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SCHOOL OF MUSIC TEXAS STATE UNIVERSITY

SYLLABUS – SAN MARCOS

Semester and year: Fall 2011

Course number–Section–Title: MU 3315–1–History and Analysis of Music Meets (day, time, room): Monday and Wednesday, 9:30 -10:50 a.m.; Room 214

Instructor: Dr. Kay Lipton

Phone: (512) 245-2651 (Music Office); Email: kl28@txstate.edu; Office: Music 205

Office hours: Monday and Wednesday, 12:30-1:30; Tuesday, 8:00-9:00 and 12:30-1:30

Course Purposes and Objectives

Music 3315 is an intensive chronological study of music of the Medieval (from ca. the 10th century), the Renaissance, and the

Baroque periods (up to ca. 1750). Our approach will be both historical and analytical. Students will be exposed to the ideas, forces

and compositional innovations that shaped the thinking of composers of art music from the Medieval through the Baroque periods.

Musical works will be considered as representative of larger cultural, intellectual and political contexts on the one hand, and as

embodiments of pure musical craft on the other. Students will become acquainted with a number of representative works by major

composers from each of the musical periods. Students will also become familiar with the origins and development of major musical

genres, forms and styles. By the end of the semester students will have acquired facility in musical analysis, which will enable them

to be able to identify, through critical listening and score analysis, the different styles and genres from each of the periods. Students

will be introduced to the principal theoretical writings and aesthetic attitudes of each period. Lectures/discussions constitute the heart

of the course; to understand lectures fully you'll need to keep up with assigned listening and reading assignments for each meeting.

This course is designed for the music major at the junior level. LISTENING IS THE BACKBONE OF THIS COURSE!

Textbooks and Other Required Materials

Required reading and listening assignments will be drawn from the following, which are available in the bookstore:

1) Donald J. Grout, Claude V. Palisca and J. Peter Burkholder, A History of Western Music, 8th ed. (New York: Norton,

2010).

2) Claude V. Palisca, ed., Norton Anthology of Western Music, 6th. ed, vol. 1 [Fall semester] (New York: Norton, 2010).

3) 6-CD set, the Norton Recorded Anthology of Western Music, vol. 1 [Fall semester, “Ancient to Baroque”] (Sony Music,

Special Products, #s 1-6)

N.B.: Copies of the textbook, score anthology and 6-CD set are on reserve in the Schneider Music Library under Lipton, MU 3315.

Recommended Texts/Materials

Joseph Gibaldi and Walter S. Achtert, MLA Handbook for Writers of Research Papers, 7th

ed. (New York: The Modern Language

Association of America, 2009).

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Learning Outcomes

Upon successful completion of this course the student will be able to:

1. Describe the historical development of, and the cultural contexts for, music during the Medieval, Renaissance and Baroque

periods.

2. Identify, through critical listening and score analysis, specific compositions from each of the periods studied, Medieval,

Renaissance and Baroque.

3. Identify and express, with appropriate terminology, a knowledge of the changing musical procedures and ideals within each

of the musical-historical periods from above, with a goal toward the following:

a. Be familiar with the main musical services of the Catholic church during the Middle Ages.

b. Be able to transcribe plainchant and derive mode, performance style, and other technical details.

c. Discuss the emergence and development of polyphony during the Middle Ages.

d. Discuss secular music and its representative genres and forms associated with the ars nova and Trecento.

e. Be aware of the significant developments in musical notation and issues regarding performance in music of the

Middle Ages and Renaissance.

f. Analyze an isorhythmic structure by Machaut.

g. Recognize cadence procedures from the thirteenth through the fifteenth centuries--Phyrgian, Landini, Burgundian,

etc.

h. Recognize contrapuntal procedures in music from the fifteenth and sixteenth centuries, notably in pieces by Dufay

and Des Prez, including inversion, canzricrans, augmentation, diminution and canon.

i. Be familiar with the rise of national musical styles in the sixteenth century.

j. Discuss word painting techniques in English and Italian madrigals from the mid-to-late sixteenth century.

4. Analyze and discuss the following Baroque genres, forms, styles and procedures, among them the trio sonata, concerto,

fugue, suite (and ordre), opera, oratorio, sacred concerto, chorale cantata, da capo aria, French overture, and a number of

ground bass and ostinato patterns (chaconne, passacaglia, etc.).

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Grading Policy

Punctual attendance/class participation. Attendance is mandatory. Regular, on-time attendance, preparation of assigned material and

contribution to class discussions are expected. After three un-excused absences your final course grade will be lowered one half letter

grade; for each additional absence thereafter the grade will be lowered a half grade more. If you have problems keeping up, consider

moving to the front row, recording lectures and/or meeting with me.

Listening quizzes and related assignments. Listening is the backbone of this course! There will be four listening quizzes during the

semester, the first on Monday, 19 September, the second on Monday, 10 October, the third on Wednesday, 2 November, and the

fourth on Monday, 21 November. Listening examples will be drawn from the Norton Recorded Anthology... (Ancient to Baroque) and

from the supplemental CD (see p. 25 for contents, as well as for instructions on how to access the excerpts on line) that is on reserve in

the Schneider Music Library. You may be asked to name the composer, work, movement or section (if applicable) and if significant,

the date of the composition within three years. You will be asked stylistic questions about particular examples. The quizzes are to

prepare you for examinations and to familiarize you with the sorts of skills and knowledge that you should be assimilating. There are

no make ups for missed quizzes. Exceptions are in cases of a verified emergencies and school related field trips (i.e., a medical

emergency, death and required school field trips/performances); these must be accompanied by official, written documentation. * At

the beginning of each week of class students will access on TRACS the weekly set of Listening/Study Questions that are intended to

guide them in their understanding of the lectures, as well as to absorb essential concepts in the listening and reading assignments; the

purpose of these questions is to prepare students for their Midterm and Final examinations. Each set of questions (except Weeks VIII

and XVI) must be completed and submitted in class by the beginning of the following week (on Monday, unless a holiday), when they

will be evaluated and returned by the professor. Individual sets of study questions do not receive a letter grade, but represent in toto,

10% of your total course grade (ALL sets of questions must be submitted to receive credit for this portion of the grade). See p. 19 for

a sample format for the Study/Listening Questions. There are also occasional short writing and collaborative assignments that are

undertaken in class; these are, unless otherwise indicated, submitted on the day they are written. There are also analytical and

transcription assignments that are begun in class; submission dates are published in the syllabus and are announced in class.

Analytical Papers. There will be one (graded) written paper. This is a short analytical paper that must not exceed three pages in

length; it must be double-spaced. The paper is due on Monday, 26 September, at the beginning of class. Late papers are penalized

one letter grade per day. The option of handing in a late paper exists because papers are required to pass the course. Late papers must be submitted by the start of the last class meeting of the semester, before “dead day,” before the final exam period begins. Students who choose to submit drafts of papers (this is optional) must submit them to me not later than Monday, 19 September.

ONLY hard copies are accepted. Please remember that all written assignments must be based on your own work. If you borrow

ideas from other sources you must cite them in an appropriate manner, i.e., in footnotes (not in-text citations or endnotes), with a

supporting bibliography. I will recognize plagiarism1, which will automatically result in a failing grade (F) for the paper. Guidelines

for “Writing about Music” are included on p. 17 (these will assist in both writing the papers and with the weekly Study/Listening

Questions); guidelines for bibliographic and footnote citations are on pp. 22-24. Students who are not satisfied with their paper grade

(this applies only to those who did not submit paper drafts) may choose to rewrite and resubmit corrected papers, which may result in

an improved paper grade (students who elect to rewrite and resubmit their papers must integrate all corrections into their revision; they

must also attach their original paper to their rewritten one). The due date for revised, resubmitted papers is Tuesday, Monday, 24

October.

Examinations. A portion of your grade consists of one Midterm exam and a Final exam. The Midterm exam is on Wednesday, 12

October, from 9:30 to 10:20 a.m. The Final exam date will be announced. Each of the examinations will be non cumulative and will

consist of term identification, multiple choice, and essay questions. Many of the essay questions will already have been addressed in

class and included on the weekly Study/Listening Questions, so listen closely to lectures. You may receive study questions to help you

to prepare for the essays. There are no make ups for missed exams.

(Grading policy continued on next page)

1 To plagiarize means to take the ideas, writings, etc., of another and pass them off as one's own. See Jean L. McKechnie, ed., Webster's New Universal

Unabridged Dictionary, 2nd ed. (Simon and Schuster, 1983), 1371.

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(Grading Policy continued)

The above components will be weighed as follows: attendance/class participation (10%) study questions (10%), four listening quizzes

(each 5%; 20% total), one short analytical paper (20%), and one midterm examination and one final examination (each 20%). My

grading system is a numerical one; letter grades are broken down thus:

A+ 98 A 95 A- 91

B+ 88 B 85 B- 81

C+ 78 C 75 C- 71

D+ 68 D 65 D- 61

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Attendance Policy

Punctual attendance/class participation. Attendance is mandatory. Regular, on-time attendance, preparation of assigned material and

contribution to class discussions are expected. After three un-excused absences your final course grade will be lowered one half letter

grade; for each additional absence thereafter the grade will be lowered a half grade more. If you have problems keeping up, consider

moving to the front row, recording lectures and/or meeting with me.

Texas State Policies

Student Conduct Policy. As stated on p. 17 of the Faculty Handbook2, “unsatisfactory student conduct includes, but is not limited to

dishonesty, cheating, plagiarism, hazing and action disruptive to the teaching/learning process.” Such classroom disruptions could

include physical threats, sexual harassment or verbal disrespect, to either a student in the class or to the instructor. If, after issuing a

warning to a student in class the student continues to be disruptive, the instructor may ask the student to leave the class. It the student

fails to comply with this request, the instructor may request assistance from Security and Safety. Students who disregard student

conduct policy can be placed on disciplinary probation, administratively dropped from the class, suspended, or expelled from the

college for misconduct or other expressions of unsatisfactory citizenship.

ODS Policies. Students who require special accommodations for test taking (quizzes and/or midterm and final examinations) must

identify themselves to the instructor by the end of the first week of class. Students are also expected to provide the name and contact

information of their case worker in the Office of Disability Services to qualify for accommodations at Texas State. Students must

provide documentation of disability to ODS before services are requested. Services are provided for students from a variety of

disability backgrounds, including, but not limited to the following: acquired brain injury, attention deficit disorder, developmental

disability, general disabilities (blindness/visual impairment, cerebral palsy, chronic or intermittent conditions including cancer and

heart condition, epilepsy and seizure disorder, HIV/AIDS, multiple sclerosis, physical or mobility impairment), as well as other

psychological disabilities.

2 Available on line at http://www.dos.txstate.edu/handbook/rules/cosc.html

THERE ARE NO MAKE UPS FOR MISSED QUIZZES OR EXAMS. Exceptions are in cases of verified emergencies and school related field trips/performances (i.e., medical, death and school related field trips/performances); excused absences must be supported by official, written documentation.

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Classroom Policy on Cell Phones, Other Electronic Devices

At 9:30, once the lecture, demonstration or activity for the day has begun, students must have turned turn off their cell phones, I-

phones, blackberries, etc. Texting is not permitted during class. If a student is expecting an emergency phone call, she/he must notify

the instructor before the start of class; they will be asked to place their device in a “silent” mode. Students may use laptop computers

to take notes during class; however, the instructor reserves the right to monitor that process. If a student uses her/his laptop for other

activities besides note taking, the student will be asked to turn off her/his computer.

General Information

The attached syllabus lists lecture topics, reading and listening assignments, as well as dates for examinations, papers and listening

quizzes. Classes will address the subjects, readings and works listed in the syllabus. As you prepare for class you should listen to

each work with the score before the class in which it will be discussed. When you return later in the week to listen to the piece again,

you should consider the notes from class. Scores for most of the listening assignments are in the Norton Anthology of Western Music,

vol. 1 (N in the Syllabus). Supplemental listening assignments (L in the syllabus) are on a supplemental CD that is on reserve in the

Schneider Music Library; these excerpts may also be accessed on line, via an e-reserve.3 The Schneider Music Library is open

Monday through Thursday from 8:00 a.m. to 10:00 p.m., Friday from 8:00 a.m. to 5:00 p.m., Saturday from noon to 6:00 p.m., and

Sunday from 4:00 to 10:00 p.m.

All of the key terms that are introduced in class, and which are placed on the board before the start of the lecture, will be defined

during the lecture. Most of these terms are highlighted in your textbook in boldface italic type (as part of your assigned reading);

almost all of the terms and their definitions may also be found in the Glossary (Appendix I, after p. 986). Be sure that all term

definitions are written in your notes. If you cannot find a term in your notes, or in the Glossary, or if you are unclear about a term,

style, genre, etc., consult with the professor. In the inside cover of your textbook you will find a card with a registration code that will

allow you to access the publisher’s (Norton’s) Online Listening Lab, which includes links to other useful sources. This will perhaps

be useful as you review and prepare for quizzes and exams.

3 See p. 25 for instructions on how to access the e-reserve, audio file on line.

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Course Outline and Schedule for Semester

G = Grout, reading assignment in textbook

N = excerpts from the Norton Recorded Anthology (vol. 1), with CD #, selection #, and corresponding page # in score

L = Lipton, supplemental excerpts, accessed on line, via an e-reserve, audio file (see p. 26 for on line access instructions), OR on the

reserve CD in the Schneider Music Library, under Lipton, Music 3315 (contents indexed on p. 26)

WEEK DATE TOPIC

I W 24 August Orientation: Course Calendar

Introduction to the Music of the Middle Ages: The Early Christian Church; Plainchant

Listening: Excerpt in class/handout

“Minute” Paper!1

* Reading: Grout, skim 1-24; read 24-32 top

II M 29 August Introduction to the Music of the Middle Ages: The Early Christian Church; Plainchant (continued)

Introduction to Early Music: Plainchant and Liturgy

Notation; Performance Practice Issues

Listening: N Mass for Christmas Day, excerpts (ca. 10th-11th1 c.)/CD1, #s 4-23/pp. 8-23

* Reading: Grout, skim 1-24; read 24-39 top; 47-53

W 31 August Plainchant and Liturgy (continued)

Classification of Plainchant

Medieval Music Theory and Practice

[Begin in class plainchant transcription2; due Thursday, September 9

th, at the beginning of class]

Listening: N Office of Second Vespers for Christmas Day, excerpts (ca. 9th c.)/CD1, #s 24-28/p. 26

* Reading: Grout, read 32-39 top; 39-46 top; 54-60

1 In a single paragraph describe how this piece makes you feel. What specific musical elements cause you to feel this way?

2 As you begin your transcription consider the following: how will you notate and indicate meter, rhythm, tempo, text underlay/articulation/expressive symbols?

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WEEK DATE TOPIC

III M 5 September NO CLASS: Labor Day Holiday—campus closed

W 7 September Plainchant and Liturgy (continued)

Later Plainchant Developments and Additions to the Liturgy: Sequences; Tropes

Listening: N Sequence, Victimae paschali laudes (11th c.)/CD1, #29/p. 30

N Trope, Quem quaeritis in praesepe (10th c.)/CD1, #30/p. 32

* Reading: Grout, read pp. 61 bot.-65 top; skim 65-67

Music at Court: Secular Monophony [Troubadours; Trouvères]

Medieval Instrumental Music and Instruments

Listening: N Bernart de Ventadorn, Troubadour song [lament] Can vei la lauzeta mover (mid 12th c.)/CD1, #36/p. 39

N Adam de la Halle, Trouvère song "Robins m'aime" (Jeu de Robin et de Marion, 13th c.)/CD1 #38/p. 46

N Estampie (from Le manuscrit du roi, late 13th

c.)/CD1, #41/p. 55

* Reading: Grout, read 68-78; 79-80 mid.; 80-83

IV M 12 September [* Materials for Critical-Analytical Paper distributed; due Monday, 26 September]

The Beginnings of Polyphony: The Notre Dame Cathedral and Early organum

Listening: N Excerpts, parallel, oblique, mixed organum, 9th

c./CD1, #s48-50/p. 58

N Organum, Alleluia Justus ut palma, 12th c. (note-against-note, or discant organum)/CD1, # 51/p. 61

N Jubilemus, exultemus, mid-12th c. (Aquitanian polyphony in the style of florid organum, or organum

purum, or organum duplum)/ CD1, #53/p. 63

* Reading: Grout, read pp. 85-92

Léonin: Chants from the Magnus liber organi (plainchant, organum duplum, clausula)

The Rhythmic Modes [handout]; the Early Motet

Listening: N Léonin, Viderunt omnes (from the Gradual for Christmas Day); plainchant, florid organum (duplum or

purum), clausula (late 12th c.)/CD1, #s 57-65/p. 67

N Léonin, substitute clausula (Léonin) on the tenor “Dominus” from Viderunt omnes (from the Gradual for

Christmas Day)/CD1, #66/p. 76

N Motet, Factum est salutare/Dominus, on the tenor “Dominus”/CD2, #14/p. 98

N Motet, Fole acoustumance/Dominus, a bi-lingual motet on the tenor “Dominus”/CD2, #15/p. 100

N Motet, Super te Ierusalem/Sed fulsit virginitas/Dominus/CD2, #17/ p. 104

* Reading: Grout, read 92-101

(Week IV continued on p. 8)

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WEEK DATE TOPIC

(Week IV continued)

W 14 September Notre Dame Polyphony (continued)

Léonin: Chants from the Magnus liber organi (plainchant, organum duplum, clausula)

Listening: N Léonin, Viderunt omnes (from the Gradual for Christmas Day); plainchant, florid organum (duplum or

purum), clausula (late 12th c.)/CD1, #s 57-65/p. 67

N Léonin, substitute clausula (Léonin) on the tenor “Dominus” from Viderunt omnes (from the Gradual for

Christmas Day)/CD1, #66/p. 76

N Motet, Factum est salutare/Dominus, on the tenor “Dominus”/CD2, #14/p. 98

N Motet, Fole acoustumance/Dominus, a bi-lingual motet on the tenor “Dominus”/CD2, #15/p. 100

N Motet, Super te Ierusalem/Sed fulsit virginitas/Dominus/CD2, #17/ p. 104

N Perotin, organum quadruplum, Viderunt omnes (late 12th c.)/CD1, #67/p. 79

N Perotin, conductus, Ave virgo virginum (early 13th c.)/CD1, #79/p. 95

* Reading: Grout, read 92-101; 103-106

V M 19 September Listening Quiz #1, then:

The Thirteenth-Century Motet: the Franconian Motet

Listening: N Adam de la Halle, motet on the tenor “Omnes,”, De ma dame vient/Dieus, comment porroie/Omnes (late

13th c.)/CD2, #6/p. 109

* Reading: Grout, read 102-109

W 21 September French and Italian Secular Music in the Fourteenth Century

The ars nova: Secular Song and Guillaume de Machaut

The formes fixes: virelai, rondeau and ballade

Listening: N Guillaume de Machaut, Rondeau, Rose, liz, printemps, verdure (14th c.)/CD2, #24/p. 137

* Reading: Grout, read 113-117; Source Reading, “Innovations: Writing Rhythm,” pp. 122-124; 126 bot.-129

The Italian Trecento: Jacopo da Bologna; Francesco Landini

The madrigal, caccia and ballata

Listening: N Jacopo da Bologna, madrigal, Non al suo amante fù (14th

c.)/CD2, #31/p.148

N Gerardello da Firenze, caccia, Tosto ch’ l’alba (14th

c.)/CD2, #33/p. 152

N Francesco Landini, ballata, Non avrà ma' pietà (14th c.)/CD2, #35/p. 158

* Reading: Grout, read 135-139 top; skim 140-143

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WEEK DATE TOPIC

VI M 26 September [* Critical-Analytical paper due at the beginning of class]

Introduction to the Music of the Renaissance: The Early Renaissance, 1420-1490

English Music: John Dunstable

Listening: N John Dunstable, motet, Quam pulchra es (early 15th c.)/CD2, #42/p. 165

* Reading: Grout, read 145-151; skim 151-154; read 154-159 top; skim 159-166

Music at the Court of Burgundy: Guillaume Dufay

Listening: N Dufay, hymn, Christe, redemptor omnium (15th c.)/CD2, #49/p. 176

* Reading: Grout, read 167-171 mid; 173

W 28 September The Early Renaissance: 1420-1490 (continued):

The Burgundian chanson

Listening: N Guillaume Dufay, chanson [ballade], Reveilles vous et faites chiere lye (15th c.)/CD2, #46/p. 172

N Dufay, chanson [ballade], Se la face ay pale (ca. 1430)/CD2, #51/p. 179

* Reading: Grout, read 180-190

The Mass: Guillaume Dufay

Listening: N Dufay, "Gloria" from the Missa Se la face ay pale (ca. 1450)/CD2, #53/p. 180

* Reading: Grout, 184-189

VII M 3 October The Early Renaissance: 1420-1490 (continued):

Music Printing: Ottaviano Petrucci

The High Renaissance: 1490-1520

Josquin Des Prez; the Motet; the Mass

Listening: N Des Prez, motet, Ave Maria...virgo serena (ca. 1485)/CD 2, #67/p. 208

N Des Prez, "Kyrie" and “Credo” from Pange lingua Mass (early 16th c.)/CD3, #1/p. 217

[* Live performance of Josquin’s "Kyrie" in class; cooperative analytical project begun in class; submit answers

with Weekly Study/Listening Questions]

* Reading: Grout, read 191-209 top

(Week VII continued on p. 10)

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WEEK DATE TOPIC

(Week VII continued)

W 5 October The High Renaissance (continued): New Currents in the Sixteenth Century and the Rise of National Styles

German Music: the Lied

Italian Music: the frottola; the Italian Madrigal

* Midterm Review Sheets Distributed

Listening: N Heinrich Isaac, Lied, Innsbruck, ich muss dich lassen (ca.1500.)/CD2, #66/p. 204

N Marco Cara, frottola, Io non compro più speranza (ca. 1500)/CD3, #39/p. 290

N Jacob Arcadelt, madrigal, Il bianco e dolce cigno (ca. 1540)/CD3, #46/p. 293

* Reading: Grout, skim 198 bot..-201; read 201-202;; skim 240-242 top; read 243-246

VIII M 10 October Listening Quiz #2, then:

The High Renaissance, 1520-1560 (continued)

The Italian Madrigal

Listening: N Gesualdo, madrigal, "Io parto"e non più dissi (ca. 1590)/CD3, #65/p. 302

N Monteverdi, madrigal, Cruda Amarilli (1605)/CD4, #23/p. 387

* Reading: Grout, read pp. 246-259; skim 283, and 288-292; read 297 mid.-299

W 12 October MIDTERM

IX M 17 October The High Renaissance, 1520-1560 (continued):

Secular Song Outside Italy: the French chanson; the English madrigal; the English lute song

“Team Quizzes!”3

Listening: N Claudin de Sermisy, chanson, Tant que vivray (ca. 1527)/CD3, #60/p. 322

N Thomas Weelkes, madrigal, As Vesta was from Latmos Hill Descending (ca. 1601)/CD3, #762/p. 342

N John Dowland, air (lute song), Flow, my tears (ca. 1600)/CD3, #81/p. 353

* Reading: Grout, read 256 mid.-257; 259 mid.-262; skim 263

W 19 October The Late Renaissance, 1560-1600: Sacred Music

The Era of the Reformation: Martin Luther; Protestant Music

The Counter-Reformation; Giovanni Pierluigi da Palestrina; Catholic Music

Listening: N Martin Luther, Lutheran choral, Nun komm, der Heiden Heiland (1524)/CD3, #9/p. 232

N Luther, Lutheran chorale, Ein feste Burg (1529)/CD3, #10/p. 233

N Palestrina, "Credo" from the Pope Marcellus Mass (ca. 1560)/CD3, #19/p. 252

* Reading: Grout, read pp. 211-225; skim 225-227; read 227-234 top; read 210-232; skim 233-239

3 The class will be divided into three teams. Each team will be responsible for one-third of the lecture, with each lecture portion devoted to each of the three

national styles. After each of the three portions of the lecture each individual team (I, II and III) will prepare two multiple choice questions and one short essay question

for possible use on the final exam.

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WEEK DATE TOPIC

X M 24 October Introduction to the Music of the Baroque Period: New Styles in the Seventeenth Century

The Early Baroque Period, 1590-1640

The Monodic Style and the Beginnings of Opera

Listening: N Giulio Caccini, madrigal, Vedrò ‘l mio sol (1602), CD4, #20/p. 393

N Jacopo Peri, selections from L'Euridice (1601)/CD4, #22/p. 399

* Reading: Grout, read pp. 288-293; skim 293-296 top; skim 300 mid.-306

W 26 October The Early Baroque Period: New Styles in the Seventeenth Century (continued)

Claudio Monteverdi and L'Orfeo

Listening: N Monteverdi, excerpts from L'Orfeo (1607), CD4, #s27-34/p. 409 ff.

1) “Vi ricorda o brosi ombroschi,” CD4, #27/409

2) “In fiorito prato,” CD4, #31/p. 420

3) “Tu se’ morta,” CD4, #/p. 423

[* Video: excerpts from L'Orfeo]

* Reading: Grout, read 316-320; skim 320 bot. - 325

XI M 31 October The Early Baroque Period (continued): Sacred Music

The Sacred Concerto: Giovanni Gabrieli

The Oratorio: Giacomo Carissimi

The Sacred Symphony: Heinrich Schütz

Listening: N Giovanni Gabrieli, grand concerto, In ecclesiis (1615)/Supplemental CD4, #51/p. 466

N Carissimi, selections from Historia di Jephte (1650)/CD5, #1/p. 499

N Schütz, grand concerto, Saul was verfolgst du mich? (1650)/CD5, #7/p. 519

* Reading: Grout, skim 329-332 top; read 334-342 bot.

W 2 November Listening Quiz #3, then:

The Early Baroque Period: Instrumental Music for Keyboard and Violin

Girolamo Frescobaldi; Biagio Marini

Listening: N Girolamo Frescobaldi, Toccata No. 3 (1637)/CD5, #11/p. 537

N Frescobaldi, Ricercare after the Credo from “Mass for the Madonna” in Fiori musicali (1635)/CD 5,

#13/p. 540

N Biagio Marini, Sonata IV per il violino per sonar con due corde, (ca.1626)/CD5, #15/p. 544

* Reading: Grout, skim 264-270; skim 274-381; read 344 bot.-352

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WEEK DATE TOPIC

XII M 7 November The Middle Baroque Period, 1640-1690: Opera as an Institution (Venice)

Claudio Monteverdi's L'incoronazione di Poppea (1642)

“Debate and Response!”4

Listening: N Monteverdi, L'incoronazione di Poppea, Act I, scene 3/CD4, #s42 ff./p. 432

* Reading: Grout, read 318-319; skim 319-322; read 420-421

[* Video excerpts, L'incoronazione di Poppea]

W 9 November Seventeenth-Century Opera in France and England

Jean-Baptiste Lully and the tragédie lyrique

Henry Purcell’s Dido and Aeneas

Listening: N Lully, excerpts from Armide (1686), Act II, scene 5

1) Overture, CD 5, #23/ p. 553

2) Recitative/aria, “Enfin il est en ma puissance”/Venez, venez,”CD5, #30/p. 559

N Purcell, excerpts from Dido and Aeneas (1689), Act III

1) Dido’s recitative and aria, “Thy Hand, Belinda”/”When I am Laid in Earth,”CD5, # 42/p. 599

2) Chorus, “With Drooping Wings,” CD5, #43/p. 602

* Reading: Grout, read 373-376; skim 379-381 top

XIII M 14 November The Late Baroque Period, 1690-1750: Instrumental Music

Seventeenth-Century French Chamber Music

Keyboard Music: François Couperin

Italian Chamber Music; Arcangelo Corelli

Listening: N Couperin, two pieces from Vingt-cinquième ordre (1730)/CD6, #s31-33/p. 673

1) "La visionaire"/CD6, #31/p. 673

2) "La muse misterieuse"/CD6, #33/p. 675

N Corelli, Trio Sonata in D Major, Op. 3, No. 2 [4 mvts.] (1689)/CD6, #1/p. 642

[* Live in class performance of Couperin pieces]

* Reading: Grout, read 427 bot.-430 top; 390 to.-396

(Week XIII continued on p. 13)

4 Two teams of students will respond and debate the following performance practice issue with which producers and directors of Monteverdi’s opera must

persistently contend: in “modern,” i.e., twenty-first-century productions of L'incoronazione di Poppea should the role of Nero be sung by a castrato, a counter-tenor, a

female soprano or a male tenor? Why? Justify your position.

13

WEEK DATE TOPIC

(Week XIII continued)

W 16 November The Late Baroque Period: Instrumental Music (continued):

The Early Eighteenth-Century Instrumental Concerto

Antonio Vivaldi; Form and Style

Johann Sebastian Bach; the Concerto grosso

Listening: N Vivaldi, Concerto for Violin and Orhcestra in A Minor, Op. 3, No. 6 [3 mvts.] (ca. 1710)/CD6, #13/p.

656

N Bach, Brandenburg Concerto No. 5, mvt. I, BWV 1050 (1721)/Supplemental CD1, #4/score provided

* Reading: Grout, read 396-398 top; 420-427 bot. ; skim 436-439; read 439-448 top

XIV M 21 November Listening Quiz #4, then:

[* Final Review Sheets Distributed]

W 23 November NO CLASS: Thanksgiving Holiday--campus closed

XV M 28 November The Late Baroque (continued)

The Late Baroque (continued): Sacred Music

Johann Sebastian Bach; the Lutheran Chorale Cantata

Listening: N Bach, cantata, Nun komm, der Heiden Heiland, BWV 62 (1724), CD6, #52/p. 713

* Reading: Grout, read 448-454 top

W 30 November George Frideric Handel; Italian Opera in London

Listening: L Handel, excerpt from the opera Tamerlano (1724); Tamerlano's aria "Ah dispetto" (Act III, scene

4)/Supplemental CD1, #s12-13/handout

N Handel, excerpts from the opera Giulio Cesare (1724); Cleopatra’s recitative and aria (Act II, scene 2),

"V’adoro,pupille”/CD6, #67/p. 739

[* Excerpt from film Farinelli]

* Reading: Grout, read 454-460 bot.

XVI M 5 December The Late Baroque Period (continued)

George Frideric Handel: the English Oratorio

Listening: N Handel, excerpts from the oratorio Saul (two recitatives [“The Time at length is come” and “Where is the

Son of Jesse?”] and chorus [“O fatal Consequence of Rage”]) (1738)/CD6, #s 73-78/pp. 749 ff.

*Reading: Grout, read 454-460 bot.

Review for Final Exam

FINAL EXAM: TBA, options available

(students choose from one of three dates given to them during the first week of class)

14

APPROACH TO LISTENING ASSIGNMENTS

Listening is the backbone of this course!

Look over the entire assignment before listening: texts, charts, commentary and study questions (if provided). If necessary consult

the glossary of musical terms that begins in the Appendix (A1) after p. 986 of the textbook. Always refer to the Checklist of Things

for Which to Listen as you approach and listen to any new piece of music. You should develop your own questions even before

listening and expand upon these questions after listening. Continually ask yourself, "What is this music? What is it saying to me?

What can I say about it?"

More specific considerations might include:

Note the texture: the performing forces (number of parts, and type of instruments and/or voices) and the relationship of the parts

(melody-accompaniment, homophonic [chordal], contrapuntal, imitative, etc.). Consider how the texture contributes to the structure.

Consider the time relationships: the pace, or tempo (fast, slow, moderate), the groupings of notes according to accentual patterns, or

meter (duple, triple, compound), and whether there is anything remarkable about the rhythm. (Note that for much modern music, such

things as meter may not be readily ascertainable.)

Consider the dynamics. Is the passage soft, medium or loud? Do the dynamics remain the same during the course of the piece or do

they change? Consider what moods different dynamics convey.

Next turn your attention to the melodic line or lines. How are the melodies placed within the rage of particular voices or instruments

(what is the tessitura in which a particular melody lies)? Is the register (i.e., the placement within the range of a voice or instrument)

high, medium or low? What mood does the particular register convey?

What is the shape, or contour, of the melody under consideration? Your response to this may draw upon everyday vocabulary for

describing direction and shape (up, down, level, erratic, jagged, wide ranging, snake-like, convoluted, arching) or may use technical

terms denoting pitches next to each other (conjunct) and pitches separated by gaps (disjunct).

For pieces with text, note the declamatory style: firs in qualitative terms, then in quantitative terms:

(1) In qualitative terms:

Where does the passage in question fall on the scale from declamatory to tuneful?

(2) In quantitative terms:

What is the distribution of notes per syllable?

one note per syllable (syllabic)

a few notes per syllable (neumatic)

many notes per syllable (melismatic, florid)

As the course proceeds, you should develop an awareness of other musical aspects, such as tonal language, form (how a piece falls

into sections), and particular musical devices.

15

CHECKLIST OF THINGS FOR WHICH TO LISTEN

Performing Forces [particular category of] voice[s]

instruments: woodwinds, brass, percussion, strings, keyboard

Texture (1) the relationship of the parts to each other:

melody-accompaniment, chordal, (or homophonic), contrapuntal, imitative

(2) the thickness or thinness of the parts considered as a whole:

thin, thick

(e.g., full orchestra = thick; solo voice with little nor not accompaniment = thin)

Pace/Tempo slow, moderate, fast

Meter duple, triple, compound

Rhythm smooth, even, regular, irregular, dotted, agitated, pronounced, syncopated

Dynamics soft, medium, loud, crescendo (growing louder), decrescendo (growing softer)

Register low, middle, high

Melodic Contour up, down, level, erratic, jagged, wide ranging, snake-like, convoluted, arching

chromatic, conjunct, disjunct

Tonal language mode (major, minor)

diatonic, chromatic

relationship of different lines: consonant, dissonant

Declamatory style qualitative: declamatory-->tuneful

quantitative: syllabic, a few notes per syllable, melismatic (or florid)

Form how pieces fall into sections:

strophic, has a refrain, variations, etc.

Type of Piece aria, symphony, concerto, etc.

Musical Devices cadence, sequence, pedal point

Musical Organization alternation of types of pieces (or numbers)

recurrent ideas (refrains, themes, motives, intervals, sonorities)

16

VOICE CATEGORIES

Female

Soprano (high)

Coloratura (highest; capable of singing rapid passage work)

Lyric

Dramatic (heavy; capable of cutting through loud, thick orchestration)

Mezzo soprano (medium)

Contralto (low)

Male Soprano castrato (a male castrated before the onset of puberty, who thus retains a high voice comparable to a female

soprano)

Alto castrato (a male castrated before the onset of puberty, who thus retains a high voice comparable to a female

contralto)

Tenor (high)

Baritone (medium)

Bass (low)

17

Writing about Music: Formal and Technical Guidelines

All critical-analytical papers must be stapled and have a cover page, with a catchy title, your name, class, and the name of the

professor (see sample title page on p. 18). Your paper must be word-processed, double-spaced, with a font not larger than 12-pt.

Your paper should not exceed three pages in length. Be sure that your topic sentence and opening paragraph let the reader know the

main point of your essay. After you have stated your main point and objective, be sure that you have let the reader know how you

intend to make your point(s). Be sure that every paragraph has a clear topic sentence. Be sure that the last sentence of one paragraph

leads logically into the opening topic of the next paragraph. If appropriate, reserve your “opinion” for the end of the essay; as always,

opinions must be supported by fact, not supposition.

Titles of musical pieces must be set in italics (for example, the cantata, Nunn komm, der Heiden Heiland, BWV 62, by Bach, or the

opera, Giulio Cesare by Handel, or the patriotic song, America the Beautiful, by Samuel A. Ward). Titles of individual pieces within a

larger work or within a set of pieces are set in “quotes” (for example, the aria “Rejoice, greatly” from the oratorio Messiah by Handel,

or the keyboard piece “La visionaire” from the set of keyboard pieces Vingt-cinquième ordre, by Couperin.

When you use numbers in your writing spell out all numerals that are less than 100: “Beethoven completed nine symphonies.”

Numbers over 100 are used thus: “Haydn, however, wrote 104 symphonies.” When you refer to specific measure numbers in an

essay, refer to them in these ways: “Josquin’s first complete statement of the Pange lingua theme begins in m. 24. Between mm. 36-

39 he restates this material, though in diminution.” In these sentences the abbreviation “m.” refers to a single measure; the

abbreviation “mm.” refers to more than one measure.

If you quote, paraphrase or borrow ideas that are not your own from another source, i.e., from an author, book, magazine, journal,

program notes, or from an on line sources or web site, you must cite that source in an appropriate footnote (see correct formatting for

footnote citations on pp. 22-24). I do not accept in text citations or endnotes.

Late papers are penalized one letter grade per day. The option of handing in late papers exists because papers are required to pass the

course. Papers must be submitted by the start of the last class meeting of the semester, before the final exam period begins.

18

The Virtuoso Madrigals of Luzzascho Luzzaschi:

The Three Singing Ladies of Ferrara

Janet Wolf

Music 3315

Dr. Lipton

19

Janet Wolf

Study/Listening Questions

Week I

1. The institution that dominated musical life during the early Middle Ages was the Catholic church. The Clergy and church

officials were the only stratum of the society who were literate, and hence, the only ones who could read and write music.

2. Etc.

3. Etc.

20

A SELECT LIST OF BASIC RESOURCES4

Brown, Howard Mayer. Music in the Renaissance. History of Music Series. Englewood Cliffs, New Jersey: Prentice-Hall, 1976. ML172. B8

Brown, Howard Mayer. Performance Practice: Music Before 1600. The Norton/Grove Handbooks in Music. New York: Norton,

1990. [Not yet available at TSU libraries]

Bukofzer, Manfred. Music in the Baroque. New York: Norton, 1947. ML193. B8

---. Studies in Medieval and Renaissance Music. New York: Norton, 1950. ML172. B9

Boyd, Malcolm, ed. J. S. Bach. Oxford: Oxford University Press, 1999. ML410. B1 J15 1999

Butt, John, ed. The Cambridge Companion to Bach. London: Cambridge University Press, 1997. [Not yet available at TSU

libraries]

Carrell, Norman. Bach's Brandenburg Concertos. Fwd. Yehudi Menuhin. London: George Allen and Unwin Ltd., 1963. [Not yet

available at TSU libraries]

Carse, Adam. The History of Orchestration. New York: Dover, 1964. ML455. C32 1964

David, Hans T. and Arthur Mendel, eds. The Bach Reader. New York: Norton, 1966. ML410. B1 D24

* Davison, Archibald T. and Willi Apel. Historical Anthology of Music. Vol. 1. Cambridge, Mass.: Harvard University Press, 1950.

M2 D25H 1949 v. 1

Donnington, Robert. A Performer's Guide to Baroque Music. New York: Charles Scribners's Sons, 1973. [Not yet available at TSU

libraries]

Fallows, David. Dufay. London: J. M. Dent, 1982. ML410. D83 F3

Geiringer, Karl and Irene Geiringer. Johann Sebastian Bach: The Culmination of an Era. New York: Oxford University Press,

1966. ML410. B1 G43

Haines, John Dickinson. Eight Centuries of Troubadours and Trouvéres: the Changing Identity of Medieval Music. Cambridge:

Cambridge Univesrity Press, 2004. ML182. H25 2004

Hogwood, Christopher. Handel. London: Thames and Hudson, 1984. ML410 H13 H57 1985

Hoppin, Richard. Medieval Music. The Norton Introduction to Music History. New York: Norton, 1978. ML172 H8

Hughes, Don Anselm. Early Medieval Music Up to 1300. London: Oxford University Press, 1954. [Not yet available at TSU

libraries]

Knighton, Tess and David Fallows. Companion to Medieval and Renaissance Music. New York: Schirmer, 1992. ML172 C85 1992

Lang, Paul Henry. George Frideric Handel. New York: Norton, 1966. ML410. H13 L2

LaRue, Steven C. Handel and His Singers: The Creation of the Royal Academy Operas, 1720-1728. Oxford: Clarendon Press, 1995. ML410. H13 L23 1995

Marcuse, Sibyl. A Survey of Musical Instruments. New York: Harper and Row, 1975. [Not yet available at TSU libraries]

(Bibliography continued on next page)

4 Entries preceded by an * [asterisk] indicate that the source is available in the Schneider Music Library.

21

(Bibliography, continued)

Mellers, Wilfrid. Bach and the Dance of God. New York: Oxford University Press, 1981. 780.92 B 8-21 [Not yet available at TSU

libraries]

Montagu, Jeremy. Origin and Development of Musical Instruments. Lanham, MD.: Scarecrow Press, 2007. ML460. M76 2007

---. The World of Medieval and Renaissance Musical Instruments. Woodstock, New York: The Outlook Press, 1976. ML410. B1

M33 1981

Palisca, Claude. Baroque Music. Englewood Cliffs, New Jersey: Prentice Hall, 1968. ML193. P34

* Parrish, Carl and John F. Ohl, eds. Masterpieces of Music Before 1750. New York: Norton, 1951. M2. P25 M3

Pleasants, Henry. The Great Singers: from the Dawn of Opera to our Own Time. New York: Simon and Schuster, 1966. ML400.

P65

* Randel, Don, ed. The Harvard Dictionary of Music. 3rd ed. Cambridge, Mass.: The Belknap Press of Harvard University Press,

2003. ML100 A64 2003

Reese, Gustave. Music in the Middle Ages. New York: Norton, 1940. ML172. R74 M8

---. Music in the Renaissance. Rev. ed. New York: Norton, 1959. ML172. R42 1959

Robbins Landon, H. C. Handel and His World. Boston: Little, Brown and Company, 1984. [Not yet available at TSU libraries]

Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians. 2nd

ed. 29 vols. London: Macmillan, 2001. ML100. N48

[* see also the electronic, online edition, GROVEmusic [electronic resource: welcome to www.grovemusic.com, ed. Laura Macy]

—. The New Grove Dictionary of Opera. 4 vols. Oxford: Oxford University Press, 2004. ML102. O6 N5 2004 [for use in reference

only; + see also the electronic, online edition, GROVEmusic [electronic resource]: welcome to www.grovemusic.com/ ed. Laura

Macy]

Seay, Albert. Music in the Medieval World. 2nd ed. History of Music Series. Englewood Cliffs, New Jersey: Prentice-Hall, 1975.

L172. S4 M9

Spitta, Philipp. Johann Sebastian Bach. Trans. Clara Bell and J.A. Fuller-Maitland. 3 vols. New York: Dover, 1951. ML410. B1

S7 1951

Stinson, Russell, ed. Bach Perspectives. Vol. 1. Lincoln, Nebraska: University of Nebraska Press, 1995. [Not yet available at TSU

libraries]

Strunk, W. Oliver. Source Readings in Music History. New York: Norton, 1965. ML160. S89 1965

* Weiss, Piero and Richard Taruskin, eds. Music in the Western World. New York: Schirmer, 1984. ML160. M865 2008

Whigham, Peter. The Music of the Troubadours. Santa Barbara, CA.: Ross-Erikson, 1979. [Not yet available at TSU libraries]

22

Sample Formatting for Bibliography, Footnote, Discography and Videography Entries

All titles of books, works (pieces)), encyclopedias, etc., must be italicized. Titles of articles are enclosed in “quotation marks.” Please

pay attention to the order of items in each entry, as well as to the punctuation for each entry.

Bibliographic Entries

Books

1. Single author

Plantinga, Leon. Romantic Music: A History of Musical Style in Nineteenth-Century Europe. New York: Norton,

1984.

2. Multiple authors

Grout, Donald J. and Claude Palisca. A History of Western Music. 6th

ed. New York: Norton, 2000.

Articles

Article from an encyclopedia or dictionary

Brown, Maurice J.E. “Schubert, Franz.” In The New Grove Dictionary of Music and Musicians. 2nd

ed. Ed.

Stanley Sadie. Vol. 16. London: Macmillan, 2000.

Article in a journal or magazine

Newbould, Brian. “A Schubert Palindrome.” 19th

-Century Music 15 (Spring 1992), 207-228.

Internet/On-line Sources

* The same basic information is needed for on-line sources as for those listed above: author and title of the particular

item, name and description of the source cited, city of publication, if any, publisher or vendor (or both),

date of publication or access (or both); identifying numbers needed for access to the material (URL

[universal resource locator])

Book on-line:

Mitchell, William J. City of Bits: Space, Place and the Infobahn. Cambridge, Mass.: MIT Press, 1995. 20 October

2002. Accessed 29 October 2002. Available from http://www.mitpress.it.edu

Article on-line:

Gaydos, Steven. “Rolling with the Stones.” Variety 452: 25-26. 4 November 2002. Accessed 4 November 2002.

Available from http://www.variety.com.

(Formatting for footnote citations on next page)

23

Footnote Citations

Books

1.Single author

Leon Plantinga, Romantic Music: A History of Musical Style in Nineteenth-Century Europe (New York, 1984), 457.

2. Multiple authors

3.

Donald J. Grout and Claude Palisca, A History of Western Music (New York, 2000), 37.

Articles

1.Article from an encyclopedia or dictionary

Maurice J. E. Brown, “Schubert, Franz,” in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie

(London, 2000): 6: 432.

2.Article in a journal or magazine

Brian Newbould, “A Schubert Palindrome,” 19th

-Century Music 15 (Spring 1992): 219.

Internet/On-line Sources

* The same basic information is needed for on-line sources as for those listed above: author and title of the particular

item, name and description of the source cited, city of publication, if any, publisher or vendor (or both),

date of publication or access (or both); identifying numbers needed for access to the material (URL

[universal resource locator])

Book on-line:

William J. Mitchell, City of Bits: Space, Place and the Infobahn [book on-line] (Cambridge, Mass.: MIT Press,

1995). Accessed 29 October 2002. Available from http://www.mitpress.it.edu

Article on-line:

Gaydos, Steven. “Rolling with the Stones.” Variety 452: 25-26. 4 November 2002. Accessed 4 November 2002. Available from http://www.variety.com.

(Sample citations for sound recordings, etc., on next page]

24

Sample Entries for Sound Recordings (CDs, cassette tapes, etc.) and Videos/DVDs

Compact disks, records, tapes and other forms of recorded sound are generally listed under the name of the composer,

writer or other person(s) responsible for the content. The titles of a CDs must be, like titles of books, italicized. If

included, the name of the performer usually follows the title, but in some instances the citation may begin with the

performer’s name. The recording company and the number of the recording are usually sufficient to identify the

recording, but you may also include additional information (most often the date of copyright, the kind of recording, the

number of records/CDs, etc.)

Discography Options

Dmitri Shostakovich. Symphony no. 5. New York Philharmonic, Leonard Bernstein, CBS IM 35854

OR

Leonard Bernstein, dir. (or cond.). Symphony no. 5 by Dmitri Shostakovich. New York Philharmonic, CBS IM 35854

Berlioz, Hector. Symphonie fantastique, op. 14. Cond. Herbert von Karajan. Berlin Philharmonic. Deutsche

Grammophon, 2530.

Holiday, Billie. “God Bless the Child.” Rec. 9, May 1941. Billie Holiday: The Golden Years. Columbia, C3L 21,

1962.

Written material that accompanies the recording, i.e., liner notes, may be cited thus:

Green, Archi. Introduction to brochure notes (liner notes) for Glenn Ohrlin, The Hell-Bound Train. University of

Illinois Campus Folksong Club CFC 301. Reissued as Puritan 5009

Videography Options

The nature of the material, its use to the researcher listing it, and the facts necessary to find it should govern the

substance of any note or bibliography citation.

Itzak Perlman: In My Case Music. Prod. And dir. Tony DeNonno. DeNonno Pix, 1985, videocassette [ten minutes].

25

MUSIC 33151: SUPPLEMENTAL LISTENING EXCERPTS

CD 1

1) Excerpts--plainchant, organa, clausulae, motets on Benedicamus Domino (ca. 10th-13th centuries) [* recording

necessary to complete Analytical Paper #1]

2) Guillaume Dufay, "Agnus Dei" from L'homme armé Mass (ca. 1460)

3) Johann Sebastian Bach, Brandenburg Concerto No. 5, mvt. I, BWV 1050 (1721)

4) #s4-10 Johann Sebastian Bach, chorale cantata (in its entirety), Wachut auf, ruft uns die Stimme, BWV 140

(1731)

5) #s11-13 George Frideric Handel, excerpts from his serious opera, Tamerlano (1724); Tamerlano's aria "Ah

dispetto" (III, 4); Asteria's and Andronico's duet "Vivo in te" (III, 4); Bajazet's aria "Empio per farti guerra" (III,

8)

Instructions:

How to access the on line, e-reserve, audio file for supplemental listening excerpts (above)

1) Go to the Alkek library homepage, at http://www.library.txstate.edu

2) In the left hand column click "E-Reserve" link

3) You will see "Welcome to Docutek Eres..” Click on the first option (Electronic Reserve & Reserve Pages)

4) Type "Lipton" in the search field, and Music 3315 should come up; click on that link

5) A password screen will come up. Enter the password (given in class), and then click on the “accept” button

6) You should see the folder (Supplemental Listening CD1). Click to open it.

7) There you will see the track listing/files. Files are in an mp3 format, and should be playable on any computer

whose media players are reasonably up to date

1 Excerpts may be accessed on line, via an audio e-file, or from the reserve CD (under Lipton, MU 3315) in the Schneider Music Library. For

each of the recorded excerpts scores and/or handouts will be provided in class.