Course Title Credit MUHL M306 History of Western Art Music I 3 credits
Fall semester 2007
Instructor Dr. Alice V. Clark phone 865-3065 Communications/Music 202 e-mail [email protected] Office hours: M1:30, T2:00 (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 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 will not be allowed to continue, even if they have passed History I.
Course objectives 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.
Learning outcomes 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 • 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 . 7 th ed. New York and London: W. W. Norton & Company, 2006.
Burkholder, J. Peter, and Claude V. Palisca, eds. Norton Anthology of Western Music . Vol. 1: Ancient to Baroque . 5th ed. New York and London: W. W. Norton & Company, 2006.
I have no real objections to your sharing the textbook, or using the library copy instead of purchasing your own—as long as you do the reading, of course (!)—but you really need to 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.
Optional materials available for purchase Burkholder, J. Peter, and Claude V. Palisca, eds. Norton Recorded Anthology of Western Music . Vol. 1: Ancient to Baroque . 5 th ed. New York: W. W. Norton & Company, 2006.
These recordings cover the material in the anthology. You are not required to buy this, but it’s convenient, 1
especially around test times and in case of evacuation, to own your own copy, and, while it’s a lot of money up front ($80 for six CDs, according to their web site), it’s a good investment. There should be at least a few copies available at the bookstore—if they’re gone, you can always make a special order in the textbook department or through other sources. One copy of the recordings will be on reserve at the library (call number CD MSCL 00130 vol. 1); the fourth edition CDs are also on reserve (CD MSCL 00009 vol. 1), so there will be another copy of many, but not all, recordings (though not always the same performance). Note that I will always play performances from the fifth edition CDs on exams.
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.
This course has a Blackboard web page. Go to
Also, be aware that the University is no longer allowing students to use non-Loyola e-mail addresses within the official system. This means that 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 to do so. You are welcome to put any non-loyno addresses in your Blackboard profile as well, and I’d encourage you to do so, so I can have an alternate way to get hold of you if need be (say in case of evacuation...).
Special accommodations A student with a disability that qualifies for accommodations should contact Sarah Mead Smith, Director of Disability Services, at 865-2990 (Academic Resource Center, Room 405, Monroe Hall). A student wishing to receive test accommodations (e.g., extended test time) should provide the instructor with an official Accommodation Form from Disability Services in advance of the scheduled test date.
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 (pp. 46-47 of the 2003-5 Bulletin). 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 , 6 th ed., revised and 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.
Evacuation Statement 2
Students must log on to the College emergency web site ( www.loyno.la ) and the University Blackboard site ( http://loyno.blackboard.com/ ) within 48 hours of any University evacuation to receive further information regarding contacting course instructors for assignments, etc. Students will be required to do assigned course work for any evacuation of more than 48 hours. Students should also monitor the University site ( www.loyno.edu ) for general information.
Attendance 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. From a baseline of 100 points, I’ll subtract three points for each absence. (I will no longer give extra points for class participation, because I expect you all to participate, but I will subtract points if necessary for lack of engagement in class or distracting behavior.) While I appreciate knowing why you weren’t (or won’t be) in class, absences can only be excused with written medical documentation or advance written notice of a professional obligation. If a student is disruptive or clearly not participating in class discussion or pair or group activities, I reserve the right to treat that student as absent for that class.
Late arrivals are distracting to the rest of the class. Students arriving more than ten minutes late (or leaving more than ten minutes early) will therefore be penalized one point for each tardiness. My watch is the final authority. I also reserve the right to lock the classroom door ten minutes into class.
Please don’t talk while music is playing! I realize the performers on a recording can’t be distracted, but you are still disturbing your neighbors. 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.
Evaluation Grades will be calculated as follows: exams (total): 30% (10% each) final exam: 10% writing assignments (total): 35% quizzes and other assignments (total): 20% attendance and participation: 5%
The following grading scale will be used: A 92-100 B+ 88-91 B 82-87 C+ 78-81 C 72-77 D+ 68-71 D 60-67 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 receiving a grade of D+ or below therefore cannot proceed to History II.
Exams • Friday 21 September (monophonic traditions) • Wednesday 17 October (polyphony through the fifteenth century) • Wednesday 14 November (sixteenth and seventeenth century) • Final exam: Wednesday 12 December, 9-11 (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 .
Exams may include listening (known and possibly unknown) to identify and discuss, score identification, short-answer questions such as definitions, and an essay (which may be a take-home project). Essay topics will be distributed a few days before each exam; several topics may be given, but only one will appear on the test (my 3
choice, not yours!), so you should be prepared to answer any of them. 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. 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 appropriate 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. 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 on that day . 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. I obviously also require that you do not discuss the exam that has occurred with others in the class until you have taken the make-up exam.
Writing assignments Instead of a single large paper, you will complete three smaller assignments. More information will follow. Note that due dates do not appear in the syllabus at this time; I suggest you add them to the syllabus (and to your personal calendar) when they are available.
Other assignments There will be other assignments and/or quizzes, announced in advance or not. I will try to make all assignments available through the course page on Blackboard. I cannot, however, accept any assignments through electronic means unless I specify otherwise—Blackboard quizzes are an obvious exception. “Pop” quizzes cannot be made up.
Late penalties Late papers and assignments of all kinds will be penalized one-half letter grade (from A to B+) per day ( not class period) late, including weekends. I cannot accept any assignment after I have handed it back to other students. Blackboard quizzes will be removed at the end of the unit in question.
Course materials (note that you should ask for reserve materials by call number ) Additional materials may be added. Note that some materials might officially appear on another faculty member’s reserve shelf (and that may not be indicated here or in the library catalog). Make sure you have the call number for all 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! Supplemental listening and e-reserve materials will be available on Blackboard.
Burkholder, J. Peter, Donald J. Grout, and Claude V. Palisca, A History of Western Music . 7 th ed. New York and London: W. W. Norton & Company, 2006. On reserve in the library, call number ML160.G872 2006.
Burkholder, J. Peter, and Claude V. Palisca, eds. Norton Anthology of Western Music . Vol. 1: Ancient to Baroque . 5th ed. New York and London: W. W. Norton & Company, 2006. On reserve in the library, call number MT6.5.N67 2006 vol. 1.
Burkholder, J. Peter, and Claude V. Palisca, eds. Norton Recorded Anthology of Western Music . Vol. 1: Ancient to Baroque . 5 th ed. New York: W. W. Norton & Company, 2006. On reserve in the library, call number CD MSCL 00130 vol. 1. 4
Chicago Manual of Style: The Essential Guide for Writers, Editors, and Publishers . 15 th ed. Chicago: University of Chicago Press, 1993. Available in the library, Reference Z253.U69 2003.
Gibaldi, Joseph. MLA Handbook for Writers of Research Papers . 6 th ed. New York: Modern Language Association of America, 2003. Available in the library, Reference LB2369.G53 2003. 5
Palisca, Claude V., ed. Norton Anthology of Western Music . 4 th ed. Vol. 1: Ancient to Baroque. New York and London: W. W. Norton & Company, 2001. On reserve in the library, call number MT6.5.N67 2001 vol. 1.
Palisca, Claude V., ed. Norton Recorded Anthology of Western Music . Vol. 1. New York: W. W. Norton & Company and Sony Special Music Products, 2001. Two copies on reserve in the library, call number CD MSCL 00009 vol. 1.
Publication Manual of the American Psychological Association . 5 th ed. Washington, DC: American Psychological Association, 2001. Available in the library, Reference BF76.7.P83 2001.
Sadie, Stanley, ed., and John Tyrrell, executive ed. The New Grove Dictionary of Music and Musicians . 2 nd ed. New York: Grove, 2001. Available in the library, Reference ML100.N48 2001. An online version with updates, edited by Laura Macy, is also available.
Treitler, Leo, general ed. Strunk’s Source Readings in Music History . Rev. ed. New York: W. W. Norton & Company, 1998. On reserve in the library, call number ML160.M865 1984. (Note that this is on Dr. Goertzen’s reserve shelf; library staff have been informed of this dual use, but be prepared to give this additional piece of information if need be.)
Weiss, Piero, ed. Opera: A History in Documents . New York and Oxford: Oxford University Press, 2002. On reserve in the library, call number ML1700.O644 2002.
Weiss, Piero, and Richard Taruskin, eds. Music in the Western World: A History in Documents . New York: Schirmer Books, 1984. On reserve in the library, call number ML160.M865 1984.
There are also supplemental listening materials available on Blackboard; a complete list is available there.
Course outline (subject to change) Please note that listening and reading assignments, as well as journals and Blackboard quizzes (due by 8am on nearly all class days), are to be done in preparation for class on the given date! The answers for Blackboard quizzes should be available using the material in the text and anthology. Additional assignments, including “pop” quizzes, may be given. Material whose usefulness continues from one class meeting to the next (e.g., the Christmas Mass is obviously still relevant to class 11 September) is generally not repeated. Sometimes I take a single day’s reading 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 am taking a more unitary approach to the seventeenth century than Burkholder does, focusing on performing forces and genres rather than national traditions. 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 (especially when I break up a chapter over several different topics) and are also prepared for class.
It’s useful to seek 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. 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 just show up! A study guide is available on Blackboard if you need it, and feel free to come to me for advice as well.
Where I ask you to be able to sing something, don’t worry: all singing will be done as a group, and I will not ask individuals to sing alone! (I may ask instrumentalists to play alone, but that will be entirely on a volunteer basis, so you won’t be on the hook there.) 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 6
Monday 27 August: Introduction
Wednesday 29 August: The ancient musical legacy (BLACKBOARD QUIZ MUST BE COMPLETED BY 8AM ON THIS AND NEARLY ALL OTHER CLASS DAYS!) reading: Burkholder 3-23 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: what kinds of music do you encounter?
Friday 31 August: Reading documents on Greek music (assignment TBA)
Monday 3 September: Labor Day—NO CLASS
Wednesday 5 September: “Gregorian” chant reading: Burkholder 24-34 listening/score study: Mass for Christmas Day (NAWM 3; note that two sequences for this Mass are also available on Blackboard) be able to sing: • first phrase of introit (“Puer natus est nobis”) • first statement of Kyrie • first phrase of gradual (“Viderunt omnes”) • opening of Credo (through “et invisibilium”) questions for thought: • Why use music in worship? What are the benefits, and the dangers? • What historical factors affected the development of chant? Why did “Gregorian” chant come into being when and where it did?
Friday 7 September: The myth of “Gregorian” chant (assignment TBA)
Monday 10 September: Mass and Office reading: Burkholder 50-65 listening: chants from Vespers for Christmas Day (NAWM 4) be able to sing: antiphon and first verse of psalm questions for thought: • 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.)
Wednesday 12 September: Early medieval theory reading: Burkholder 34-49 be able to sing by memory : first phrase of Christmas introit (“Puer natus est nobis”) questions for thought: • Be able to explain the modal assignment of each “sung” item in the Christmas Mass, as well as the antiphon Tecum principium . • 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: The languages of chant (assignment TBA) 7
Monday 17 September: Extensions to the liturgy reading: Burkholder 65-70 listening/score study: • Victimae paschali laudes , sequence for Easter (NAWM 5) • recommended: 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) questions for thought: • Why and how do musicians add to the codified liturgy of “Gregorian” chant?
Wednesday 19 September: Secular monophony reading: Burkholder 71-86 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): La quarte estampie real (in any octave, at written pitch) questions for thought: • Why and how does secular song come into being? When does it get written down? • How does secular song use musical styles similar to / different from chant?
Friday 21 September: EXAM 1: monophonic traditions
Monday 24 September: Development of polyphony reading: Burkholder 87-94 listening/score study: • Examples from Musica enchiriadis (NAWM 14) • Organum on Alleluia Justus et palma , from Ad organum faciendum (NAWM 15) • Jubilemus, exultemus (NAWM 16) be able to sing: first section of Alleluia Justus ut palma (“Alleluia”; chant only) questions for thought: • Why and how does polyphony come into being? Why in its earliest stages is it not written down? What does the notation of this polyphony tell us, and what doesn’t it tell us?
Wednesday 26 September: Notre-Dame school reading: Burkholder 94-106 listening/score study: • 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) • Adam de la Halle, De ma dame vient / Dieus, comment porroie / T. Omnes (NAWM 22) be able to sing: first phrase of the gradual Viderunt omnes (NAWM 3d) questions for thought: • 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? 8
Friday 28 September: The medieval motet (assignment TBA) reading: Burkholder 104-111, 120-25 (on “isorhythmic” motet) optional reading: medieval motet article in ORB (link available on Blackboard) listening/score study: • motets on tenor Dominus (NAWM 21, especially 21a) • Philippe de Vitry, In arboris empiro / Tuba sacra fidei / T. Virgo sum (NAWM 24) • other motets distributed in class
Monday 1 October: Fourteenth-century France reading: Burkholder 116-35 listening/score study: • Philippe de Vitry, In arboris empiro / Tuba sacra fidei / T. Virgo sum (NAWM 24) • Guillaume de Machaut, Messe de Nostre Dame (NAWM 25) • Machaut, Rose, liz (NAWM 26) • Johannes Ciconia, Sus une fontayne (NAWM 27) be able to sing: chant on which Machaut Kyrie is based (NAWM 3b, opening Kyrie only) 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 October: Toward the “international” style reading: Burkholder 111-15, 135-45, 167-75 listening/score study: • Sumer is icumen in (NAWM 23) • Jacopo da Bologna, Fenice fù (NAWM 28) • Gerardello da Firenze, Tosto che l’alba (NAWM 29) • Francesco Landini, Non avrà ma’ pietà (NAWM 30) • Alleluia. A newë work (NAWM 31) • John Dunstaple, Quam pulchra es (NAWM 32) • Du Fay, Conditor alme siderum (NAWM 35) be able to sing: mm. 1-10 of Sumer is icumen in and the first verse of Conditor alme siderum (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?
Friday 5 October: Du Fay’s Nuper rosarum flores / T. Terribilis est locus iste (assignment TBA)
Monday 8 October: Du Fay and Binchois reading: Burkholder 147-89 listening/score study: • Gilles de Bins, dit Binchois, De plus en plus (NAWM 33) • Guillaume Du Fay, Resvellies vous (NAWM 34) • Du Fay, Conditor alme siderum (NAWM 35) • Du Fay, Se la face ay pale (NAWM 36a) • Du Fay, Missa Se la face ay pale (NAWM 36b) 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 own music? 9
Wednesday 10 October: Josquin des Prez and his contemporaries reading: Burkholder 190-209 listening/score study: • Heinrich Isaac, Innsbruck, ich muss dich lassen (NAWM 38) • Josquin, Ave Maria...virgo serena (NAWM 39) • Josquin, Missa Pange lingua (NAWM 40) • Josquin, Mille regretz (NAWM 41) • Luis de Narváez, intabulation of Mille regretz (NAWM 60a) questions for thought: • Compare Josquin’s career to that of Du Fay and Machaut. What kinds of jobs does he have, and what effect might that have on his compositional output? • 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 the high reputation from his day to ours of Josquin des Prez?
Friday 12 October: assignment TBA
Monday 15 October: Fall break—NO CLASS
Wednesday 17 October: EXAM 2: Polyphony through Josquin
Friday 19 October: Reading documents on the Reformation and Counter-Reformation (assignment TBA)
Monday 22 October: Reformation and Counter-Reformation reading: Burkholder 210-39 listening/score study: • Martin Luther and others, chorales (NAWM 42) • Loys Bourgeois, Psalm 134 (NAWM 43) • William Byrd, Sing Joyfully unto God (NAWM 44) • Giovanni Pierluigi da Palestrina, Missa Papae Marcelli (NAWM 45) • Tomás Luis de Victoria, O magnum mysterium and Missa O magnum mysterium (NAWM 46) • Orlando di Lasso, Tristis est anima mea (NAWM 47) 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 October: Frottola and madrigal reading: Burkholder 240-55 listening/score study: • Marco Cara, Io non compro più speranza (NAWM 49) • Jacques Arcadelt, Il bianco e dolce cigno (NAWM 50) • Cipriano da Rore, Da la belle contrade d’oriente (NAWM 51) • Luca Marenzio, Solo e pensoso (NAWM 52) • Thomas Weelkes, As Vesta was from Latmos hill descending (NAWM 57) questions for thought: • Why and how do madrigal composers go beyond the expressive concerns of previous generations? • Choose a moment 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.) 10
Friday 26 October: Secular song outside Italy reading: Burkholder 242-43, 255-63 listening/score study: • Juan del Encina, Oy comamos y bebamos (NAWM 48) • Claudin de Sermisy, Tant que vivray (NAWM 54) • Claude le Jeune, Revecy venire du printans (NAWM 55) • Thomas Morley, My bonny lass she smileth (NAWM 56) • Thomas Weelkes, As Vesta was from Latmos hill (NAWM 57) • John Dowland, Flow, my tears (NAWM 58) questions for thought: • 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 reading: Burkholder 264-85 listening/score study: • Dances from Danseries a 4 parties (NAWM 59) • Luis de Narváez, intabulations from Los seys libros del Delphin (NAWM 60) • Byrd, Pavana Lachrymae (NAWM 61) • Giovanni Gabrieli, Canzon septimi toni a 8 (NAWM 62) 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 November: Toward opera reading: Burkholder 287-312, and additional reading TBA listening/score study: • Claudio Monteverdi, Cruda Amarilli (NAWM 63) • Giulio Caccini, Vedrò ‘l mio sol (NAWM 64) • Jacopo Peri, L’Euridice (NAWM 65) • additional listening to be distributed in class
Wednesday 7 November: Birth of opera (first version) reading: Burkholder 312-19 listening/score study: • Peri, L’Euridice (NAWM 65) • Monteverdi, Orfeo (NAWM 66) 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?
Friday 9 November: Birth of opera (second version) reading: Burkholder 318-27 listening/score study: • Monteverdi, L’incoronazione di Poppea (NAWM 67) • Antonio Cesti, Orontea (NAWM 68) questions for thought: • 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? 11
Monday 12 November: Vocal music for church and chamber reading: Burkholder 328-44 listening/score study: • Barbara Strozzi, Lagrime mie (NAWM 69) • Alessandro Grandi, O quam tu pulchra es (NAWM 70) • Giacomo Carissimi, Jepthe (NAWM 71) • Heinrich Schütz, O lieber Herre Gott (NAWM 72) • Schütz, Saul, was verfolgst du mich? (NAWM 73) 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?
Wednesday 14 November: EXAM 3: Sixteenth and early seventeenth centuries
Friday 16 November: Lully and the tragédie en musique reading: Burkholder 353-72 listening/score study: Jean-Baptiste Lully, Armide (NAWM 77) 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?
Monday 19 November: Dramatic music in England and Spain reading: Burkholder 372-83 listening/score study: • Henry Purcell, Dido and Aeneas (NAWM 79) • Tomás de Torrejón y Velasco, La púrpura de la rosa (NAWM 80) I’d appreciate it if someone could bring in a copy of Nine Inch Nails’ The Downward Spiral —we’ll discuss why in class! questions for thought: • 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?
Wednesday 21-Friday 23 November: Thanksgiving holiday—NO CLASS
Monday 26 November: Baroque instrumental music I: keyboard music (mostly) reading: Burkholder 344-52, 366-72, 400-13, 429-37 listening/score study: • Girolamo Frescobaldi, Toccata 3 from Toccate d’intavolatura...libro 1 (NAWM 74) • Girolamo Frescobaldi, Ricercare after the Credo, from Mass for the Madonna (NAWM 75) • Elisabeth-Claude Jacquet de la Guerre, Suite in A minor (NAWM 78) • Dietrich Buxtehude, Praeludium in E Major, BuxWV 141 (NAWM 84) • François Couperin, Vingt-cinquième ordre (NAWM 86) • J. S. Bach, Prelude and Fugue in A minor, BWV 543 (NAWM 88) • J. S. Bach, chorale prelude on Durch Adams Fall , BWV 637 (NAWM 89) 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? 12
Wednesday 28 November: Baroque instrumental music II: chamber and orchestral music reading: Burkholder 391-400, 422-29 listening/score study: • Biagio Marini, Sonata IV per il violino per sonar con due corde (NAWM 76) • Archangelo Corelli, Trio Sonata in D Major, op. 3 no. 2 (NAWM 83) • Antonio Vivaldi, Violin Concerto in A minor, op. 3 no. 6 (NAWM 85) • recommended: Corelli, Trio sonata in A Major, op. 4 no. 3 (Clark CD B) 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?
Friday 30 November: Opera seria reading: Burkholder 384-91, 415-23, and 457-64 (and documents TBA) listening/score study: • Alessandro Scarlatti, Clori vezzosa, e bella (NAWM 82) • George Frideric Handel, Giulio Cesare (NAWM 91) • additional listening to be distributed in class
Monday 3-Wednesday 5 December: Johann Sebastian Bach reading: Burkholder 438-57 listening/score study: • J. S. Bach, Prelude and Fugue in A minor, BWV 543 (NAWM 88) • J. S. Bach, chorale prelude on Durch Adams Fall , BWV 637 (NAWM 89) • J. S. Bach, Nun komm, der Heiden Heiland , BWV 62 (NAWM 90) be able to sing: chorale on which Cantata 62 is based (see the last movement or NAWM 42b) 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: George Frideric Handel reading: Burkholder 457-71 listening/score study: • Handel, Giulio Cesare (NAWM 91) • Handel, Saul (NAWM 92) 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?
FINAL EXAM: Wednesday 12 December, 9-11 (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 .