Course Title Credit MUHL M306 History of Western Art Music I 3 credits

Spring I semester 2006

Instructor Dr. Alice V. Clark phone 865-3065 Communications/Music 202 e-mail [email protected] Office hours: MW 1:00, TR 1:30, or by appointment

Classes MWF 10:30-11:20, CM 135

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

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 (and as time permits) 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 Bonds, Mark Evan. A History of Music in Western Culture . 2 nd ed. Upper Saddle River, NJ: Prentice Hall, 2006. A copy is also on reserve in the library at call number ML160.B75 2006.

Bonds, Mark Evan, ed. Anthology of Scores to A History of Music in Western Culture . Vol. 1: Antiquity through the Era . 2 nd ed. Upper Saddle River, NJ: Prentice Hall, 2006. I have no real objections to your sharing the textbook, or even 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. Even though you should own your own copy, I have put one on reserve at the library, in case you need it for quick reference; its call number is MT91.B65 2006.

Optional materials available for purchase Bonds, Mark Evan, ed. Recorded Anthology for A History of Music in Western Culture . Vol. 1. 2 nd ed. Upper Saddle River, NJ: Prentice Hall, 2006. These recordings cover most of the material in the anthology. You are not required to buy this, but it’s convenient, especially around test times, 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. A copy of this is also on reserve in the library, at call number CD MSCL 00106. I have also put the two copies of the first-edition recordings on reserve, at call number CD MSCL 00078; this edition does not have quite everything in the second edition, but it has enough to be helpful. Course requirements / Types of assignments Required work for this course will include reading (from the textbook and other sources), and listening and score study (mostly, but not entirely, from the required anthology). Students will also have to take exams, write a group of essays and a journal, and do other assignments, in and out of class, as well as participate in class discussion.

This course has a Blackboard web page. Go to , and log in using your loyno userid (e.g., avclark, not [email protected] ). If you have not used Blackboard before, your initial password is your birth year and month—for example, , born 31 October 1291, would have a password of 129110). Be sure to change that password right away to something more secure! I will post announcements on the Blackboard page as needed, and you can find there a copy of the syllabus, assignments, interesting links, and so forth; there will also be some assignments that can only be completed through Blackboard.

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.

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 hand in for a grade in this class, whether an exam, an essay, or a small assignment, 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 (to me 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.

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 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. One additional point of classroom conduct: 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.

Evaluation Grades will be calculated as follows: quiz: monophonic traditions 10% exams 2-3: 30% (15% each) final exam: 15% writing assignments (total): 20% 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 27 January (quiz: monophonic traditions) • Monday 20 February (polyphony through the fifteenth century) • Monday 27 March (sixteenth and seventeenth century) • Final exam: Monday 24 April, 11:30-1:30. This exam will include music from the high baroque period and will also have a comprehensive component.

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 choice, not yours!), so you should be prepared to answer any of them. Exam dates are subject to change.

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 all of you, including the students who take the test at the appropriate time. If your absence is due to a professional commitment like a concert tour or 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 write three shorter papers on set topics and complete a journal. More information will follow.

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 will likely be added as the semester progresses. 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. Let me know if you have difficulty getting your hands on reserve materials.

Bonds, Mark Evan. A History of Music in Western Culture . 2 nd ed. Upper Saddle River, NJ: Prentice Hall, 2006. On reserve in the library, call number ML160.B75 2006.

Bonds, Mark Evan, ed. Anthology of Scores to A History of Music in Western Culture . Vol. 1: Antiquity through the Baroque Era . 2 nd ed. Upper Saddle River, NJ: Prentice Hall, 2006. On reserve, call number MT91.B65 2006.

Bonds, Mark Evan, ed. Recorded Anthology for A History of Music in Western Culture . Vol. 1. 2 nd ed. Upper Saddle River, NJ: Prentice Hall, 2006. On reserve in the library, call number CD MSCL 00106. I have also put the two copies of the first-edition recordings on reserve, at call number CD MSCL 00078.

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.

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.

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. Supplemental listening CDs (multiple copies on reserve; texts and additional information will be posted on Blackboard)

Clark CD A: track 1: Vatican Mass I: Lux et origo (Ordinary used in anthology 2) Kyrie Lux et origo Gloria (begins 2:03) Credo (begins 5:29) Sanctus (begins 9:35) Agnus (begins 10:53) tracks 2-15: Second Vespers for Christmas Day (“sung” items only) track 2: Deus in adiutorium track 3: Te principium track 4: psalm 109, Dixit Dominus , with return of antiphon Te principium track 5: antiphon Redemptionem misit Dominus track 6: psalm 110, Confitebor tibi Domine , with return of antiphon Redemptionem track 7: antiphon Exortum est in tenebris track 8: psalm 111, Beatus vir qui timet Dominum , with return of antiphon Exortum est track 9: antiphon Apud Dominum track 10: psalm 129, De profundis clamavi ad te , with return of antiphon Apud Domine track 11: short responsory Verbum caro track 12: hymn Christe Redemptor omnium track 13: versicle and response Notum fecit Dominus track 14: antiphon Hodie Christus natus est track 15: Magnificat, with return of antiphon Hodie Christus natus est track 16: Introit Resurrexi with trope Paschale carmen track 17: Offertory Terra tremuit with tropes track 18: Hymn for St. John the Baptist Ut queant laxis (first verse given on Bonds p. 36) track 19: Trope Quem quaeritis in sepulchro

Clark CD B: polyphony tracks 1-2: Tu patris sempiternus es filius , example of parallel from Musica enchiriadis (Bonds p. 51) track 3: Rex caeli domine , example of organum from Musica enchiradis (Bonds pp 52-53) tracks 4-5: Garrit gallus / In nova fert / T. Neuma quinti toni (Bonds anthology 16): track 4: recording by Sequentia track 5: recording by the Studio der frühen Musik (same as recording on Bonds companion CD) track 6: Machaut, Je puis trop bien ma dame comparer (Bonds anthology 18, here with all three verses) track 7: Du Fay, Conditor alme siderum (Bonds anthology 31) track 8: Sweelinck, Fantasia chromatica track 9: G. Caccini, “Al fonte, al prato” (anthology 73) track 10: Corelli, Trio sonata in A Major, op. 4 no. 3 I. Preludio: Largo II. Corrente: Allegro (begins 2:36) III. Sarabanda: Largo (begins 4:02) IV. Tempo di Gavotta: Allegro (begins 5:39) tracks 11-17: J. S. Bach, Jesu, der du meine Seele , BWV 78 (complete cantata) track 11: chorus “Jesu, der du meine Seele” track 12: duet “Wir eilen mit schwachen, doch emsigen Schritten” track 13: recitative “Ach! ich bin ein Kind der Sünden” track 14: aria “Das Blut, so meine Schuld durchstreicht” track 15: recitative “Die Wunden, Nägel, Kron und Grab” track 16: aria “Nun du wirst mein Gewissen stillen” track 17: chorale “Herr, ich glaube, hilf mir Schwachen” Clark CD C: song tracks 1-7 : , Can vei la lauzeta mover : track 1: Studio der frühen Musik, dir. Thomas Binkley, n.d. track 2: Clemencic Consort, dir. René Clemencic, 1977 track 3: Martin Best Mediaeval Ensemble, 1982 track 4: Paul Hillier, The Medieval Lyric , 1987 track 5: Sinfonye, 1989 track 6: Gothic Voices, dir. Christopher Page, 1990 track 7: Camerata Mediterranea, dir. Joel Cohen, 1994 tracks 8-11 : , A chantar m’es al cor que non deurie (Bonds anthology 6) track 8: Clemencic Consort, dir. René Clemencic, 1977 track 9: Monserrat Figueras and Hesperion XX, 1978 track 10: Martin Best Mediaeval Ensemble, 1982 track 11: Sinfonye, dir Stevie Wishart, 1987

Clark CD D: extras track 1 : , Favus distillans (reponsory for Matins of Saint Ursula) track 2 : Hildegard of Bingen, O Ecclesia (sequence for the 11,000 Virgins) track 3 : Perotin, Alleluia Nativitas (three-part organum on the alleluia for the Nativity of the Virgin) track 4 : , De toutes flours () track 5 : Machaut, De toutes flours , intabulation from the Faenza Codex track 6 : Cunelier (Jo. Cuvelier?), Se Galaas et le puissant Artus (ballade in honor of Gaston Fébus) track 7 : Guillaume Du Fay, Nuper rosarum flores / Terribilis ist locus iste (Bonds anthology 32) track 8 : Gilles de Bins (Binchois), Dueil angoisseux () track 9 : Josquin des Prez, Nymphes des bois ( Déploration de Jehan Ockeghem )

Course outline (subject to change) Please note that listening and reading assignments, as well as journals and Blackboard quizzes, are to be done in preparation for class on the given date! Material whose relevance continues from one class meeting to the next (e.g., the Easter Mass is obviously relevant to class 18 January) is generally not repeated. Bonds begins his discussion of each style period with a “prelude” that covers basic history and culture; these sections are worth reading not only when they are assigned, but also later in our study, when you know more about the music of the period.

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! 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.

There will be Blackboard quizzes for most days when other assignments are not due; those may not be announced here. Additional assignments may be given.

Monday 9 January: Introduction Wednesday 11-Friday 13 January: The ancient musical legacy BLACKBOARD QUIZ MUST BE COMPLETED BY 9AM WEDNESDAY 11 JANUARY! I will not announce all future Blackboard quizzes here (though I may announce some), but you will have them for most class meetings, and they will always be due by 9am on the relevant class date. See the “assignments” section of Blackboard for more information. reading: Bonds 1-17 listening: Epitaph of Seikilos (anthology 1) journal: What qualities of the Epitaph of Seikilos make its style sound familiar to modern ears, and what makes it sound unfamiliar? questions for thought: • What evidence is available to us to study ancient Greek music? What are the values and limits of each type of evidence? • Why should we study ancient Greek music and ideas about music? What do we owe to antiquity?

Monday 16 January: “Gregorian” chant (Blackboard quiz due by 9am) reading: Bonds 18-47 listening: Mass for Easter Sunday (anthology 2; note that only Propers are recorded on Bonds CD; “sung” portions of Ordinary are on Clark CD A) be able to sing: • first phrase of introit (through first “alleluia”) • first phrase of gradual (“Haec dies”) and Alleluia • first verse of sequence journal: Imagine yourself as a layperson attending a Mass at the cathedral of Metz around the year 800. Describe your experience of chant. questions for thought: • What historical factors affected the development of chant? Why did “Gregorian” chant come into being when and where it did?

Wednesday 18 January: Mass and Office listening: • antiphon and psalm from Vespers for Trinity Sunday (anthology 3; recording on Bonds companion CD) • Pange lingua gloriosi , hymn for Corpus Christi (anthology 4) • recommended: Second Vespers for Christmas Day (Clark CD A) be able to sing: antiphon and first verse of psalm journal: Imagine yourself as a monk at the of Saint-Gall around the year 900. Describe your experience of chant. 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 identify.)

Friday 20 January: Early medieval theory (Blackboard quiz due by 9am) (essay 1 due) recommended listening: hymn Ut queant laxis (Clark CD A) questions for thought: • Be able to explain the modal assignment of each “sung” item in the Easter Mass, as well as the antiphon Laus Deo Patri . • How does the theory codified by people like represent a radically new type, as opposed to the speculative theory of antiquity as transmitted by people like Boethius? Monday 23 January: Extensions to the liturgy (Blackboard quiz due by 9am) (journals collected) reading: Bonds 47-55 listening: • Victimae paschali laudes , sequence for Easter (anthology 2h) • Hildegard of Bingen, Ordo virtutum (anthology 5; note that another performance of this excerpt is available on the Bonds companion CD, and two of her are on Clark CD D) • recommended: introit Resurrexi with trope Paschale carmen (Clark CD A) • recommended: offertory Terra tremuit with tropes (Clark CD A) • recommended: trope Quem queritis in sepulchro (Clark CD A) journal: Listen to the two performances of Hildegard’s Ordo virtutum and describe the effect each has on you. questions for thought: • Why and how do composers add to the codified liturgy of “Gregorian” chant?

Wednesday 25 January: Secular monophony reading: Bonds 52-59, 90-94 listening: • Comtessa de Dia, A chantar (anthology 6; additional performances available on Clark CD C) • A Santa Maria dadas (anthology 7) • Walther von der Vogelweide, Palästinalied (anthology 8) • La quinte real (anthology 28) • recommended: Bernart de Ventadorn, Can vei la lauzeta mover (Clark CD C) be able to sing: refrain of A Santa Maria dadas • Also, it’d be nice if at least three people in each section could volunteer to play the estampie—at pitch, but any octave is OK, and not at the breakneck tempo of the recording! Please let me know if you can do this—thanks. journal: Imagine and briefly describe the audiences and performance situations most likely for each of the pieces assigned today. 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 27 January: QUIZ: monophonic traditions

Monday 30 January: Early polyphony reading: Bonds 60-64 listening: • organum on Kyrie Cunctipotens genitor (anthology 9) • recommended: parallel organum Tu patris sempiternus es filius (Clark CD B) • recommended: oblique organum Rex caeli domine (Clark CD B) be able to sing: first section of chant ( Kyrie eleison only) journal: Imagine yourself as a singer at the abbey of Saint-Martial. Describe your experience of the Aquitanian style of polyphony. 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 1 February: Notre-Dame school (drafts of essay 2 due to reviewers) reading: Bonds 64-75 listening: • Leonin (?), organum on Haec dies (anthology 10) • clausula on In saeculum (anthology 11; not recorded in this form) • Lonc tens ai mon cuer / In saeculum (anthology 12) • Hui main au doz mois / Hec dies (anthology 13) • On parole / A Paris / T. Frese nouvele (anthology 14) • Flos ut rosa floruit (anthology 15) • recommended: Perotin, three-part organum on Alleluia Nativitas (Clark CD D) be able to sing: first phrase of the gradual Haec dies journal: Imagine yourself as a member of the Notre-Dame congregation at Easter Mass. Describe the effect the music has on you. 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?

Friday 3 February: The medieval motet listening: Philippe de Vitry (?), Garrit Gallus / In nova fert / T. Neuma quinti toni (anthology 16; recording available on the Bonds companion CD; additional recording on Clark CD B) journal: The medieval motet is a difficult genre for many modern listeners—why? Given that difficulty, why do you think the genre was so important for medieval people? questions for thought: • Where does the motet come from, and how does it develop? • How does the motet reflect medieval ideas on the nature and purpose of music?

Monday 6 February: Fourteenth-century (peer review pairs must meet by midnight on this date) reading: Bonds 76-88 listening: • Guillaume de Machaut, (anthology 17) • Machaut, Je puis trop bien (anthology 18; all three verses are recorded on Clark CD B) • Machaut, Douce dame jolie (anthology 19) • Machaut, Ma fin est mon commencement (anthology 20) • , Tout par compas (anthology 21) • recommended: Machaut, De toutes flours (ballade and keyboard intabulation on Clark CD D) • recommended: Cunelier (Jo. Cuvelier?), Se Galaas et le puissant Artus (ballade in honor of Gaston Fébus, on Clark CD D) be able to sing: chant on which Machaut Kyrie is based (opening Kyrie only, unmetered) journal: Which of the three Machaut songs do you like best, and why? 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 notation? How does this innovation bring rhythmic notation closer to our own? Wednesday 8 February: Trecento and medieval English music reading: Bonds 88-90 listening: • Landini, Ecco la primavera (anthology 22) • , Non al suo amante (anthology 23) • , A post messe (anthology 24) • Ciconia, Doctorum principem / Melodia suavissima / T. Vir mitis (anthology 25) • Sumer is icumen in (anthology 26) • Edi be thu, heven-queene (anthology 27) be able to sing: mm. 1-20 of Sumer is icumen in questions for thought: • What factors contributed to the explosion of written music in fourteenth-century Italy? What (if anything) does this have to do with French trends? • What special features characterize music in Italy, and in England?

Friday 10 February: The and its influence reading: Bonds 96-114 listening: • Dunstaple (?), Quam pulchra es (anthology 29) • Du Fay, Flos florum (anthology 30) • Du Fay, Conditor alme siderum (anthology 31; recording available on Bonds companion CD, with additional recording on Clark CD B) • recommended: Gilles de Bins dit Binchois, Dueil angoisseux (rondeau, on Clark CD D) questions for thought: • What factors led to increased contacts between musicians from England, France, and Italy? • What makes the English sound “sweet”? • How do French composers use this “sweetness” in their own music?

Monday 13 February: Guillaume Du Fay (essay 2 due) reading: Bonds 114-19 listening: (in addition to Du Fay works already assigned) • Du Fay, Nuper rosarum flores / T. Terribilis est locus iste (anthology 32, with additional recording on Clark CD D) • Du Fay, Se la face ay pale (anthology 34) • Du Fay, Missa Se la face ay pale (anthology 35) • Du Fay, Adieu ces bons vins de Lannoys (anthology 41) be able to sing: • first verse of Conditor alme siderum • first two lines of tenor of Se la face ay pale (in any octave) journal: Imagine yourself as a layperson attending the consecration of the cathedral of Santa Maria del Fiore. Describe the effect of Du Fay’s motet in the context of that celebration. 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? Wednesday 15 February: The polyphonic Mass Ordinary (journals collected) reading: Bonds 126-36 listening: • Ockeghem, Missa prolationum (anthology 36) • Busnoys, Fortuna desperata (anthology 37) • Josquin, Missa Fortuna desperata (anthology 38) • Josquin, Missa Pange lingua (anthology 39) be able to sing: the first phrase of the chant or song voice/s on which each of these (except the Ockeghem) is based journal: Imagine yourself as a church singer. Describe your experience singing Masses at this time. questions for thought: • Why does the polyphonic Ordinary become so popular at this time? • In what different ways do composers use their borrowed material in Mass movements? • Why do composers base Masses on preexisting music? Does this change with the type of material borrowed?

Friday 17 February: Josquin des Prez and his contemporaries reading: Bonds 117-25, 136-45 listening: • Josquin, Ave Maria...virgo serena (anthology 33) • Pierre de la Rue (?), Absalon, fili mi (anthology 40) • Hayne van Ghizeghem, De tous biens plaine (anthology 42) • Isaac, Hélas, que pourra devenir (anthology 43) • Josquin, El grillo (anthology 45; another performance is available on the Bonds companion CD) • recommended: Josquin, Nymphes des bois ( Déploration de Jehan Ockeghem ) (Clark CD D) be able to sing: mm. 1-9 of your voice part of Absalon, fili mi journal: Compare Josquin’s Ave Maria...virgo serena to earlier (such as the Fauvel motet and Du Fay’s Nuper rosarum flores ). Which do you prefer, and why? 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 (such as the Fauvel motet Garrit Gallus / In nova fert / T. Neuma quinti toni ) to one from c. 1500 (such as Ave Maria...virgo serena or Absalon, fili mi ) • What factors lead to / reflect the high reputation from his day to ours of Josquin des Prez?

Monday 20 February: EXAM 2: Polyphony through Josquin

Wednesday 22 February: Frottola and reading: Bonds 145-50, 158-68 listening: • Marchetto Cara, Hor vendut’ho la speranza (anthology 44) • Arcadelt, Il bianco e dolce cigno (anthology 47) • Rore, Da la belle contrade d’oriente (anthology 48) • Casulana, Morir non può il mio cuore (anthology 49) • Marenzio, Solo e pensoso (anthology 50) • Luzzaschi, T’amo mia vita (anthology 51) • Lassus, Matona mia cara (anthology 52) journal: Imagine yourself as a courtier in Italy. Describe your experience of the madrigal. 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 to your group. (This includes being able to locate it both in the score and on the CD.) Friday 24 February: Secular song outside Italy reading: Bonds 159, 167-71 listening: • Sermisy, Tant que vivray (anthology 46) • Senfl, Zwischen Berg und tiefem Tal (anthology 53; recording on Bonds companion CD) • Sachs, Silberweise (anthology 54; recording on Bonds companion CD) • Milán, Al amor quiero vencer (anthology 55) • Morley, Now is the Month of Maying (anthology 56) • Dowland, Come, Heavy Sleep (anthology 57) journal: Compare the Dowland song and the Sermisy to one of the Italian . How are they different from each other? questions for thought: • Why do composers in France//Italy/England develop distinct secular song types in the sixteenth century? How do those types vary from one region to another?

Monday 27 February – Wednesday 1 March: Mardi Gras break—NO CLASS

Friday 3 – Monday 6 March: and Counter-Reformation reading: Bonds 171-78 (review also p. 104) listening: • Walter, Ein feste Burg ist unser Gott (anthology 58) • Tallis, Verily, Verily I Say unto You (anthology 59) • Byrd, Sing Joyfully unto God (anthology 60) • Palestrina, Missa Papae Marcelli (anthology 61) • Lassus, Cum essem parvulus (anthology 68) journal: 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? 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?

Wednesday 8 – Friday 10 March: Instrumental music in the sixteenth century reading: Bonds 150-57, 177-85 listening: (in addition to Hayne and Isaac songs assigned earlier) • Cabezón, Diferencias sobre la Dama le demanda (anthology 62) • Spinacino, Ricercar (anthology 63) • Andrea Gabrieli, Ricercar del 12o tuono (anthology 64) • Susato, “La morisque” (anthology 65; recording on Bonds companion CD) • Praetorius, dances from Terpsichore (anthology 66) It’d be great if groups of you could play De tous biens plaine and/or some of the Susato and Praetorius dances—if you’re interested in doing so, please let me know. Thanks! journal: Imagine yourself as a sixteenth-century courtier. Describe how you experience instrumental music. 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?

Monday 13 March: Elizabethan England (review material in Bonds and anthology) journal: Imagine yourself as an Elizabethan courtier. What kinds of music are you experiencing, and how? questions for thought: • Why do music and the arts flourish at Elizabeth’s court in a way not seen for some time before? Wednesday 15 March: Monteverdi and the end of the reading: Bonds 185-225 listening: • Peri, Dunque fra torbid’ onde (anthology 69) • Giulio Caccini, Sfogava con le stele (anthology 70) • Peri, Al fonte, al prato (anthology 71; recordings on Bonds companion CD and Clark CD B) journal: Imagine yourself as a member of the Florentine Camerata. Why is Peri’s and Caccini’s music so important to your group? questions for thought: • What musical and intellectual factors influence musical developments at the turn of the seventeenth century? • How do composers respond to these trends?

Friday 17 – Monday 20 March: Birth of opera (two versions) (journals collected Monday 20 March) reading: Bonds 229-34 listening: • Monteverdi, Orfeo (anthology 78) • Monteverdi, L’incoronazione di Poppea (anthology 79) journal: none for Friday; for Monday: Imagine yourself as a Venetian operagoer. What are you looking for in a performance, and how does Poppea provide (or not provide) those things? questions for thought: • What factors (musical, intellectual, historical, and social) led to the birth of opera? • How are the styles 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?

Wednesday 22 – Friday 24 March: Vocal music for church and chamber reading: Bonds 226-29, 234-37, 257-61 listening: • Francesca Caccini, Lasciatemi qui solo (anthology 75) • Strozzi, Tradimento! (anthology 76) • Moulinié, Enfin la beauté que j’adore (anthology 77) • Schütz, Singet dem Herren (anthology 80) • Schütz, Saul, was verfolgst du mich? (anthology 81) • Carissimi, Jepthe (anthology 86) journal: Which of these pieces do you like best, and why? 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?

Monday 27 March: EXAM 3: Sixteenth and early seventeenth centuries

Wednesday 29 March: Lully and the tragédie en musique reading: Bonds 238-42 listening: Lully, Armide (anthology 82) journal: Imagine yourself as a French operagoer. What are you looking for in opera, and how does Armide provide (or not provide) those things? questions for thought: • What factors affect the development of opera in France, and how do composers respond? Friday 31 March: Dramatic music in England reading: Bonds 252-57 listening: • Purcell, Dido and Aeneas (anthology 84) • Gay and Pepusch, The Beggar’s Opera (anthology 85) I’d appreciate it if someone could bring in a copy of Nine Inch Nails’ The Downward Spiral —we’ll discuss why in class! journal: Imagine yourself as an English theatergoer. What are you looking for in a dramatic work, and how does Dido provide (or not provide) those things? questions for thought: • What factors affect the development of dramatic music in England, and how do composers respond?

Monday 3 – Wednesday 5 April: Baroque instrumental music (essay 3 due Wednesday 5 April) reading: Bonds 270-89 listening: • Corelli, Concerto Grosso in F Major, op. 6 no. 2 (anthology 89; another performance available on Bonds companion CD) • Vivaldi, Violin Concerto in A minor, op. 3 no. 8 (anthology 90) • Jaquet de la Guerre, Pièces de clavecin (anthology 91) • Rebel, “Le cahos” from Les élémens (anthology 92) • recommended: Corelli, Trio sonata in A Major, op. 4 no. 3 (Clark CD B) journal: Compare the Corelli and Vivaldi works. 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?

Friday 7 April: Keyboard music reading: Bonds 289-300 listening: • Frescobaldi, Toccata IX, 2o Libro (anthology 93) • Buxtehude, Praeludium in G minor, BuxWV 149 (anthology 94) • J. S. Bach, The Well-Tempered Clavier (anthology 95; note that the C# minor prelude and fugue are on the Bonds companion CD) • Pachelbel, chorale prelude on the Magnificat peregrine toni (anthology 96) • J. S. Bach, chorale prelude on Meine Seele erhebt den Herren (anthology 97) • J. S. Bach, Aria mit dreißig Veränderungen (“Goldberg Variations”) (anthology 98; another performance is available on the Bonds companion CD) • optional: Sweelinck, Fantasia chromatica (Clark CD B) If any of you are able and willing to play either of the WTC fugues, please let me know. be able to sing: the melody on which the two chorale preludes are based journal: Imagine yourself as a German organist. Describe the kinds of music you tend to perform in church. questions for thought: • How can you divide these pieces into a few basic trends?

Monday 10 April: Opera seria reading: Bonds 242-52 listening: Handel, Giulio Cesare (anthology 83) journal: Imagine yourself as a London operagoer, listening to Handel’s Giulio Cesare . What do you like about this performance, and what don’t you like? questions for thought: • What factors led to the development of opera seria? • Why is this genre so difficult for many listeners today (and earlier)? Why, despite these difficulties, was it so popular in the eighteenth century? Wednesday 12 April and Monday 17 April: George Frideric Handel listening: Handel, Zadok the Priest (anthology 87) journal: Imagine yourself as a London theatergoer. What do you like (or not like) about Handel’s oratorios? questions for thought: • Why does Handel move from writing Italian opera to English oratorio?

Friday 14 April: Good Friday—NO CLASS

Wednesday 19-Friday 21 April: Johann Sebastian Bach (journals collected Wednesday 19 April) reading: Bonds 237-47 listening: (in addition to JSB works already assigned) • J. S. Bach, Jesu, der du meine Seele , BWV 78 (anthology 88; entire cantata on Clark CD B) be able to sing: chorale on which Cantata 78 is based (see the last movement) journal: Imagine yourself as a member of the congregation at the Thomaskirche in Leipzig. Describe the music you hear in church and the effect it has on you. 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?

FINAL EXAM: Monday 24 April, 11:30-1:30. This will include both material covered since the last exam and a comprehensive component.