 P25 M3 OBEM: Oxford Book of English Madrigals M1547 O9 1978 OBIM: Oxford Book of Italian Madrigals M1579 O97 1983 OBTA: Oxford Book of Tudor Anthems M2060 O97 1978 SSHS: Lincoln & Bonta, Study Scores of Historical Styles, v. 1 MT6.5 S88 1986 v. 1 TEM: Parrish and Ohl, A Treasury of Early Music M2 P25 T7 Assignments: This course proceeds according to topic as outlined by the chapters in your textbooks. For each topic you will have a reading and a listening assignment as well as sections from the Study Guide to complete. The reading assignment includes the commentary accompanying the pieces found in any of the anthologies and additional reading as necessary. You may find the following outline helpful in planning your study time for each topic. 1. Read the assigned material and work through the relevant sections of the Study Guide. 2. With this as a background, begin the listening assignment. Subheadings for each topic are listed in the syllabus to help you gauge the pace of your listening for each topic. Listen very attentively. How are the stylistic characteristics you read about reflected in the music? 3. Take notes as you listen; work through the relevant Music for Study sections in your Study Guide. It is helpful to write on the score when using your anthology [NAWM]. 4. Class discussion. Do not begin your work on each topic with this step! Class time is intended to expand upon the material you should already be familiar with. Your participation in discussion will have an impact on your grade, and you will want to make sure you can participate meaningfully. 5. Listen again to the music, and reread any material that may still be unclear. Be certain you can hear as well as verbalize what is happening in the music. 6. Finish the relevant exercises in your Study and Listening Guide, including the List of Terms. I will collect your Study Guides at the end of each unit in order to check your work. Write your review essay of the study questions. Review Essays: This course is Writing Intensive, so we will spend time working on your writing skills about music, which is a challenging task. At the beginning of each topic, I will give you a set of study questions to consider during our time on each topic. You are to pick one of these questions and respond to it in writing; some questions may be related in such a way that you want to consider more than one. Your essay should be 500-1000 words and typewritten, and it will be due at the beginning of class on the first day of the following unit. In this essay I expect you to demonstrate your understanding of the major concepts of each topic by responding to the question(s) in light of the assigned readings, class discussions, and listening assignments. In order to go beyond mere description, think through each topic/question and organize your thoughts into two or three main points that you want to make. You should try to synthesize the material rather than simply writing a summary of it – do not simply go through the book and summarize what you find there. These essays will be submitted at the beginning of the first day of class AFTER each unit, and they will be graded. You may be given the opportunity to re-write and/or revise these essays at my discretion. You will also submit feedback sheets in which you outline the errors and problems noted in your essays. (See attached “Grading Criteria for Writing Assignments.”) The purpose of these essays is threefold. First, they will help you stay abreast of the material that the course covers; they are an opportunity for you to pause and review what you have learned in each unit. Second, the essays will be invaluable to you at exam time; essay questions for the exams will be drawn from the questions I give you for each topic. Thus, you will have begun much of your exam prep by writing on one or two of the questions. These questions will serve as a study guide for the exam, and you should be prepared to write on each question, whether or not you wrote your essay on it. Third, writing these short essays will give you practice in writing the kind of short essay that you will find on exams — you will get feedback on your work (its accuracy, organization, and completeness) so that you can be better prepared for the exams. I will not accept late review essays without a compelling reason (illness, family emergency; NOT absence from class due to a sporting event or other non-medical, non-emergency reasons). You may not skip a class in order to finish a review essay. Paper and Class Presentation: One paper and class presentation will be required. Details are on the final page of this syllabus. You may be expected to critique each other’s work, meet with me, meet with the Writing Center tutors, and rewrite the paper as necessary. Late papers will be penalized one letter grade per day late. If you must turn in a paper late, you must notify me in advance (not the day it’s due). This applies both to drafts and final papers. Skipping a class to finish a draft or a final paper will be the equivalent of a one-day late paper. Your final grade for the paper will be a combination of the draft grade and the final paper grade. Listening Quizzes: After each topic, you will take a listening quiz. During the quizzes, you may use notes that you have taken on the listening assignments. These notes may not include the texts of the pieces or any music notation. The quizzes will be scheduled outside of regular class time. Topics 4 and 8 will be tested during the Midterm and Final Exams respectively. The final exam will also include a cumulative listening quiz that covers all previous units. Each quiz will contain two types of examples: 1.
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