Chesterton Academy of Our Lady of Victory Choir/Music appreciation - 09 | 2019-2020 Instructor Information: Dr. Michael Kilcoyne – [email protected] Curricular Course Goals/Objectives At the successful completion of this course the student will be able to: • Understand and describe fundamental terminology related to rhythm, pitch, notation, the structure of music, orchestral instruments, musical form, and musical style. • Listen to, analyze, and describe Ancient, Medieval and Renaissance music, composers, theorists, concepts, and terminology, especially as they relate to the history and liturgy of the Catholic Church. • Understand, describe, and demonstrate the fundamentals of healthy singing technique including: matching pitch, steady beat, physiology, alignment, registration, breathing, and how to practice. • Improvise, arrange, compose, sing, and play melodies within the diatonic scale (major and minor modes) in stepwise motion or leaping within the tonic triad. • Sing and play with expression and technical accuracy music written for the solo voice and in 4-parts, with and without accompaniment, including some songs performed from memory. Demonstrate well-developed ensemble skills. • Demonstrate an understanding of and perform music for the Mass and Office. Course Requirements In-class assignments – 20% Homework – 20% Presentations – 20% Participation – 20% Final Mass and Compline– 20% Assignments All assignments are due at the start of the class period for which they were assigned. Late assignments will lose 10% for each weekday they are late, including the day they are due if they are submitted late on that day. Date Material Assignment 2/12 Assign presentations Listen pg. 58 – 61 Introduction to the Middle Ages: life in Medieval Europe, heritage, role of music. Music in antiquity: Pythagoras, Plato, Aristotle, Aristoxenus. Boethius, Augustine. 2/13 Chant and Liturgy: Clement of Alexandria, St. Basil, St. Listen pg. 62 – 64 John Chrysostom, St Ambrose, St Augustine, St. Jerome, Charlemagne. Introduction to Plainchant. 2/19 Romanos the Melodist (c. 490 – 560) John of Damascus (c. 675 – 749) 2/20 The Mass 2/26 Joseph the Hymnographer (c. 816 – 886) Notker Balbulus (c. 840 – 912) 2/27 The Divine Office 3/4 Guido d’Arezzo (c.991 - after 1033) Listen pg. 64 – 66 Hildegard of Bingen (1098 – 1179) 3/5 The Vernacular Tradition 1000 – 1300: France, courtly love, troubadours, jonglars, trouvèrs, Chanson de Roland, Germany, minnesingers, Nibelungenlied, Tristan, Kreuzlied 3/11 Leonin (before 1150 – 1201) Listen pg. 67 – 70 Pérotin (c. 1160 – c. 1225) 3/12 Notre Dame: Leonin, Magnus Liber, discant, rhythmic modes, control of intervals, organum, Perotin, clausulae, early motet 3/18 Practice “Ave Verum Corpus” 3/19 Practice “Jesu, Joy of Man’s Desiring” 3/25 3/26 4/1 Adam de la Halle (c. 1237 – 1288) Franco of Cologne (13th century) 4/2 13th century motets 4/8 Petrus de Cruce (c. 1260 – after 1302) Philippe de Vitry (1291 – 1361) 4/9 4/15 No School (Easter Break) 4/16 4/22 Guillaume de Machaut (c. 1300 – 1377) Listen pg. 70 - 72 4/23 14th Century France: Ars Nova, Ars Nova Musicae, Speculum Musicae, Guillaume de Machaut, Philippe de Vitry, Roman de Fauvel, isorhythmic motet, liturgical polyphony 4/29 Francesco Landini (1325 – 1397) 4/30 14th Century in Italy: early ballata, madrigal, caccia, canonic madrigal, liturgical polyphony 5/6 John Dunstaple (c. 1390 – 1453) 5/7 “Perfect Beauty” the Avignon Style 5/13 Guillaume duFay (1397 – 1474) 5/14 Introduction to the Renaissance 5/20 Bells/Practice Music 5/21 Review/Study Day 5/27 Final Exams 5/28 .