DOCSLIB.ORG

© in This Web Service Cambridge University

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
© in This Web Service Cambridge University Cambridge University Press 978-0-521-87794-7 - The Cambridge Companion to French Music Edited by Simon Trezise Index More information Index Because Paris is referred to extensively, the city is not indexed separately, but its institutions are (e.g. Paris Conservatoire). Aachen, 322, 326 Alizée, 285 Charlemagne’s court chapel, 5, 322 Allegri, Gregorio, Miserere, 366 Abelard, Peter, 11, 13 Amalarius, 325, 326 Dolorum solatium,13 amateur music making, 372–3 Académie Celtique, 265 Amédée VIII de Savoie, 41 Académie de Lille, 367 Amy, Gilbert, 190 Académie de Poésie et de Musique, 55, 58, 70 Jeux, 190 Académie d’Opéra, 202 ancien régime, 89, 112, 116, 118, 133, 201, 217, Académie Française, 84, 265 221, 257, 331, 357 poetry prize, 281 André, Yves Marie, Essai sur le beau, 350 Académie Impériale de Musique, 226 Angers, 51, 372 Académie Royale, Rouen, 209 Angiolini, Gaspare, 209, 216 Académie Royale de Danse, 84 Anne de Bretagne, 51, 332, 334 Académie Royale de Musique, 83, 92, 202, 204, Anne of Austria, 77, 201 205, 208, 211, 216 Anonymous IV, 11, 21, 22, 23, 296, 297, 301, 305, known as l’Opéra, 202, 222 306, 307 see also Opéra Apaches, Les, 168 Académie Royale de Musique, Lyons, 202 Aperghis, Georges, 223 Académie Royale de Peinture et de Sculpture, 84 Avis de tempête, 195 accordion, 255, 262, 275, 277 Apollinaire, Guillaume, 162, 164 acte de ballet, 208–9, 359 Apollinaris, Sidonius, 315 Adam, Adolphe, Giselle, 231 Arbeau, Thoinot, Orchésographie,60 Adam, canon, 11 Arcadelt, Jacques, 59, 66 Adam de la Halle, 16, 31, 32, 303 Archives de la Parole, 266, 268 Le jeu de Robin et de Marion, 17, 26, 27, 363 Arianism, 316 Adémar de Chabannes, 305, 309 Aristotle, 86, 296, 347, 352 Affaire Ravel, see Ravel, Maurice logic, 11 Agricola, Alexander, 51, 57, 64 Aristoxenus, 347, 350 Aguila, Jésus, 187 Arnaudin, Félix, 246, 250 ‘Ah, ça ira’ (Ladré), 114 ars nova, 28, 29, 33, 37, 295 Air (electronic music duo), 285 ars subtilior,38–9, 42, 294 air de cour, 59, 60, 69, 73, 74, 75–7, 85, 342 ‘En attendant’ series, 38 airs à boire, 60, 105 Artaud, Antonin, 188 Airs de différents autheurs mis en tablature de Artaud, Pierre-Yves, 192 luth,75 Asso, Raymond, 279 airs mesurés,55 Association Artistique d’Angers, 375 airs sérieux, 70, 79, 105 Association Musicale de l’Ouest, 373 Akoka, Henri, 174 Astruc, Gabriel, 232 Alcuin, 7, 18, 322 Atelier Théâtre et Musique, 223 aleatory music, 188–9 Attaingnant, Pierre, 54, 57, 339 Alembert, Jean le Rond d’, 101, 211, 354, 355 Auber, Daniel-François-Esprit, 231, 236 De la liberté de la musique, 354 Fra Diavolo, 234 [391] ‘Discours préliminaire’ to the Encyclopédie,354 Léocadie, 228, 231 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-87794-7 - The Cambridge Companion to French Music Edited by Simon Trezise Index More information 392 Index Auber, Daniel-François-Esprit (cont.) Balzac, Honoré de, 236 La muette de Portici, 229, 231, 236 Illusions perdues, 127 opéras comiques, 237 Bambini, Eustachio, 209 Aubert, Jacques, 98 Bancquart, Alain, 190 Aubert, Louis, Cinéma, 222 Explosante-fixe, 190 Aubin, Tony, 180 Bara, Olivier, 237 Aubrey, Elizabeth, 16 Barbara, 278 Auget, Paul, 71 Bardot, Brigitte, 282 Augustus, Caesar, 313 baroque, first musical application of term, 350 Auletta, P., Il maestro di musica, 212 Baroque period, 69, 159, 225, 369 Auric, Georges, 163, 165, 173, 176, 177 Barraqué, Jean, 186, 187 Chemin de lumière, 222 Piano Sonata, 188 Austin, William, 153 Barraud, Henri, L’astrologue dans le puits, 222 Avignon, 36, 37 Numance, 181, 222 Conservatoire, 369 Barrault, Jean-Louis, 182 Schola Cantorum, 369 Barrière, Étienne-Bernard-Joseph, 102 Avitus of Vienne, 317 Bartók, Béla, 264, 268 Aznavour, Charles, 279, 281 basse-continue, see basso continuo basso continuo, 77, 81, 82, 83 Babbitt, Milton, Three Compositions for Piano, 188 Bach, Johann Sebastian, 169, 364, 373 earliest use in France, 74 revival, 147 Bastille, 111, 113 Bastille Opera House, see Opéra Bastille Bacilly, Bénigne de, 79 Bacon, Roger, 306 Bataille, Gabriel, 75, 77 bagad, 254 Batteux, Charles, 350, 351 Bagge, baron de, 95, 96, 97 Les beaux arts réduits à un même principe, 350 bagpipe, 245, 246, 247–8, 255, 259, 262, 267, 275 Béchonnet, 248 Baudrier, Yves, 173, 177, 181 binioù-kozh, 247, 254 Baumgarten, Alexander, Aesthetica, 346 bodega, 248, 259 Bavaria, 341 Bayeux, bishop of, 366 boha, 248 ‘ ’ cabreta, 247, 254, 255, 262 Bayeux chansonnier (manuscrit de Bayeux), Scottish, 247 57, 272 Baïf, Jean-Antoine de, 55, 58, 59 Bayle, François, 187, 190 Béart, Guy, 278 Baillot, Pierre, 118, 119, 125 Beatles, The, 245, 281, 282 Baker, Josephine, 276 ‘ ’ bal musette, 275, 276, 277 Revolution 9 , 187 Beauchamps, Pierre, 79 Balbastre, Claude, 99, 106, 107 organ concertos, 107 Beaujoyeux, Balthasar de, 53, 337, 338 balet comique de la royne, Le (1581), 337 tragédies lyriques, 337 ballade, 30, 31, 32, 37, 38, 272 Beaulieu, Girard de, 55, 336, 337 Le balet comique de la royne (with Jacques Ballard, Pierre, 71 Ballard, Robert, 54, 339 Salmon), 53, 337 successors, 339 beauty, concept of, 350 Ballard publishing house, 71, 75, 110 Beauvais, cathedral school, 17 Beauvilliers, Abbess Marie de, 74 ballet, 11, 53, 79, 81, 216, 230–1, 336 Bécaud, Gilbert, 279 ballet bouffon, 209 ‘ ’ ballet d’action, 209, 216, 231, 358 The Day the Rains Came , 279 ‘Let It Be Me’, 279 ballet de cour, 70, 71, 78, 79, 201, 202, 204, 358 ‘ ’ Ballet de la déliverance de Renaud,70 What Now My Love? , 279 ballet des muses, Le,84 Bechet, Sidney, 276 ballet en action, see ballet d’action Bedrossian, Franck, 195 Beethoven, Ludwig van, 118, 119, 122, 123, 133, ballet héroïque, 206 ballet-pantomine, 217, 228, 231 137, 151, 161, 236, 373, 374 Fidelio, 213, 226 ballet réaliste, 162 ‘ ’ Ballets Russes, 161, 165, 166, 168, 170, 234 Piano Concerto No. 5 Emperor , 140 Piano Sonata in E, Op. 14 No. 1, 121 Ballets Suédois, 165 Ballif, Claude, 187 scherzos, 144 Un coup de dés, 190 string quartets, Op. 18, 126 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-87794-7 - The Cambridge Companion to French Music Edited by Simon Trezise Index More information 393 Index symphonies in Marseilles, 375 Blamont, François Colin de, 89, 93, 103 Symphony No. 2, 375 Les fêtes grecques et romaines, 206 Symphony No. 3 ‘Eroica’, 118, 146 Blavet, Michel, 94, 106 Symphony No. 6 ‘Pastoral’, 119, 375 Le jaloux corrigé, 212 Béjart, Maurice, 187 Recueil de pieces, petits airs, brunettes, Belle Époque, 275, 283 menuets, etc., 106 Bénabar, 283 Blaze, François-Henri-Joseph Benedict XII, Pope, 36 (Castil-Blaze), 128 Benedict of Aniane, 321, 324, 325 Bloch, André, 175 Benjamin, George, 184 Bobino, 276 Benoist, François, 139, 140 Boccherini, Luigi, 96, 97, 102, 126 Benserade, Isaac de, 79 sonatas for keyboard with violin Béranger, Pierre-Jean de, 273, 279 accompaniment, Op. 5, 96, 356 Berg, Alban, 182, 184 Bocquillon-Wilhem, Guillaume-Louis, 373 Lulu, 223, 232 Boësset, Antoine, 71, 74, 76–7, 82, 339 bergerette, see virelai N’esperez plus mes yeux,77 Berio, Luciano, 186, 223 Boësset, Jean-Baptiste, 79 Berlin, Irving, ‘That Mysterious Rag’, 162 Boethius, 54 Berlioz, Hector, 113, 118, 122–3, 129, 136, Consolatio philosophiae,8 167, 236 treatise on music, 6, 305 La damnation de Faust, 137 boeuf-gras, 252 early works, 120 Boieldieu, Adrien, 367, 368 L’enfance du Christ, 373 La dame blanche, 228 Grande messe des morts, 116 Boismortier, Joseph Bodin de, 210 Grande symphonie funèbre et triomphale, Balets de village, 107 123 concertos, Opp. 21, 24, 30, 97 Harold en Italie, 122, 123 Fugit nox, 92, 93 Lélio, ou Le retour à la vie, 122 Noels en concerto à 4 parties, Op. 68, 98 Mémoires, 118 bon goût, 348, 349, 351 Les nuits d’été, 155 Bonaparte, Louis-Napoleon, Roméo et Juliette, 123, 231 see Napoleon III Symphonie fantastique, 120, 122 Bonaparte, Napoleon, 111, 112, 115, 124, 125, Te Deum, 116 228, 229, 264, 274, 364 Les Troyens, 221, 232 Concordat of 100, 363 Bernac, Pierre, 175 empire, see Napoleonic Empire Bernard, Claude, 228 interest in theatre, 226, 232 Bernier, Nicolas, 81, 89, 93 reorganisation of theatre after 1807, 226–7, Berton, Henri-Montan 228 Le délire, 213 Bondage and Boucherie Productions, 284 Les rigeurs du cloître, 213 Boniface, 320, 324 Bertrand, Antoine de, Airs spirituels,61 Bonne, John of Luxembourg’s daughter, 31 Besozzi, Gaetoni, 91 Bononcini, Giovanni Battista, 95 Béziers, neo-Roman arena, 372 book production, 293, 300–1, 305 Bibliothèque Municipale de Dijon, 299 page layout, 297 Bibliothèque Nationale de France, Département Bordeaux, 119, 368, 374, 375 Audiovisuel, 266 Schola Cantorum, 369 bilingualism, 257 Bordes, Charles, 135, 364 Binchois, Gilles, 36, 41 Börlin, Jean, 165 Filles a marier,38 Boston Symphony Orchestra, 172, 184 Birkin, Jane, 283 Boucher, François, 107, 210, 357 Bis, Hippolyte-Louis-Florent, 229 Boucourechliev, André, 189 Bischoff, Bernhard, 300 Archipel 2, 189 Bizet, Georges, 136, 234 Archipels, 189 Carmen, 134, 232, 234, 237 Bouffons, Les, 209, 212, 353 Les pêcheurs de perles, 232 Bougault-Ducoudray, Louis-Albert, 135 Symphony in C major, 151 Bouilly, Nicolas, 213 Blaise, Adolphe-Benoît, 210 Boulaire, Jean le, 174 Annette et Lubin, 211 Boulanger, Nadia, 182 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-87794-7 - The Cambridge Companion to French Music Edited by Simon Trezise Index More information 394 Index Boulez, Pierre, 176, 177, 180, 183, 184, 185, 186, Buffardin, Pierre-Gabriel, 94 187–9, 190, 193, 224, 239 Burgtheater (Vienna), 215 ‘Alea’, 189 Burgundians, 316 At the Limit of Fertile Ground, see Boulez, burial of the dead, 318 Pierre: Structures Ia Busnoys, Antoine, 51, 56, 61, 63, 64 on Debussy, 153 Missa L’homme armé, 61, 64 and Domaine Musical, 182 songs, 61 Domaines, 189 Bussine, Romaine, 137 Doubles, 189 Byrd, William, 66 Éclat, 190 Byron, George Gordon, 112 Études, 187 ...explosante-fixe ..., 190 cabaret, 162, 273, 274, 276 Flute Sonatina, 187 Cabrel, Francis, 283, 285 and IRCAM, 193 Cabrini, Michele, 103 Le marteau sans maître, 188 Caccini, Giulio, 338, 339 Notations, 180 Caesar, Julius, 313 on opera houses, 223–4 Caesarius of Arles, 315 Piano Sonata No.
Load more

Recommended publications
  • Romance and Writing: Interpreting the Lyric Domnas of Occitania
    Trends in Historiography Romance and Writing: Interpreting the Lyric Domnas of Occitania by Aubri E. Thurmond “I’ll ask you this: when a lady freely loves a man, should she do as much for him as he for her, according to the rules of courtly love?”1 These words are attributed to Maria de Ventadorn, a woman composing in the lyric tradition of the troubadours. From 1100-1300 A.D., Occitania (Southern France) produced over 400 troubadours whose poetry shaped the concepts of romantic love in the West. Their poems, written in langue d’oc, were expressions of fin’ amor, or courtly love.2 According to Paul Zumthor, “Fin’ amor strives toward a desired but unnamed good, bestowable only by a lady, herself identified only by an emblematic pseudonym: a dialogue without reply, pure song, turning into poetry the movements of a heart contemplating an object whose importance as such is minimal.”3 The troubadour was symbolically dependent on the favor of his lady, therefore seemingly giving her power and humbling himself.4 Fin ‘amor was the source of all courtly values.5 However, there were also women troubadours, called trobairitz, in Southern France. The name trobairitz comes from the root trobar, meaning to compose and the feminine suffix –airitz, literally meaning “a woman who composes.”6 The female troubadours did not refer to themselves as trobairitz. In fact, the term trobairitz is only found once in 13th century literature: in the romance Flamenca, when the heroine calls her maid 1 As quoted in Meg Bogin, The Women Troubadours (Scarborough, England: Paddington Press Ltd., 1976), 99.
    [Show full text]
  • A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature
    A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor RESEARCH IN MEDIEVAL CULTURE Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor MEDIEVAL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2015 by the Board of Trustees of Western Michigan University All rights reserved Manufactured in the United States of America This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Taylor, Robert A. (Robert Allen), 1937- Bibliographical guide to the study of the troubadours and old Occitan literature / Robert A. Taylor. pages cm Includes index. Summary: "This volume provides offers an annotated listing of over two thousand recent books and articles that treat all categories of Occitan literature from the earli- est enigmatic texts to the works of Jordi de Sant Jordi, an Occitano-Catalan poet who died young in 1424. The works chosen for inclusion are intended to provide a rational introduction to the many thousands of studies that have appeared over the last thirty-five years. The listings provide descriptive comments about each contri- bution, with occasional remarks on striking or controversial content and numerous cross-references to identify complementary studies or differing opinions" -- Pro- vided by publisher. ISBN 978-1-58044-207-7 (Paperback : alk. paper) 1. Provençal literature--Bibliography. 2. Occitan literature--Bibliography. 3. Troubadours--Bibliography. 4. Civilization, Medieval, in literature--Bibliography.
    [Show full text]
  • A History of Women's Writing in France
    A HISTORY OF WOMEN’S WRITING IN FRANCE SONYA STEPHENS The Pitt Building, Trumpington Street, Cambridge, United Kingdom The Edinburgh Building, Cambridge , UK www.cup.cam.ac.uk West th Street, New York, -, USA www.cup.org Stamford Road, Oakleigh, Melbourne , Australia Ruiz de Alarcón , Madrid, Spain © Cambridge University Press This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published Printed in the United Kingdom at the University Press, Cambridge Typeface Monotype Baskerville /½ pt. System QuarkXPress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data A history of women’s writing in France / edited by Sonya Stephens. p. cm. Includes bibliographical references. (hardback) (paperback) . French literature – Women authors – History and criticism. Women in literature. Women and literature – France – History. Stephens, Sonya. .′–dc - hardback paperback Contents Notes on contributors page vii Introduction Sonya Stephens Female voices in convents, courts and households: the French Middle Ages Roberta L. Krueger To choose ink and pen: French Renaissance women’s writing Cathleen M. Bauschatz Altering the fabric of history: women’s participation in the classical age Faith E. Beasley The eighteenth century: women writing, women learning Jean
    [Show full text]
  • Chapter 2: Secular and Cathedral Music in the High Middle Ages I
    Chapter 2: Secular and Cathedral Music in the High Middle Ages I. Introduction – Chapter 1 dealt primarily with sacred music, influenced by the fact that initially only sacred music was available for observation. Chapter 2 turns to secular music. II. Troubadours and Trouvères A.Troubadours 1. The first European vernacular poet whose work survives was William IX (7th count of Poitiers and 9th duke of Aquitaine). b. The tradition of these poets is known as the troubadour. c. The troubadour tradition was a “top down” as those of the highest social ranks were the main participants. Their poetry celebrated feudal ideals. d. Different types of troubadour verse dealt with various aspects of the feudal system, including songs of alliance, knightly decorum, exploits, challenges, and death. 2. Courtly love lay at the heart of the troubadour tradition. a. The canso was a song about love. b. Courtly love songs celebrated the same high ideals as other types of songs. c. The lady about whom a poet wrote usually outranked him, making her theoretically unattainable. d. Courtly love was generally more about veneration than physical love. e. The poetic style matches the lofty ideals of courtly love, as demonstrated in Can vei la lauzeta mover. B. Performance and Oral Culture 1. We do not know the rhythm of troubadour songs, but most likely the loftier style of the troubadour songs approximated that of contemporary chant. 2. Some troubadour songs matched a lower-class style; these were not based on chant style. a. Pastorela is one such genre. b. L’autrier jost’ una sebissa by Marcabru is an example.
    [Show full text]
  • Tell Me a Story; Hell Hath No Fury: a Set of Voice Recitals on the Overlap of Music, Literature, and Classics, and Their Treatme
    Tell Me A Story; Hell Hath No Fury A set of voice recitals on the overlap of Music, Literature, and Classics, and their treatment and depiction of women Senior Project Submitted to The Division of the Arts of Bard College by Alexandra Gilman Annandale-on-Hudson, New York May 2020 1 Artist Statement Over the past four years, I have had the privilege of answering the question, “what is your major?” My reply exists in various degrees of specificity. I am a Music major. I am a Classical Voice major. I am a voice major who is concentrating in Medieval Studies. Layer upon layer is added. The more specific I am, the more niche it all seems to become. Yet, that which I love exists in these niches, the in-between spaces where different areas of academia come together to create something new. Something that I have always appreciated about art, in general, is its fluidity. Art does not try to exist in a vacuum. Music takes its influence from all aspects of the world: nature, literature, mythology, history, even math. I have loved being able to explore these spaces, bringing together the different aspects of my study as opposed to keeping them isolated from one another. There is, in particular, a strong overlap between music, literature, and Classics; three of my most frequent studies at Bard. This became the prompt for my first concert, as well as an overall guiding theme of my repertoire. Tell Me A Story is a program constructed around the ​ ​ tales of my childhood, the ones that inspired me and guided me to the path I am on.
    [Show full text]
  • Levitsky Dissertation
    The Song from the Singer: Personification, Embodiment, and Anthropomorphization in Troubadour Lyric Anne Levitsky Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Anne Levitsky All rights reserved ABSTRACT The Song from the Singer: Personification, Embodiment, and Anthropomorphization in Troubadour Lyric Anne Levitsky This dissertation explores the relationship of the act of singing to being a human in the lyric poetry of the troubadours, traveling poet-musicians who frequented the courts of contemporary southern France in the twelfth and early thirteenth centuries. In my dissertation, I demonstrate that the troubadours surpass traditionally-held perceptions of their corpus as one entirely engaged with themes of courtly romance and society, and argue that their lyric poetry instead both displays the influence of philosophical conceptions of sound, and critiques notions of personhood and sexuality privileged by grammarians, philosophers, and theologians. I examine a poetic device within troubadour songs that I term ‘personified song’—an occurrence in the lyric tradition where a performer turns toward the song he/she is about to finish singing and directly addresses it. This act lends the song the human capabilities of speech, motion, and agency. It is through the lens of the ‘personified song’ that I analyze this understudied facet of troubadour song. Chapter One argues that the location of personification in the poetic text interacts with the song’s melodic structure to affect the type of personification the song undergoes, while exploring the ways in which singing facilitates the creation of a body for the song.
    [Show full text]
  • BORJA CAUQUI QUIRÓS Tutores
    TRABAJO DE FIN DE GRADO «LA COMTESSA DE DIA EN EL CONTEXTO TROVADORESCO» Autor: BORJA CAUQUI QUIRÓS Tutores: ANTONIA VÍÑEZ SÁNCHEZ Y JUAN SÁEZ DURÁN GRADO EN FILOLOGÍA HISPÁNICA Curso Académico 2018-2019 Fecha de presentación 27/05/2019 FACULTAD DE FILOSOFÍA Y LETRAS ÍNDICE RESUMEN .......................................................................................................................... 4 1. INTRODUCCIÓN .............................................................................................................. 6 1.1. OBJETIVO ................................................................................................................ 6 1.2. METODOLOGÍA Y ESTRUCTURA ............................................................................... 7 2. LA MUJER EN EL CONTEXTO HISTÓRICO DE LA EDAD MEDIA ......................................... 8 3. AMOR CORTÉS ............................................................................................................. 23 4. TÓPICOS ....................................................................................................................... 31 4.1. ANÁLISIS DE LOS PRINCIPALES TÓPICOS CORTESES ............................................... 31 4.1.1. El dios Amor .................................................................................................. 32 4.1.2. Amor como enfermedad ................................................................................ 33 4.1.3. La queja amorosa .........................................................................................
    [Show full text]
  • Course Title Credit MUHL M306 History of Western Art Music I 3 Credits
    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.
    [Show full text]
  • MEDIEVAL and TUDOR SACRED and SECULAR MUSIC Some Select Recordings Compact Disc;  Cassette Tape; (See Final Note Re Access)
    MEDIEVAL AND TUDOR SACRED AND SECULAR MUSIC Some Select Recordings compact disc; cassette tape; (see final note re access) (1) CD 789.ANON 6 Gregorian Chant: Death and Resurrection; Chant for Good Friday, Easter Sunday, and Ascension Day, performed by the Choralscola of the Benedictine Abbey of Münsterschwarzach, dir. Fr. Godehard Joppich OSB (rec. 1981- 2); Archiv Galleria 427 120-2 (booklet with full texts, in Latin and English). See also survey articles on 'Gregorian and Old Roman Chant' and 'Gregorian Chant' in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie [Caian] (20 vols, London, 1980; also available online at: http://www.grovemusic.com), Vol. 7, pp. 693-7, 697-8 (Caius Lib.: Ref 780.3 G), and James McKinnon, 'The Emergence of Gregorian Chant in the Carolingian Era', in James McKinnon (ed.), Man & Music; Antiquity and the Middle Ages; From Ancient Greece to the 15th Century (Houndmills, 1990), Chap. IV (Caius Lib.: 780.9 M). The fullest and most technical account of this chant tradition and its historical evolution is Kenneth Levy, Gregorian Chant and the Carolingians (Princeton, 1998) (Caius Lib.: 782.3222 L); or see Richard Crocker and David Hiley (eds), The Early Middle Ages to 1300 (New Oxford History of Music, II; Oxford, 1990), Chap. IV (Caius Lib.: 780.9 NO). For detailed context and practice see also John Harper, The Forms and Orders of Western Liturgy, from the Tenth to the Eighteenth Century; A Historical Introduction and Guide for Students and Musicians (Oxford, 1991), Chap. 9 on 'Holy Week and Easter' (Caius Lib.: 264.02 H), and for insights into the relation of chant to conventionalised speech see John Stevens, Words and Music in the Middle Ages; Song, Narrative, Dance and Drama, 1050-1350 (Cambridge, 1986), pp.
    [Show full text]
  • Exam 1 Study Guide
    COMPOSITIONS FOR MIDTERM Anon. or Sikilos, Epitaph of Seikilos (1st. century CE) Euripides, Orestes: Stasimon chorus (408 BCE) Anon., Office of Sext, Tuesday. Anon., psalm and antiphon for Christmas day, “Tecum principum” and “Dixit Dominus,” Anon., Introit, “Puer natus est nobis” — Mass for Christmas day Anon., Kyrie, “Cunctipotens/Omnipotens genitor” for Christmas day Gloria I (for Christmas day) Credo (for Christmas day) Alleluia, Dies Sanctificatus Graduale, Viderunt Omnes Wipo of Burgundy(?), “Victimae Paschali Laudes,” sequence for Easter (beginning of the 11th c.) Tuotilo of St. Gall, “Hodie cantandus est nobis,” trope preceding the introit to the Mass for Christmas day (ca. 900). Tuotilo of St. Gall, “Cunctipotens genitor” (called “Omnipotens genitor” in anthology), textual trope for Kyrie (ca. 900). Hildegard of Bingen, Excerpts from the Ordo virtutum, liturgical drama (ca. 1150). Bernart de Ventadorn (ca. 1130/40–1190/1200), Can vei la lauzeta mover (troubadour song) Comtessa de Dia (Beatriz) (fl. = flourished, ca. 1175), A chanter (troubadour song) Raimbaut de Vaquerias (fl. 1180–1207), Kalenda Maya (troubadour song) Examples of the Earliest Polyphony (900–1050) – The one marked “4a” only. Anon., Viderunt Hemanuel (two-voice organum) (ca. 1125) Magister Albertus of Paris, Congaudeant catholici (early conductus) (ca. 1150) Magister Leoninus (=Leonin), Viderunt Omnes (organum duplum) (ca. 1170) Perotinus the Great (=Perotin), Viderunt Omnes (organum quadruplum) (1198) Anon. “El mois d’avril/O quam sancta/Et gaudebit” ars antiqua motet (ca. 1230?) Anon., “La quatre estampie real”(ca. 1320) Philippe de Vitry(?)(1291–1361), Impudenter Circumivi / Virtutibus laudabilis, 3- or 4-voice isorhythmic motet (ca. 1325–1345?) Guillaume de Machaut (ca.
    [Show full text]
  • Algebra 2 Curriculum
    7Th Grade Music Curriculum Map Miss Ogg TOPICS Duration Fall Spring Unit 1: Elements of Music 1 week Aug Jan Introduce basic elements of music: Melody, Harmony, Rhythm, Texture, Dynamics, Tone Color/Timbre, Form; Music and Physics Unit 2: Medieval Period 3 Sep Jan/ Melody, Music notation, Medieval instruments, Gregorian Chant, weeks Feb Troubadours/Trouveres/Minnesingers, Concert/Recital Etiquette, Composers (Guido of Arezzo, Hildegard of Bingen, Bernart de Ventadorn, Comtessa de Dia, Adam de la Halle, Guilliame de Machaut, Leonin, Perotin, Phillipe de Vitry), Unit 3: Renaissance Period 3 wks Sep/ Feb Harmony, Grand Staff, pitch identification, Polyphony, Mass settings, Oct Madrigals/Motets, Reformation/Counter Reformation, Music and the Printing Press, Composers (Palestrina, Byrd, Monteverdi) Unit 4: Baroque Period 5 wks Oct Mar Polyphony, Baroque Instruments, Intervals, Major/Minor Thirds, Major/Minor/Augmented/Diminshed Triads, Composers (Sweelinck, Bach, Lully, Handel, Vivaldi, Purcell, Telemann) Unit 5: Classical Period 4 wks Oct/ Mar/ Melody and Harmony, Symphony, Concerto, String Quartet, Sonata, Sonata Nov Apr Form, Development of the orchestra, Composers (CPE Bach, Haydn, Mozart, Beethoven) Unit 6: Romantic Period 3 wks Nov Apr Absolute Music, Program Music, Nationalism in Music, Composers (Brahms Symphony No. 1, Movt. IV, Liszt, Hungarian Rhapsody No. 2, Berlioz, Symphonie Fantastique, Wagner, Overture to Die Meistersinger von Nürnberg, Dvořák, Symphony No. 9, (“From the New World”), Tchaikovsky, 1812 Overture, Greig, Peer Gynt Suites Nos. 1 and 2), Smetana, Ma Vlast Unit 7: American 20th Century 2 wks Dec May Blues, Spirituals, Ragtime, Improvisation, Syncopation, Jazz, Composers (Scott Joplin, Louis Armstrong, Duke Ellington, Miles Davis, George Gershwin, Aaron Copland) Semester Review 1 week Dec May .
    [Show full text]
  • A Case Study of the Education of Heloise by Elizabeth Mary
    A case study of the education of Heloise by Elizabeth Mary McNamer A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Education Montana State University © Copyright by Elizabeth Mary McNamer (1990) Abstract: Heloise was born in 1100 and died in 1163. She lived during what is known as the twelfth century renaissance, when as a result of the Crusades, Europe was opening up to new ideas that caused changes in class structure, attitudes to women, and in scholarship. She received the education usually available only to men bent on a ecclesiastic career, and is believed by many to be the only woman of her time to have received such an education. Abelard, one of the most renowned teachers of the day was employed to teach her philosophy. Heloise and he had a love affair which lasted for about eighteen months. Heloise then became a nun. She became abbess of her convent of nuns at the Paraclete in France and built up that convent from what was just a few broken down huts to a thriving abbey with six dependent houses. She served as abbess for thirty years. She is believed to have taught the nuns Greek and Hebrew at a time when these languages were not readily spoken in Europe, so that they could read Scripture in the original. Heloise was an administrator and scholar of renown, yet she is remembered in literature only because of her romantic association with Abelard. Using historical case-study methodology, this paper examines the educational milieu of the twelfth century, who had access to education and what education comprised.
    [Show full text]