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Abstract/Syllabus:
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Cuthbert, Michael Scott, 21M.220 Early Music, Spring 2007. (Massachusetts Institute of Technology: MIT OpenCourseWare), http://ocw.mit.edu (Accessed 09 Jul, 2010). License: Creative Commons BY-NC-SA
21M.220 Early Music
Spring 2007
An illustration from a manuscript of the Cantigas de Santa Maria ("Songs to the Virgin Mary"), one of the largest collections of monophonic (solo) songs from the middle ages. (Image courtesy of Wikipedia.)
Course Description
This class covers the history of Western music from antiquity until approximately 1680, about 2000 years worth of music. Rather than cover each topic at the same level of depth, we will focus on four topics in particular and glue them together with a broad overview of other topics. The four topics chosen for this term are (1) chant structure, performance, and development; (2) 14th century music of Italy and France; (3) Elizabethan London; and (4) Venice in the Baroque era.
The class will also introduce many of the tools we use in studying music history such as manuscript study, original notation work (the musical equivalent of foreign language study), and historical performance practice.
Syllabus
Help support MIT OpenCourseWare by shopping at Amazon.com! MIT OpenCourseWare offers direct links to Amazon.com to purchase the books, and purchase and listen to sample tracks of the music cited in this course. Click on the book or CD titles and purchase the book or CD from Amazon.com, and MIT OpenCourseWare will receive up to 10% of all purchases you make. Your support will enable MIT to continue offering open access to MIT courses. |
The calendar below lists topics by session.
Course Requirements
Listening
Listening as much and as well as you can is an essential part of success in this subject. Plan to spend a minimum of six hours outside of class per week reading, listening, and studying. If you cannot find six hours in your schedule you probably do not have time to take this class. The average class meeting will have about 20 minutes of listening assigned, usually in the form of several short works, many of which are too dense to get at in a first hearing. Some of the listening may be passive or familiarity listening - putting on the CDs while finishing a Chem. problem set or organizing your desk - but the majority will need to be active and without distraction. Make sure you have a place where you can do this listening undisturbed. I have tried as much as possible to get good recordings of great pieces; I hope they are enjoyable.
Writing Assignments
This subject is CI-M, requiring at least twenty pages of writing (exclusive of revisions). There will be at least two short response papers (either one page or 2-3 pages) and two major papers, first 8-15 pages, which will be revised and resubmitted, and a final paper of 10-20 pages. The papers serve three main purposes: to stimulate research interests in music before 1680, to improve your academic writing in general, and to improve your writing about music in particular.
A reminder that the MIT writing center does great work in helping improve writing (including making amazing writers even better). And, scheduling an appointment to have someone look over your work a couple of days before it's due is a wonderful incentive to actually writing before the night before.
The first paper is due on Lec #10 (with revisions due on Lec #16). The final paper is due on Lec #24.
Presentations
At least one presentation in class will be required. The length and format will depend on how many of us are in the class (i.e., it may be a shorter individual presentation or longer group presentation)
Exams
There will be two hour examinations in class (exam 1 will be held 5 days after Lec #11 and exam 2 will held 2 days after Lec #22). No assignments will be due during exam period.
Participation
Your participation (including but not limited to attendance) is important. In addition to classroom time, attendance is required at two concerts in which you are not a performer which include at least one piece (longer than 8 minutes) of a repertory is similar to that of this course (i.e., pre-1680). Only one may be a student concert. Turn in the concert program (or a stub if no program existed) and jot a paragraph about something you liked or didn't (5% total). I will announce some concerts of particular interest; Boston is an amazing town for Early Music so we should be able to find a number of great recitals.
Office of Sext
At the start of most sessions, the class will chant the Office of Sext for Tuesday (Feria Secunda ad Sextam), using appropriate chants for Lent, Passiontide, and the post-Easter season.
Office of Sext for Tuesday (Feria Secunda ad Sextam) (PDF)
One Final Requirement
It's great music, so let's enjoy it. Please let me know if you ever have concerns about the course or if you have suggestions for changes or improvements.
Grading
Grading will be calculated (approximately) as follows:
Grading criteria.
ACTIVITIES |
PERCENTAGES |
Two papers (20% each) |
40% |
Two exams (20% each) |
40% |
Participation |
20% |
Other smaller assignments will be figured into either the paper grade or the exam grade. Presentations and concerts will come from the participation grade. A failing grade may be assigned for failure of any of the five components of the class.
Required Texts
Wright, Craig, and Bryan R. Simms. "Antiquity through the Baroque." In Music in Western Civilization. Vol. 1. Belmont, CA: Thomson/Schirmer, 2006. ISBN: 9780495008651.
Roden, Timothy J., Craig Wright, and Bryan R. Simms. "Antiquity through the Renaissance." In Anthology for Music in Western Civilization. Vol. A. Belmont, CA: Thomson/Schirmer, 2006. ISBN: 9780495008798. [Book and CD]
Recordings
Many listening assignments are on the CD accompanying the required text Roden, et al. Anthology for Music in Western Civilization. Vol. A.
Other selections will be from various sources placed on library reserve, including individual CDs and the Recordings to Accompany the Norton Anthology of Western Music (NAWM).
Calendar
Course calendar.
SES # |
TOPICS |
KEY DATES |
Unit 1: Introduction, chant, and medieval music |
1 |
Introduction
Music in the medieval western church
Cycles of the day and of the year
Form of the mass and of the office
|
|
2 |
Preamble: Music in the Greek and Roman world
Mode and chant
Types of chants
Reading modern chant notation
Practice singing the office of sext
|
|
3 |
Types of chants (cont.)
Office review
Chant manuscripts and notation
Syllabic, neumatic, and melismatic chants
Hexachords and the Guidonian hand
|
|
4 |
Non-Gregorian chant
Modern chant books
Innovation in the chant repertoire (sequences, tropes)
Liturgical drama and the compositions of Hildegard of Bingham
Other chant traditions in the west and elsewhere
The unending tradition of chant
|
Assignment 1 due 5 days after Ses #4: Three versions of Viderunt Omnes in chant |
Bridge 1: From chant to 1315 |
5 |
Secular monophony in the middle ages
Troubadours and trouvères
Court life in the later middle ages
Discussion of previous assignment
Polyphony before the Magnus Liber
Theoretical sources and prehistory
Musica Enchiriadis
Earliest practical sources
Conductus
|
|
6 |
Polyphony in Paris (Notre Dame) and in the early 13th century
Anonymous IV
Leonin and Perotin
Organum and Discant
Modal rhythm
Ars antiqua motet: Introduction
|
|
7 |
Music in the 13th and early 14th century
Motets become secular
Ars antiqua manuscripts
Instrumental music: Danses reals
Roman de Fauvel
Philippe de Vitry
Isorhythm and hocket
Listening quiz 1
|
Assignment 2 due: Composition of Perotin style organum |
Unit 2: Music in the (mainly Italian) fourteenth century |
8 |
Guillaume de Machaut and music in France before 1370
Machaut, poet and musician
Formes fixes
Motets and mass
Reims vs. court life
Machaut and the Gesamtausgabe
|
|
9 |
Trecento music 1
Discussion and performance of Se per dureça
Principles of Italian notation
Jacopo da Bologna and the madrigal
Francesco and the ballata
|
Assignment 3 due: Transcription of Se per dureça |
10 |
Trecento music 2: New trends in our knowledge of Italian music
Squarcialupi codex
Other sources
Zachara da Teramo and the Parody mass
Johannes Ciconia and the Motet
|
First paper due |
11 |
Simplicity and complexity
Keyboard music
Cantus Planus Binatim
Ars Subtilior
|
Assignment 4 due: Transcribe Missus ab arce |
|
Exam 1 |
|
Bridge 2: The continental renaissance |
12 |
The Renaissance and music 1420-1460
Guillaume Du Fay and his contemporaries
The English sound
Fauxbourdon
Motets and cyclic masses
Ockeghem and the canon
|
|
13 |
Vocal music: Josquin, his contemporaries, and his followers
Patronage
Documents and manuscripts
Josquin and his (or someone else's?) innovations; "Ave Maria"
"The pervasive myth of pervasive imitation"
|
|
14 |
Other innovations in continental music, 1460-1550
Palestrina and Lasso
Dance and keyboard music
Instrumental forms
French song
Protestantism and music
|
|
Unit 3: Elizabethan London |
15 |
From Dunstaple to Elizabeth: Tudor England
The Elizabethan Madrigal (Weelkes, Gibbons, etc.) and its Italian predecessors
Music printing
|
|
16 |
Chapel Royal
Catholicism and Anglicanism in England (William Byrd)
Music education, instruction, and theory (Thomas Morley)
|
Revised paper due
Assignment 5 due: Answer a few questions about Morley's Plaine and Easie Introduction
|
17 |
Instrumental music and lute song (Doug Freundlich, guest performer/lecturer)
Dowland and lute song
Consort music
Jane Pickering lute book ("Toys;" "Maids in Constrite")
"Can she excuse?"
"Woods so Wild?" (William Byrd setting no. 30)
"Fitzwilliam virginal book"
|
Assignment 6 due: Maids in Constrite worksheet |
18 |
Music in society: The cries of London
More secular music in England
More keyboard music
In Nomine music
Listening quiz 2
|
|
Bridge 3: Missed traditions in the late renaissance |
19 |
Chromaticism in the late 16th-century Italian mad-rigal
The dances and writings of Michael Praetorius
|
Second paper assignment out |
Topic 4: Music in Venice 1570-1660 |
20 |
Maestri di cappella Venice: (Rore), Williaert
(Andrea and) Giovanni Gabrieli and music in the Basilica of S. Marco
Cori spezzati. Gabrieli's music for brass
Preamble to the Baroque and the rise of a new style: Florentine Camerata; Peri, Cavalieri, etc. (early monody)
Basso Continuo
|
|
21 |
Monteverdi (1567-1642) before and in Venice |
|
22 |
Opera in Venice after Monteverdi
Barbara Strozzi
Venice's influence: Heinrich Schütz
Instrumental music in Venice
|
|
|
Exam 2 |
|
Conclusion: Other baroque music / music towards the end of the seventeenth century |
23 |
Non-Venetian developments: Oratorio: Carissimi, Jephte
Jewish music published in Venice
Church music towards the end of the century
|
|
24 |
Music in the 1680s |
Second paper due |
Readings
Help support MIT OpenCourseWare by shopping at Amazon.com! MIT OpenCourseWare offers direct links to Amazon.com to purchase the books cited in this course. Click on the book titles and purchase the book from Amazon.com, and MIT OpenCourseWare will receive up to 10% of all purchases you make. Your support will enable MIT to continue offering open access to MIT courses. |
Required Texts
Wright, Craig, and Bryan R. Simms. "Antiquity through the Baroque." In Music in Western Civilization. Vol. 1. Belmont, CA: Thomson/Schirmer, 2006. ISBN: 9780495008651.
Roden, Timothy J., Craig Wright, and Bryan R. Simms. "Antiquity through the Renaissance." In Anthology for Music in Western Civilization. Vol. A. Belmont, CA: Thomson/Schirmer, 2006. ISBN: 9780495008798. [Book and CD]
Weiss, Piero, and Richard Taruskin. Music in the Western World: A History in Documents. Belmont, CA: Thomson Wadsworth, 1984. ISBN: 9780028729008.
Other References
Barker, Andrew, ed. Greek Musical Writings. Vol. 1. New York, NY: Cambridge University Press, 1984. ISBN: 9780521235938.
Christensen, Thomas, ed. The Cambridge History of Western Music Theory. New York, NY: Cambridge University Press, 2002. ISBN: 9780521623711.
Ledger, Philip, ed. Oxford Book of English Madrigals. New York, NY: Oxford University Press, 1978. ISBN: 9780193436640.
Readings by Session
Course readings.
SES # |
TOPICS |
READINGS |
Unit 1: Introduction, chant, and medieval music |
1 |
Introduction
Music in the medieval western church
Cycles of the day and of the year
Form of the mass and of the office
|
|
2 |
Preamble: Music in the Greek and Roman world
Mode and chant
Types of chants
Reading modern chant notation
Practice singing the office of sext
|
Wright and Simms, pp. 0-28, esp. 6-7, 14-15, and 18-24.
Weiss and Taruskin. Plato, "Plato's Musical Idealism," pp. 6-10.
|
3 |
Types of chants (cont.)
Office review
Chant manuscripts and notation
Syllabic, neumatic, and melismatic chants
Hexachords and the Guidonian hand
|
Wright and Simms, pp. 28-34. |
4 |
Non-Gregorian chant
Modern chant books
Innovation in the chant repertoire (sequences, tropes)
Liturgical drama and the compositions of Hildegard of Bingham
Other chant traditions in the west and elsewhere
The unending tradition of chant
|
Wright and Simms, p. 34. |
Bridge 1: From chant to 1315 |
5 |
Secular monophony in the middle ages
Troubadours and trouvères
Court life in the later middle ages
Discussion of previous assignment
Polyphony before the Magnus Liber
Theoretical sources and prehistory
Musica Enchiriadis
Earliest practical sources
Conductus
|
Wright and Simms, pp. 41-52. |
6 |
Polyphony in Paris (Notre Dame) and in the early 13th century
Anonymous IV
Leonin and Perotin
Organum and Discant
Modal rhythm
Ars antiqua motet: Introduction
|
Wright and Simms, pp. 52-70.
|
7 |
Music in the 13th and early 14th century
Motets become secular
Ars antiqua manuscripts
Instrumental music: Danses reals
Roman de Fauvel
Philippe de Vitry
Isorhythm and hocket
Listening quiz 1
|
Wright and Simms, chapters 10-11. |
Unit 2: Music in the (mainly Italian) fourteenth century |
8 |
Guillaume de Machaut and music in France before 1370
Machaut, poet and musician
Formes fixes
Motets and mass
Reims vs. court life
Machaut and the Gesamtausgabe
|
Wright and Simms, chapter 12. |
9 |
Trecento music 1
Discussion and performance of Se per dureça
Principles of Italian notation
Jacopo da Bologna and the madrigal
Francesco and the ballata
|
Wright and Simms:
"Musical Interlude 1: From Medieval Manuscript to Modern Performance," pp. 95-101.
Chapter 14, pp. 102-110.
Long, Michael. "Trecento Italy." In Antiquity and the Middle Ages. Edited by James McKinnon. Englewood Cliffs, NJ: Prentice Hall, 1991, pp. 241-268. ISBN: 9780130361615.
|
10 |
Trecento music 2: New trends in our knowledge of Italian music
Squarcialupi codex
Other sources
Zachara da Teramo and the Parody mass
Johannes Ciconia and the Motet
|
|
11 |
Simplicity and complexity
Keyboard music
Cantus Planus Binatim
Ars Subtilior
|
Wright and Simms, chapter 13, pp. 89-95.
Gallo, F. Alberto. "The Practice of cantus planus binatim in Italy From the Beginning of the 14th to the Beginning of the 16th Century." In Le Polifonie primitive in Friuli e in Europa. Atti del congresso internazionale Cividale del Friuli, 22-24 agosto 1980. Edited by Cesare Corsi and Pierluigi Petrobelli. Rome, Italy: Torre d'Orfeo, 1989, pp. 13-30. ISBN: 9788885147201. (Skim)
Cuthbert, Michael Scott. "Counting our losses." From Trecento Fragments. PhD Thesis, Harvard University, 2006. (PDF) (Skim)
[The full dissertation is at Trecento Fragments and Polyphony Beyond the Codex]
|
|
Exam 1 |
|
Bridge 2: The continental renaissance |
12 |
The Renaissance and music 1420-1460
Guillaume Du Fay and his contemporaries
The English sound
Fauxbourdon
Motets and cyclic masses
Ockeghem and the canon
|
Wright and Simms:
Chapter 15, "Music in Renaissance Florence" (cf. Craig Wright's work on Nuper rosarum flores), pp. 110-115.
Chapter 16, "English Music," "Fauxbourdon," pp. 118-119, and "Dunstaple," pp. 121-123.
Chapter 17, "Music in Burgundy" (on Du Fay and Binchois), pp. 123-131.
Chapter 18, "Ockeghem," pp. 132-135.
|
13 |
Vocal music: Josquin, his contemporaries, and his followers
Patronage
Documents and manuscripts
Josquin and his (or someone else's?) innovations; "Ave Maria"
"The pervasive myth of pervasive imitation"
|
Wright and Simms:
Chapter 19, "Jacob Obrecht and the Multiple Cantus Firmus Mass."
Chapter 21, "Josquin des Prez and Music in Ferrara."
Chapter 20, "Popular Music in Florence 1475-1540," "The Carnival Song and the Lauda," and "The Frottola."
|
14 |
Other innovations in continental music, 1460-1550
Palestrina and Lasso
Dance and keyboard music
Instrumental forms
French song
Protestantism and music
|
Wright and Simms:
"Musical Instruments," and "The Basse Danse," pp. 142-144.
Chapters 22-24, pp 168-202. (186-190 are optional)
Chapter 25, "Rome and Music of the Counter-Reformation."
|
Unit 3: Elizabethan London |
15 |
From Dunstaple to Elizabeth: Tudor England
The Elizabethan Madrigal (Weelkes, Gibbons, etc.) and its Italian predecessors
Music printing
|
Wright and Simms:
Chapter 20, "The Early Madrigal in Florence," pp. 155-58.
Chapters 26 and 27, music in Elizabethan England, pp. 210-222.
|
16 |
Chapel Royal
Catholicism and Anglicanism in England (William Byrd)
Music education, instruction, and theory (Thomas Morley)
|
Atlas, Allan W. "Elizabethan England." In Anthology of Renaissance Music. New York, NY: W.W. Norton and Sons, 1998, pp. 661-75. ISBN: 9780393971699.
Morley, Thomas. A Plaine and Easie Introduction to Practicall Musicke. London, UK, 1597 (1771 printing), pp. 1-9 and 74. (PDF - 1.0 MB)
|
17 |
Instrumental music and lute song (Doug Freundlich, guest performer/lecturer)
Dowland and lute song
Consort music
Jane Pickering lute book ("Toys;" "Maids in Constrite")
"Can she excuse?"
"Woods so Wild?" (William Byrd setting no. 30)
"Fitzwilliam virginal book"
|
Atlas, Allan W. "Elizabethan England." In Anthology of Renaissance Music. New York, NY: W.W. Norton and Sons, 1998, pp. 675-97. ISBN: 9780393971699.
Lute Tablature: Maids in Constrite (PDF)
|
18 |
Music in society: The cries of London
More secular music in England
More keyboard music
In Nomine music
Listening quiz #2
|
|
Bridge 3: Missed traditions in the late renaissance |
19 |
Chromaticism in the late 16th-century Italian mad-rigal
The dances and writings of Michael Praetorius
|
Wright and Simms. Chapter 28, "The Later Madrigal in Ferrara and Mantua," pp. 222-31.
|
Topic 4: Music in Venice 1570-1660 |
20 |
Maestri di cappella Venice: (Rore), Williaert
(Andrea and) Giovanni Gabrieli and music in the Basilica of S. Marco
Cori spezzati. Gabrieli's music for brass
Preamble to the Baroque and the rise of a new style: Florentine Camerata; Peri, Cavalieri, etc. (early monody)
Basso Continuo
|
Wright and Simms:
Chapter 23, "Renaissance Instruments: Instrumental Genres" (on Merulo), pp. 182-185.
Chapter 29, "Early Baroque Music," pp. 234-40.
Chapter 30, "Birth of Opera: Early Opera in Florence," pp. 240-44.
Chapter 31, "The Concerted Style in Venice and Dresden: Giovanni Gabrieli and the Concerted Motet," p. 254.
|
21 |
Monteverdi (1567-1642) before and in Venice |
Wright and Simms. "Early Opera in Mantua and Venice," pp. 244-50; and "Claudio Monteverdi and the Concerted Madrigal," pp. 254-56.
Rosand, Ellen. "Venice, 1580-1680." In The Early Baroque Era. Edited by Curtis Price. Englewood Cliffs, NJ: Prentice Hall, 1993. ISBN: 9780132237932.
Weiss and Taruskin. "From the Letters of Monteverdi," pp. 180-84; and "Castrato Singers," pp. 225-229.
|
22 |
Opera in Venice after Monteverdi
Barbara Strozzi
Venice's influence: Heinrich Schütz
Instrumental music in Venice
|
Wright and Simms. Chapter 31, "Strozzi and Schütz," pp. 256-61.
Weiss and Taruskin. "Schütz Recounts his Career," pp. 184-86.
|
|
Exam 2 |
|
Conclusion: Other baroque music / music towards the end of the seventeenth century |
23 |
Non-Venetian developments: Oratorio: Carissimi, Jephte
Jewish music published in Venice
Church music towards the end of the century
|
Optional Reading
Wright and Simms. Chapter 32, "Religious Music in Baroque Rome," pp. 262-74.
|
24 |
Music in the 1680s |
Optional Reading
Wright and Simms. Chapter 33, "Instrumental Music in Italy," pp. 274-84; and Chapters 35-37, "Music in Paris and London," pp. 301-30.
|
|
|
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Further Reading:
|
Listening & Scores
This section contains documents created from scanned original files, which are inaccessible to screen reader software. A "#" symbol is used to denote such documents.
Help support MIT OpenCourseWare by shopping at Amazon.com! MIT OpenCourseWare offers direct links to Amazon.com to purchase the books, and purchase and listen to sample tracks of the music cited in this course. Click on the book or CD titles and purchase the book or CD from Amazon.com, and MIT OpenCourseWare will receive up to 10% of all purchases you make. Your support will enable MIT to continue offering open access to MIT courses. |
Recordings
[Anthology] The CD accompanying Roden, Timothy J., Craig Wright, and Bryan R. Simms. "Antiquity through the Renaissance." In Anthology for Music in Western Civilization. Vol. A. Belmont, CA: Thomson/Schirmer, 2006. ISBN: 9780495008798.
[NAWM 1996] Palisca, Claude, ed. Norton Recorded Anthology of Western Music. Vol. 1. New York, NY: W.W. Norton and Sons, 1996. ISBN: 9780393100570.
[NAWM 2006] Burkholder, J. Peter, and Claude Palisca, eds. Norton Recorded Anthology of Western Music. Vol. 1, Ancient to Baroque. 5th ed. New York, NY: W.W. Norton and Sons, 2006. 9780393106084.
Scores
Catholic Church. Graduale Triplex: seu Graduale Romanum Pauli PP. VI cura recognitum & rhythmicis signis a Solesmensibus monachis ornatum / neumis Laudunensibus (cod. 239) et Sangallensibus (codicum San Gallensis 359 et Einsidlensis 121) nunc auctum. Solemes: Abbaye Saint-Pierre de Solesmes, 1979. ISBN: 9782852740440.
———. Cantatorium, IXe siècle, n°359 de la Bibliotheque de Saint-Gall: Paléographie Musicale. Edited by Deuxième Série, Tome deux, and DOM André Mocquereau. Bern, Switzerland: Éditions Herbert Lang & Cie Sa., 1968.
———. Le missel de Bénévent VI-33: Paléographie Musicale. Edited by Tome vingt, DOM Jacques Hourlier, and DOM Jacques Froger. Bern, Switzerland: Peter Lang, 1983.
Hildegard, Saint. Symphonia Harmoniae Caelestium Revelationum . Peer, Belgium: Alamire, 1991.
Pickering, Jane. Jane Pickeringe's Lute Book c. 1616-c. 1650. Kilkenny, Ireland: Boethius Press, 1985. ISBN: 9780863140167.
Codices Electronici Sangallenses (CESG) - Virtual Library.
Listening
In addition to professional commercial recordings, this table also features links to some freely distributed amateur recordings and scores (via the Choral Public Domain Library) available on the Web. These supplemental recordings and scores give an introduction to the works, but recordings may lack some of the nuance or critical ear of the professional recordings and the scores may have some inaccuracies.
Course listenings.
SES # |
TOPICS |
RECORDINGS |
SCORES |
Unit 1: Introduction, chant, and medieval music |
1 |
Introduction
Music in the medieval western church
Cycles of the day and of the year
Form of the mass and of the office
|
|
|
2 |
Preamble: Music in the Greek and Roman world
Mode and chant
Types of chants
Reading modern chant notation
Practice singing the office of sext
|
Euripides. Stasimon Chorus, Orestes. Atrium Musicae de Madrid, Gregorio Paniagua. Anthology #1.
Seikilos. Epitaph (Skolion), "As long as you live." Atrium Musicae de Madrid, Gregorio Paniagua. Anthology #2.
Anon. Office: Antiphon (Tecum principium) and Psalm (Dixit Dominus). Cappella Giulia, Nicolas Jones. Anthology #3.
Anon. Mass: Introit (Puer natus est nobis) and Kyrie, from Mass for Christmas Day. Cappella Giulia, Nicolas Jones. Anthology #5-6.
|
The Office of Sext (PDF) |
3 |
Types of chants (cont.)
Office review
Chant manuscripts and notation
Syllabic, neumatic, and melismatic chants
Hexachords and the Guidonian hand
|
Anon. Mass: Gloria I, Gradual (Viderunt omnes), and Alleluia (Allelulia. Dies sanctificatus), from Mass for Christmas Day. Cappella Giulia, Nicolas Jones. Anthology #7-9. |
|
4 |
Non-Gregorian chant
Modern chant books
Innovation in the chant repertoire (sequences, tropes)
Liturgical drama and the compositions of Hildegard of Bingham
Other chant traditions in the west and elsewhere
The unending tradition of chant
|
Tuotilo of St. Gall. Introit trope, Hodie cantandus est nobis. Paul Berry, Cappella Giulia, Nicolas Jones. Anthology #10.
———. Kyrie trope, Omnipotens genitor. Paul Berry, Cappella Giulia, Nicolas Jones. Anthology #11.
Anon. Dies irae, dies illa. Cappella Giulia, Nicolas Jones. Anthology #12.
Hildegard of Bingen. O rubor sanguinis. Anonymous IV. Anthology #13.
———. "Scientia Dei," "Anima," "Stepitus Diaboli," and "Virtues" from Ordo virtutum. Sequentia, Barbara Thornton. Anthology #14.
[Focus especially on #12 and #13]
|
Wipo of Burgundy. Victimae Paschali Laudes. |
Bridge 1: From chant to 1315 |
5 |
Secular monophony in the middle ages
Troubadours and trouvères
Court life in the later middle ages
Discussion of previous assignment
Polyphony before the Magnus Liber
Theoretical sources and prehistory
Musica Enchiriadis
Earliest practical sources
Conductus
|
Bernart de Ventadorn. Can vei la lauzeta mover. Medieval Ensemble, Martin Best. Anthology #16.
Anon. Viderunt Hemanuel. Cappella Giulia, Nicolas Jones. [A troped polyphonic composition]. Anthology #18.
Magistrar Albertus of Paris. "Congaudeant Catholici" from Codex Calixtinus. Catherine Bott, New London Consort, Philip Pickett. Anthology #19.
|
|
6 |
Polyphony in Paris (Notre Dame) and in the early 13th century
Anonymous IV
Leonin and Perotin
Organum and Discant
Modal rhythm
Ars antiqua motet: Introduction
|
Leonin. Viderunt Omnes. Early Music Consort of London, David Munrow. Anthology #20.
-
Perotin. Viderunt Omnes.
-
Version 1: Early Music Consort of London, David Munrow. Anthology #21.
 Version 2: From Perotin. Hilliard Ensemble, Paul Hillier. ECM, 2000.
Anon. Orientis partibus ("Song of the Ass"). Orlando Consort, Philip Pickett. Anthology #22.
Anon. Ars antiqua motet: El mois d'avril / O quam sancta / Et gaudebit. Cappella Giulia, Nicolas Jones. Anthology #24.
|
Perotin. Viderunt Omnes. |
7 |
Music in the 13th and early 14th century
Motets become secular
Ars antiqua manuscripts
Instrumental music: Danses reals
Roman de Fauvel
Philippe de Vitry
Isorhythm and hocket
Listening quiz 1
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Anon. On parole de batre/A Paris/Frese nouvele. The Early Music Consort of London, David Munrow. Anthology #25.
Philippe de Vitry. "Garrit Galus," "In nova fert," and "Neuma." From Roman de Fauvel. Sequentia, Barbara Thornton. Anthology #28.
Anon. La quinta estampie real. The Early Music Consort of London, David Munrow. Anthology #29.
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Anon. On parole de batre / A Paris / Frese nouvele.
La quarte estampie real (PDF)#
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Unit 2: Music in the (mainly Italian) fourteenth century |
8 |
Guillaume de Machaut and music in France before 1370
Machaut, poet and musician
Formes fixes
Motets and mass
Reims vs. court life
Machaut and the Gesamtausgabe
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Guillaume de Machaut. Hoquetus David. The Early Music Consort of London, David Munrow. Anthology #31.
———. Je puis trop bien. Orlando Consort. Anthology #32.
———. Douce dame jolie. Gothic Voices, Christopher Page. Anthology #33.
———. "Rose, liz, printemps." The Mirror of Narcissus. Christopher Page, Gothic Voices. Hyperion, 1993.
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Guillaume de Machaut. Hoquetus David.
———. Kyrie, Mass of our Lady.
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Trecento music 1
Discussion and performance of Se per dureça
Principles of Italian notation
Jacopo da Bologna and the madrigal
Francesco and the ballata
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Jacopo da Bologna. Non al suo amante. Judith Malafronte, Newberry Consort. Anthology #37. [A two-voice madrigal with text by Petrarch.]
Landini, Francesco. Or su, gentili spiriti. Charlotte Dobbs, Jenna-Claire Kemper, Cappella Giulia, Nicolas Jones. Anthology #38. [A three-voice ballata.]
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10 |
Trecento music 2: New trends in our knowledge of Italian music
Squarcialupi codex
Other sources
Zachara da Teramo and the Parody mass
Johannes Ciconia and the Motet
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Antonio Zachara da Teramo. "Rosetta chi non cambi mai colore." Music for a Medieval Banquet. Newbury Consort. HMF Classical, 2001.
Ciconia, Johannes. "Doctorum Principum/Melodia Suavissima/Vir Mitis." Musicalis Scientia - Il Canto Goliardico nel Medioevo. Roberto Meo, Sator Musicae. Tactus 230001, 1998.
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Simplicity and complexity
Keyboard music
Cantus Planus Binatim
Ars Subtilior
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Cordier, Baude. Tout par compas suy composés. Ensemble Organum, Marcel Pérès. Anthology #35.
Philippus [or Philippcoctus] de Caserta. Par les bons Gedeons. Orlando Consort. Anthology #36.
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Exam 1 |
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Bridge 2: The continental renaissance |
12 |
The Renaissance and music 1420-1460
Guillaume Dufay and his contemporaries
The English sound
Fauxbourdon
Motets and cyclic masses
Ockeghem and the canon
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Dufay, Guillaume. "Adieu ces bons vins de Lannoys." The Garden of Zephirus. Gothic Voices, Christopher Page. Hyperion, 1992.
———. Nuper Rosarum Flores. Pomerium, Alexander Blachly. Anthology #39.
Anon. "L'homme armé." Cappella Giulia, Nicolas Jones. Anthology #44.
Dufay, Guillaume. Kyrie from Missa L'homme armé. Oxford Camerata, Jeremy Summerly. Anthology #45.
Ockeghem, Johannes. Kyrie from Missa Prolationem. The Clerks' Group, Edward Wickham. Anthology #47.
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Dufay. Nuper Rosarum Flores.
Anon. "L'homme armé."
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13 |
Vocal music: Josquin, his contemporaries, and his followers
Patronage
Documents and manuscripts
Josquin and his (or someone else's?) innovations; "Ave Maria"
"The pervasive myth of pervasive imitation"
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Obrecht, "Credo" from Missa sub tuum presidium. Capella Lipsiensis, Dietrich Knothe. Anthology #51.
———. "Ave Maria…virgo serena." Motets & Chansons. Hilliard Ensemble, Paul Hillier. EMI Classics, 1997.
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Josquin des Prez. El Grillo è bon Cantore.
———. "Ave Maria…virgo serena." In Anthology of Renaissance Music. Edited by New York, NY: W.W. Norton and Sons, 1998, pp. 159-66. ISBN: 9780393971699.
———. "Ave Maria…virgo serena."
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14 |
Other innovations in continental music, 1460-1550
Palestrina and Lasso
Dance and keyboard music
Instrumental forms
French song
Protestantism and music
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Palestrina, Giovanni. "Kyrie." From Missa Tu es Petrus. Choir of King's College, Stephen Cleobury. Anthology #70.
Claudin de Sermisy. Tant que vivray. (c. 1528) In original form and arrangment for voice and lute. Catherine Bott. Anthology #60.
Isaac, Heinrich. Innsbruck, ich muss dich lassen (c. 1515). Collegium Köln, Wolfgang Fromm. Anthology #64b.
Luther, Martin and Johann Walter. Ein feste Burg ist unser Gott (c. 1529). Cappella Giulia, Nicolas Jones. Anthology #66.
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Claudin de Sermisy. Tant que vivray.
Isaac, Heinrich. Innsbruck, ich muss dich lassen.
Walter, Johann. Ein feste Burg ist unser Gott.
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Unit 3: Elizabethan London |
15 |
From Dunstaple to Elizabeth: Tudor England
The Elizabethan Madrigal (Weelkes, Gibbons, etc.) and its Italian predecessors
Music printing
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Arcadelt, Jacques. Il bianco e dolce cigno (c. 1538). Consort of Musicke, Anthony Rooley. Anthology #56.
Vecchi, Orazio. Il bianco e dolce cigno (c. 1589). Capella Antiqua, Konrad Ruhland. Anthology #57. (skim)
King Henry VIII. "Pastyme with Good Companye" (c. 1520). Capilla Flamenca. Anthology #71. (skim)
Weelkes, Thomas. "As Vesta was from Latmos hill descending." Pro Cantione Antiqua. Anthology #75. (skim)
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Arcadelt, Jacques. Il bianco e dolce cigno.
Vecchi, Orazio. Il bianco e dolce cigno.
King Henry VIII. "Pastyme with Good Companye."
Weelkes, Thomas. "As Vesta was from Latmos hill descending."
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16 |
Chapel Royal
Catholicism and Anglicanism in England (William Byrd)
Music education, instruction, and theory (Thomas Morley)
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Byrd, William. "Though Amaryllis Dance in Green" (from Psalmes, Sonets, & Songs of sadnes and pietie, made into Musicke of fiue parts). Byrd: Music for Voice and Viols. In Nomine Players, Russell Oberlin. Lyrichord, 1995.
———. O Lord, Make thy servant, Elizabeth (c. 1570). King's Singers. Anthology #73.
———. Quomodo cantabimus. Motets; Mass for 4 voices with Propers. The Sixteen, Harry Christophers. Virgin Classics 7-91133-2, 1990.
Morley, Thomas. April is in my Mistress' Face. Hilliard Ensemble, Peter Hillier.
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Byrd, William. "Though Amaryllis Dance in Green." (PDF)#
———. O Lord, Make thy Servant, Elizabeth.
Morley, Thomas. April is in my Mistress' Face.
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17 |
Instrumental music and lute song (Doug Freundlich, guest performer/lecturer)
Dowland and lute song
Consort music
Jane Pickering lute book ("Toys;" "Maids in Constrite")
"Can She Excuse?"
"Woods So Wild?" (William Byrd setting no. 30)
"Fitzwilliam Virginal Book"
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Dowland, John. "Flow My Tears" (1600). Barbara Bonney, Academy of Ancient Music, Christoper Hogwood. Anthology #76.
———. "Can She Excuse My Wrongs?" from First Book of Songes (1597). I Saw My Lady Weep: Dowland's Songs and Lachrimae. Studio der fruehen Musik, Thomas Binkley. Archiv Produktion, 2002.
———. "The Earl of Essex Galiard." Lachrimae or Seauen Tears. Dowland Consort. Bis 1994.
Byrd, William. "The Woods So Wild." Pieces from the "Fitzwilliam Virginal Book." Ursula Duetschler. Claves, 1995.
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Dowland, John. Lachrimae. Leeds, UK: Boethius Press, 1974. [Reprint of the c.1605 edition.]
———. "Flow My Tears."
———. "Can She Excuse My Wrongs?"
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18 |
Music in society: The cries of London
More secular music in England
More keyboard music
In Nomine music
Listening quiz 2
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Selections from Cries and Ballades of London. Circa 1500. CRD, 1998.
- Ravenscroft, Thomas. "New Oysters" from Pammelia; and "Three Blind Mice" from Deuteromelia.
Dowland, John. "Fine Knacks for Ladies."
- Tye, Christopher. "In Nomine." Crye.
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Songs of Thomas Ravenscroft (PDF)#
Dowland, John. "Fine Knacks for Ladies."
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Bridge 3: Missed traditions in the late renaissance |
19 |
Chromaticism in the late 16th-century Italian madrigal
The dances and writings of Michael Praetorius
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Gesualdo, Carlo. "Moro, lasso" (1613). Manfred Schreier. Anthology #77.
Praetorius, Michael. "Voltas" (dances 210, 211, 236, 201), and "Bransle simple" (dance 1). Dances from Terpsichore. New London Consort, Philip Pickett. Polygram, 1990.
Certon, Pierre. "La, la, la, je ne lo dire." Madrigal History Tour. King's Singers. EMI Classics, 2004.
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Gesualdo, Carlo. "Moro, lasso."
Certon, Pierre. "La, la, la, je ne lo dire."
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Topic 4: Music in Venice 1570-1660 |
20 |
Maestri di cappella Venice: (Rore), Williaert
(Andrea and) Giovanni Gabrieli and music in the Basilica of S. Marco
Cori spezzati. Gabrieli's music for brass
Preamble to the Baroque and the rise of a new style: Florentine Camerata; Peri, Cavalieri, etc. (early monody)
Basso Continuo
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Merulo, Claudio. Canzona 5 (c. 1600). Washington Cornett and Sackbutt Ensemble, Michael Holmes. Anthology #63.
Gabrieli, Giovanni. "Sonata pian e forte a 8," from Sacrae Symphoniae (Venice 1597). The Canzonas and Sonatas from Sacrae Symphoniae 1597. His Majesty's Sagbutts and Cornetts. Hyperion, 1997.
Willaert, Adrian. Aspro core e selvaggio (mid 1540s). NAWM 1996, disc 2.
Caccini, Giulio. Perfidissimo volto, "solo madrigal" (c. 1590). NAWM 1996.
Peri, Jacopo. Three excerpts from Le musiche sopra l'Euridice (1600). NAWM 1996, disc 3.
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21 |
Monteverdi (1567-1642) before and in Venice |
Monteverdi, Claudio. Combatimento di Tancredi et Clorinda. Capella Savaria, Nicholas McGegan. Hungaroton HCD 12952, 1994.
———. "Zefiro Torna." Songs of Love and Death. Red Byrd. Factory FAC 336, 1990.
———. L'incoronazione di Poppea, Act I, scene 3. NAWM 2006.
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Monteverde, Claudio. Combatimento di Tancredi et Clorinda.
———. Zefiro Torna.
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22 |
Opera in Venice after Monteverdi
Barbara Strozzi
Venice's influence: Heinrich Schütz
Instrumental music in Venice
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Strozzi, Barbara. Lagrime Mie (1650s). NAWM 1996.
Schütz, Heinrich. Saul, was verfolgst du mich? (1650). Saul: Symphoniae Sacrae III. Musica Fiata, Kammerchor Stuttgart, Frieder Bernius. Deutsche Harmonia Mundia, 1989.
Marini, Biagio. Sonata IV per il violino per sonar con due corde (ca. 1626). Romanesca. Harmonia Mundia USA, 1997.
Cavalli, Francesco. Giasone, act I, scene 6 (7). Concerto Vocale, Rene Jacobs. Harmonia Mundi.
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Strozzi, Barbara. Lagrime Mie.
Schütz, Heinrich. Saul, was verfolgst du mich?
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Exam 2 |
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Conclusion: Other baroque music / music towards the end of the seventeenth century |
23 |
Non-Venetian developments: Oratorio: Carissimi, Jephte
Jewish music published in Venice
Church music towards the end of the century
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Carissimi, Giacomo. Selections from Jephte (ca. 1648). Jepthe; Jonas; Judicium. Gardiner, Monteverdi Choir, His Majesties Sagbutts & Cornetts. Erato 2292-45466-2, 1992.
Rossi, Salamone. Hashirim asher l'Shlomo [Songs of Solomon] (1623), Psalm 128 a 6. The Songs of Solomon. Corvina Consort, Zoltán Kalmanovits. Hungaroton 2006.
de Araujo, Juan. Los conflades de la estleya (late 1600s). NAWM 1996.
Locke, Matthew. O Be Joyful in the Lord, All Ye Lands (1664). From Anthems, Motets, & The Oxford Ode. The Choir of New College Oxford, The Parley of Instruments, Edward Higginbottom. Hyperion CDA 66373 1993.
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de Araujo, Juan. Los Conflades de la estleya.
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Music in the 1680s |
Corelli, Arcangelo. Trio Sonata op. 3 no. 2 (mvmts 1-2). From NAWM 2006.
de la Guerre, Elizabeth-Claude Jacquet. Mvt. 1 (Prelude) and 2 (Allemande). Suite no. 3 in A-minor. From NAWM 2006.
Lully, Jean-Baptiste. "Finally, he's in my power" from Armide.
Purcell, Henry. "Thy Hand Belinda…When I am laid to rest." Dido and Aeneas. From NAWM, Tracks 19 and 20. From NAWM 2006.
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Purcell, Henry. Dido and Aeneas. |
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