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Medieval Love Songs MUHL-M295 Spring Semester 2021

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Medieval Love Songs MUHL-M295 Spring semester 2021 Classes MWF 1:30-2:20 Note that this is a synchronous online course. In other words, we will meet on Zoom during the official class period. See below for more details. Prerequisites Good standing in Honors program, or (for medieval studies students) permission of instructor. Note that musical background, or the ability to read music, is not required! Brief course overview “I thought I knew so much of love, and I know so little....” These words could have been written by any number of songwriters in our time, but they came from the pen of Bernart de Ventadorn, a thirteenth-century troubadour. In this seminar we will explore the various ways love is expressed in the middle ages. Topics will range from the songs of troubadours and Minnesinger to the pseudo-autobiographical narrator of Guillaume de Machaut’s songs and narratives, who continually fails at love but succeeds in writing about love. We will consider not only fin’amors, the “courtly love” that worships the lady on a pedestal, but also the more earthly shepherdess of the pastourelle, and the divine love that is given to the Virgin Mary. We will trace the roots of medieval love in the Song of Songs, the poetry of Ovid, and the Arabic texts that influenced Iberian culture. Through the lens of love songs of various sorts, we can begin to understand medieval culture, and in the process think more critically about our own. Course objectives The main goal of this course is for students to understand better the medieval world, and to some extent its impact on the modern world, through the study of a group of texts (with and without music) that deal with the subject of love(s). By the end of the semester, students should be able (among other things) to: • analyze examples of medieval song in various genres • identify basic features of medieval thought as exemplified in specific works • compare the expressions of different types of love in medieval writings 2 The course is designed to meet the following objectives of the Common Curriculum: • “understanding of philosophical and religious traditions”: the class will consider how aspects of religious thought interact with thinking about love in the middle ages • “understanding of cultural traditions and perspectives other than our own”: we will consider many ways in which medieval culture, while related to our own, is different. Particularly important here is the way modern U. S. society distinguishes between sacred and secular forms of love in ways that are blurred in the middle ages. • “knowledge and appreciation of the fine arts and great works (of literature)”: the class will examine works of Ovid and key examples of medieval literature, as well as central aspects of medieval music. This course is appropriate as an Honors course because of its focus on a specific cross- disciplinary topic, its substantial use of primary sources, and its emphasis on discussion. Instructor Dr. Alice V. Clark e-mail [email protected] Monroe Hall 303 phone 865-3065 Office hours by appointment (https://avclark.youcanbook.me) Pronouns: She, her, hers Preferred title: Dr. Clark Note that this semester I’m teaching entirely on-line, and I will probably only be on campus rarely. Please don’t think I don’t want to see you, though! I’ll try to set up some open Zoom hours, and I’m glad to make appointments at any time. The youcanbookme page is set up for only M-F 9-5, but I will accept meeting requests outside of that window—just e-mail me and tell me when you’d like to meet, and we’ll figure something out. It is often easiest to communicate with me by e-mail between classes; barring emergencies or natural disasters, I will answer messages within 24 hours, except on weekends, during breaks, and while attending conferences. (This is a minimal goal, and in real life I usually will reply much sooner, even on weekends!) Some background: I started my undergraduate career as a music education major, until I encountered a course in music history that answered questions I hadn’t known how to ask. While I don’t expect you to have a similar experience in this course (!), I hope you will come to value thinking and writing about music as useful in its own right, and as helpful to your work. 3 Textbooks and other materials to be purchased by student There will be no textbook for this course. Readings and listening assignments will be on reserve or accessible through on-line resources. Class preparation and types of assignments A calendar of daily and weekly topics and assignments (with due dates) appears later in this syllabus; this section simply outlines basic expectations. More detail about these elements appears on Canvas. Preparation for class will usually include some combination of listening and reading. All assigned material will be linked in Canvas and/or available through library resources (such as Oxford Music Online). Note that “preparation” means what it says: this work is to be done before class! You will make comments on some readings through Perusall. My plan is not to ask you to do this more than once a week, but I reserve the right to change that if necessary. For each set of readings, you should make two-three substantive comments; details will be on Perusall. Since this assignment is designed to help you prepare, comments are due at 10am, and I will look at them before class as part of my preparation. To do these assignments, you will need to set up a (free) personal account on Perusall: • Go to https://perusall.com/ and click on the “log in” tab at the upper right corner of the screen. • Register for a new account, if you don’t already have one. You may sign in using your Facebook, Google, or Twitter account if you wish, or you may register a new account using your e-mail address. • Once you are logged in, select “I am a student,” and use the course code CLARK- 2D7BN to enter the site. • I will post readings on this site for you to annotate. These will include both primary and secondary sources. Post-class assignments will include: • Discussion board posts: These will be due most Fridays (by 10pm). Prompts will be rather open-ended and are intended to help you focus your thoughts and extend class discussion. The board is set up so that you can’t see other posts until you have made 4 your own initial post; that is so that you can contribute your thoughts without being overly influenced by others. Once that’s done, though, do check out what your classmates have written! I will not require you to respond to each others’ posts, but I hope you will want to; I will also try to respond to posts at least occasionally. • Essays: Twice you will write essays that will allow you to reconsider what we’ve done in the previous weeks. The prompts (which appear in the course outline below) are deliberately open-ended, so you can shape your response according to your interests. These will take the place of exams. o Essay 1: due by 10pm Friday 19 February o Essay 2: due by 10pm Friday 22 March I reserve (but do not expect to use) the right to add other assignments as needed. You will also complete an individual project on a topic of your choice (subject to approval) relating somehow to Mozart’s operas or those of his contemporaries. This assignment can take just about any format, including creative ones! For instance, you may choose to: • perform a medieval song about love (other than one of the songs we’re studying as a class) • create a new setting of a medieval text, or a modern arrangement of a medieval song (for instance, you could create a “cover” like those of Hildegard von Blingin’) • create a short story, poem, dramatic monologue, children’s book, graphic novel, etc. that extends in some way one of the pieces we’re studying, or a similar work • make a film, video, or podcast (fictional, documentary, etc.) that examines or extends in some way one of the pieces we’re studying, or a similar work • make a Buzzfeed-style quiz or listicle, or a Facebook wall or Instagram page, or other social media relating in some way to one of the pieces we’re studying, or a similar work • write an academic paper, annotated bibliography, digital exhibit, or web site Due dates are given in the course outline below and also appear on Canvas: • proposal: due by 10pm Friday 5 March • project: due by 10pm Friday 30 April In the end, this is your education—I’ve had mine—and if it’s going to be effective, you must take control of your learning. Like a personal trainer, I can help, but the ultimate responsibility, and the ultimate benefit, is yours. You are always welcome to come to me with questions or for study tips. 5 Class meetings One thing that makes a seminar different from a lecture class is that the students to a much larger extent determine what happens: basically, you will get out of this class what you put into it. That’s why your preparation, attendance, and participation are important! If your voice is missing, we all lose—just as if you were absent from a rehearsal or a performance. What that doesn’t mean is that you have all the answers; indeed, sometimes it’s more important to have questions, so try always to bring in something to ask or something you found interesting to contribute for each class.
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  • Compositeur Naissance Décès Période Notker Balbulus C

    Compositeur Naissance Décès Période Notker Balbulus C

    Compositeur Naissance Décès Période Notker Balbulus c. 840 912 Médiévale Odo of Cluny c. 878 942 Médiévale Guido da Arezzo c. 991 c. 1033 Médiévale Hermann of Reichenau 1013 1054 Médiévale Guillaume d'Aquitaine 1071 1126 Médiévale Petrus Abaelardus 1079 1142 Médiévale Hildegard von Bingen 1098 1179 Médiévale Bernart de Ventadorn c. 1130 a. 1230 Médiévale Léonin 1135 1201 Médiévale Pérotin 1160 1225 Médiévale Philippe le Chancelier c. 1160 1236 Médiévale Pierre de Molins 1170 c. 1220 Médiévale Walther von der Vogelwide c. 1170 c. 1230 Médiévale Alfonso el Sabio 1221 1284 Médiévale Adam de la Halle c. 1235 1288 Médiévale Petrus de Cruce c. 1260 a. 1302 Médiévale Philippe de Vitry 1291 1361 Médiévale Guillaume de Machaut c. 1300 1377 Médiévale Francesco Landini c. 1325 1397 Médiévale Johannes Ciconia c. 1335 1412 Médiévale/Renaissance Jacopo da Bologna Bologna c. 1340 c. 1386 Médiévale Zacara da Teramo c. 1350 c. 1413 Médiévale/Renaissance Leonel Power c. 1370 1445 Médiévale/Renaissance Oswald von Wolkenstein c. 1376 1445 Médiévale/Renaissance John Dunstaple c. 1390 1453 Renaissance Guillaume Dufay 1397 1474 Renaissance Gilles Binchois c. 1400 1460 Renaissance Johannes Ockeghem c. 1410 1497 Renaissance Gilles Joye c. 1424 1483 Renaissance Antoine Busnois c. 1430 1492 Renaissance Alexander Agricola c. 1446 1506 Renaissance Heinrich Isaac c. 1450 1517 Renaissance Loyset Compère c. 1450 1518 Renaissance Josquin des Prez c. 1450 1521 Renaissance Jacob Obrecht c. 1457 1505 Renaissance Jean Mouton c. 1459 1522 Renaissance Antoine Brumel c. 1460 c. 1513 Renaissance Pierre de la Rue c. 1460 1518 Renaissance Robert Fayrfax 1464 1521 Renaissance William Cornysh 1465 1523 Renaissance Francisco de Penalosa c.