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Choral Music ARLET 414, STUDIES IN MUSIC HISTORY: HANDEL AND THE DRAMA OF MUSIC DESCRIPTION: This course will explore the inherent drama in the music of George Frideric Handel, but not from the obvious perspective. Instead of studying the 40 operas he wrote, we will look at the drama Handel gives his music in the oratorios. And, with no experience in music necessary, each student will work through and analyze a portion of “Messiah” (HWV 56) so that this, Handel’s greatest work, will come to light in a new perspective. INSTRUCTOR: Glen Olsen - D.Litt., History of Art and Music, Drew University M.A., Liturgical Studies, Drew University M.Mus., Choral Conducting, Rutgers University B.A., Music, Wheaton College (IL) Room & Office: Music Wing 211, Dorothy Young Center for the Arts Office Hours: Monday, 3:00-4:00 p.m. (walk-in or appointment) or cell phone, 973.865.3738 or e-mail, [email protected]; [email protected] READINGS: George Frideric Handel, Messiah, An Oratorio, ed. Alfred Mann. New York: Dover Publications. Christopher Hogwood, Handel. London: Thames and Hudson, 1984 (internet) on reserve, 780.92 H135 H716h Richard Luckett, Handel’s Messiah, A Celebration. New York: Harcourt Brace and Company, 1992. (internet) on reserve, personal copy RESERVE: Roger A. Bullard, Messiah: The Gospel According to Handel’s Oratorio. Grand Rapids, Michigan: Eerdmans, 1993. 782.23 H236mY B935m Donald Burrows, Handel. Oxford: OUP, 1994. personal copy -----, Handel, Messiah. Cambridge: CUP, 1991. 782.23 H236mY B972h Paul Henry Lang, George Frideric Handel, New York: W.W. Norton, 1966; Dover, 1996. 780.92 H135 L271g Jens Peter Larsen, Handel’s Messiah. New York: W.W. Norton, 1972. 783.3 H135mY L334h RESOURCES: Robert Donington, Baroque Music, Style and Performance. New York: W.W. Norton, 1982. Stanley Sadie, ed., “Handel,” The New Grove Dictionary of Music and Musicians Watkins Shaw, A Textual Companion to Handel’s Messiah. Borough Green, England: Novello, 1965, 1982. GRADING and REQUIREMENTS: 15% Literary Context Project (due 10/2) – translation exercise and genre identification 15% Historical Context Project (due 10/23) – musical conventions and ornamentation 15% Musical Analysis Project (due 11/20) – melodic shape and harmonic moments 15% Presentation (11/27 during class) – presenting research worked on and ideas for program notes (doctoral = 50 minutes; masters = 25 minutes) 15% Program Notes (due 12/18 by 4:00 PM) – description of cantata for a concert program 25% Class Participation – attendance, readings and discussions All written work is expected to be printed, double-spaced with each page numbered (and name); please make an effort to use both sides of the paper on the copies you hand in. The regulations of the Caspersen School encourage students to hand in all work for a course no later than the end of the semester. When other circumstances prohibit this, an extension can be granted as per the regulations (p. 2); except in extreme cases, work submitted late will not be eligible for grades of A or AH (A+). Requests for academic accommodations must be formally filed with the Office of Educational Services. It is the student’s responsibility to self-identify with the Office of Educational Services. To schedule an appointment call x3327 or stop by BC 114; please note that there are no retroactive recommendations. The CSGS standards of Academic Honesty will be enforced fully. For more information, please see http://www.depts.drew.edu/gsdean/artsandletters/guidebook%202004.pdf ARLET 414, Studies in Music History: Handel and the Drama of Music SCHEDULE: Mondays, Fall Semester 2006 (9/11-12/4), 4:00 PM – 6:30 PM Session—Date—Topic 1 9/11 Introduction – Requirements Reading: None Handel’s World Reading: None Dixit Dominus (HWV 232) Assignment: None 2 9/18 Issues of Biography Reading: Hogwood, 11-29; Luckett, 17-45 Handel and Opera Reading: Buelow, An Evaluation of Cleopatra Agrippina (HWV 6) Assignment: Choose a Messiah “cantata” 3 9/25 Dramaturgy and Aesthetics Reading: Hogwood, 30-48; Luckett, 69-85 “Mr. Haendel Comes to England” Reading: Lang, 147-173 Acis and Galatea (HWV 49) Assignment: None 4 10/2 Which Comes First? Reading: Hogwood, 49-89; Luckett, 69-85 Dramatic Symbolism in 18th Cent. Music Reading: Dean, Vocal Embellishment Esther (HWV 50) Assignment: Literary Context Project 5 10/9 To Embellish or Not? Reading: Hogwood, 90-139; Luckett, 86-106 Handel and Oratorio Reading: Donington, 91-162 Saul (HWV 53) Assignment: None 6 10/16 The Role of an Editor Reading: None “On the Road to Dublin …” Reading: None Messiah: Behold the Lamb … All We Like Sheep Assignment: None 7 10/23 What Came First? Reading: Hogwood, 140-177; Luckett, 107-137 Handel and the Choir Reading: Mann, Original Performing Forces Israel in Egypt, Part I (HWV 54) Assignment: Historical Context Project 8 10/30 To Believe or Not? Reading: Hogwood, 177-231; Luckett, 138-158 Handel and the Orchestra Reading: Lang (357-393) Solomon, Part III (HWV 67) Assignment: None 9 11/6 The Best of Handel Reading: Hogwood, 232-277; Luckett, 159-239 The Legend of George Frideric Handel Reading: Frosch, The “Case” of Handel Theodora (HWV 68) Assignment: None 10 11/13 Musical Traits and Elements Reading: None The Compositional Style of Handel Reading: None Messiah: Hallelujah … The Trumpet Shall Sound Assignment: None 11 11/20 GUEST LECTURE: Performing Reading: None Messiah Reading: None Assignment: Music Analysis Project 12 11/27 PRESENTATIONS Reading: None 1. ________________________________ Reading: None 2. ________________________________ Assignment: None 3. ________________________________ 13 12/4 The Future of Handel Reading: None “If Purcell Had Lived …” Assignment: Program Notes Messiah: Worthy Is the Lamb … Amen (12/18 @ 4:00 pm) .
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