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					                                                                             Professor DeFord
                                                                             Spring 2002

                                     MUSHL 205: SYLLABUS

  I. Objectives

       This course is the first semester of a four-semester music-history sequence required of all
       music majors. Prerequisite or corequisite courses are MUSTH 120 and ENGL 120. Specific
       objectives are:

       A. To provide an overview of the history of music in western culture to about 1750.
       B. To introduce tools and methods of library research in music.
       C. To develop writing skills applied to the field of music.

II.    Required materials

       A. Multimedia study guides: The text for the course is a set of multimedia study guides
          written by the instructor. It available in a computer-equipped practice room. Copies will
          also be available on disk for students who have access to PC computers outside of school.
           You may print out the information in these guides, but they are intended to be used
          primarily at a computer, which coordinates text, graphics, and sound.

       B. Recordings: Three CDs containing all pieces required for listening will be distributed in
          class. Students will purchase them at cost ($10.00 for the set).

       C. Scores: Students will purchase the score anthology for K. Marie Stolba, The Development
          of Western Music, vol. 1 ($34.00). This anthology must be brought to class every day.
          Pieces not in the anthology will be handed out.

III.   Assignments

       A. Multimedia study guides: Reading and aural study from the multimedia study guides is
          assigned for each class.

       B. Listening: 1-3 short pieces or movements are assigned for each class. Students must
          listen to each of them several times and get to know them very well. Listening should be
          done in a variety of ways: following the scores, using the multimedia study guides, and
          without visual aids.

       C. Written assignments: Written assignments involving library research and analysis of the
          assigned pieces are due on alternate Mondays throughout the semester.

IV.    Examinations

       A. Quizzes: 2/20, 3/18, 4/22, 5/6
       B. Full-period examinations: 3/4, 4/8
       C. Final examination: Wednesday, May 22, 5:20-7:20 p.m.

   V. Grading policy

       Grades for this course will be determined as follows:

           Library assignments:                 30%
           Quizzes:                             10%
           Full-period examinations:            30%
           Final examination:                   30%

       For further information, see handout on Grading Policy.

 VI.   Instructor information

       Professor Ruth DeFord
       Room 400G

       Office hours: Mondays, 2:00-4:00, and by appointment

VII.   Course Web Page:; search ERES; choose ERES 3.1. Use instructor
       name (DeFord), not course number, to find the page. (The course number is incorrect in the
       computer.) All handouts except supplementary scores will be available on the web page.

W 1/30 Introduction to the course (study guide: Introduction)

                                  Unit I: The Middle Ages

M 2/4     Chants of the Office (800-1000)

          The Middle Ages: Historical overview, Characteristics of musical style (study guide)
          Gregorian chant (study guide)
          Psalm 109 with Antiphon Tecum principium (handout)

W 2/6     Chants of the Mass (800-1000)

          Kyrie: Kyrie I (p. 4)
          Alleluia: Alleluia Pascha nostrum (p. 7)

M 2/11 Paraliturgical and secular monophony (1000-1200)

          Sequence: Victimae paschali (p. 14)
          Troubadour song: Bernart de Ventadorn, Can vei la lauzeta (handout)

W 2/13 Organum (1100-1200)

          Organum (Notre-Dame): Leonin, Alleluia Pascha nostrum (p. 22)

M 2/18 No class

W 2/20 Medieval motet (1200-1300)

          Motet: Gaudeat devotio/Nostrum (music--p. 23; words--handout)
          Motet: En non diu/Quant voi/Eius in oriente (p. 32)
          QUIZ #1

M 2/25 Medieval motet and Mass (1300-1400)

          Motet: Vitry, Garrit gallus/In nova fert/Neuma (p. 50)
          Machaut, Mass: Agnus Dei (p. 54)

W 2/27 Polyphonic secular song (1300-1400)

          Ballade: Machaut, De toutes flours (handout)
          Madrigal (medieval): Jacopo da Bologna, Fenice fu (p. 58)

M 3/4     EXAMINATION #1

                                  Unit II: The Renaissance

W 3/6    Renaissance motet (1400-1450)

         The Renaissance: Historical overview, Characteristics of musical style (study guide)
         Dunstable, Quam pulchra es (p. 66)

M 3/11 Mass (1400-1500)

         Dufay, Missa L'homme armé: Agnus Dei (p. 75)

W 3/13 Renaissance motet (ca. 1500)

         Josquin, Ave Maria (p. 82)

M 3/18 Italian madrigal (1500-1600)

         Rore, Da le belle contrade (p. 102)
         QUIZ #2

W 3/20 French chanson and English madrigal (1500-1600)

         Janequin, A ce joly moy (p. 115)
         Morley, April is in my mistress' face (p. 118)


M 4/1    Mass (1500-1600)

         Palestrina, Pope Marcellus Mass: Credo (handout)

W 4/3    Motet (1500-1600)

         Lassus, Tristis est anima mea (p. 131)


                                     Unit III: The Baroque

W 4/10 Sacred concerto (1600-1650)

          The Baroque: Historical overview, Characteristics of musical style (study guide)
          Gabrieli, In ecclesiis (p. 145)
          Schütz, O quam tu pulchra es (p. 195)

M 4/15 Madrigal and monody (1600-1650)

          Monteverdi, Cruda Amarilli (p. 167)
          Caccini, Amarilli mia bella (p. 164)

W 4/17 Early Italian opera (1600-1650)

          Monteverdi, L'Orfeo: excerpt (handout)

M 4/22 French and English opera (1650-1700)

          Lully, Alceste: overture (p. 182)
          Purcell, Dido and Aeneas: final scene (p. 184)
          QUIZ #3

W 4/24 Suite (1700-1750)

           Couperin, 25th Ordre: "La Montflambert," "La Muse victorieuse," "Les ombres
    errantes" (p. 221)

M 4/29 Sonata (1700)

          Corelli, Sonata, op. 5 no. 1 (p. 225)

W 5/1     Concerto (1700-1750)

          Vivaldi, Concerto, op. 3, no. 6 (p. 230)
          Bach, "Brandenburg" Concerto no. 5: movement 1 (handout)

M 5/6     Prelude and fugue (1700-1750)

          Bach, Prelude and Fugue in C Minor, from The Well-Tempered Clavier I (p. 275)
          QUIZ #4

W 5/8     Cantata and chorale prelude(1700-1750)

          Bach, Cantata #140 (Wachet auf) (handout)

           Bach, Wachet auf (chorale prelude; handout)

M 5/13 Opera seria and oratorio (1700-1750)

           Handel, Giulio Cesare: act III, scene 7 (p. 278)
           Handel, Messiah: "Comfort ye," "Every valley," "And the glory of the    Lord," "For
           unto us a child is born" (p. 284)

W 12/15 Review

W 5/22 FINAL EXAMINATION, 5:20-7:20 p.m.


1.   Reading and aural study of the multimedia guides for the genres, composers, and pieces is
     included in every assignment. The study guides are mentioned specifically only when a more
     general topic is assigned.

2.   Scores of most pieces are in the Stolba anthology. Page numbers of the scores are given after
     each piece.

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