Last Revised: 7 September 2010

Music 120: HISTORY OF MUSIC I

General course information for Fall Term 2010:

Course meeting time: Tuesdays and Thursdays, 9:30–11:00, Recital Hall Instructor: Dr. Alex Fisher

Office: Music 407 Office hours: By appointment Phone: 2-3524 E-mail: alex.fisher@ubc.ca Personal website: http://faculty.arts.ubc.ca/afisher/ Teaching assistant: Kimberly Beck Seder (kbeckseder@gmail.com) Marker: Emily Haug (erhaug28@gmail.com)

Course website: http://faculty.arts.ubc.ca/afisher/Music_120.htm Course description:

The first of four sequential courses (MUSC 120, 121, 220, 221) covering major developments in Western music history, History of Music I offers an overview of music and its historical/cultural contexts ranging from antiquity to the end of the sixteenth century. It is the goal of this course to provide students with a framework for understanding the general development of musical styles and practices in the Middle Ages and Renaissance, while examining selected compositions in greater analytical and historical depth. Music will be considered in a broad context, with attention paid to its relationships with religious practice, philosophy, visual arts, literature, and popular culture. This course is designed for music majors (B.Mus. and B.A.) and minors (B.A.), though it is open to anyone interested in studying early music, provided they can read a musical score. Students who cannot follow scores easily are encouraged to consider taking Music 326, Music Appreciation, which is open neither to music majors nor music minors.

Required materials:

J. Peter Burkholder, Donald Jay Grout, and Claude V. Palisca, A History of Western Music, 8th ed. (New York: Norton, 2009). J. Peter Burkholder and Claude V. Palisca, eds., The Norton Anthology of Western Music, 6th ed., vol. 1 (New York: Norton, 2009) [NAWM] The Norton Recorded Anthology of Western Music, Volume 1: Ancient to Baroque. 6th edition. 6 compact discs. Over the course of the core history sequence (MUSC 120, 121, 220, and 221) you will need the textbook, the anthology (3 volumes), and the recorded anthology (3 volumes). We are offering some

of these materials together at the UBC Bookstore in “bundles” that will save you money over purchasing the items separately:

o Bundle #1: Complete materials for MUSC 120 and MUSC 121 (Textbook + Anthology vols. 1 & 2 + Recorded Anthology vols. 1 & 2)

o Bundle #2: Textbook and anthology for MUSC 120 (Textbook + Anthology vol. 1) o A number of copies of the Recorded Anthology, vol. 1, will also be offered for sale

separately. All of these materials will be available on course reserve in the Music Library, but I strongly recommend that you purchase them for your own use.

The Course Centre

On each Thursday between 2:00 and 3:00 I will be hosting an informal Course Centre in the Music Library’s Seminar Room (400B). I will be available for course help and discussion during this time, so feel free to drop in if you have a question or want to chat about the course material. We can listen to music, go over scores, discuss the readings, etc. The first two Course Centre sessions (16 and 23 September) will be hosted by the Music Library staff, and will feature an in-depth video presentation on using the library’s catalogue and online resources. This will be most helpful to you (note that there will be an assignment on finding library resources due on 30 September) and I highly recommend it.

Course requirements and expectations: Lectures:

Music 120 is a vital foundation for all subsequent coursework in the School of Music, so I strongly encourage you to be fully engaged in the material. It will be very difficult to succeed in this course unless you attend lectures regularly and prepare the reading and listening assignments in advance. Some guidelines:

• Please bring your anthologies to every lecture. A substantial part of class time will involve

listening and discussion of the musical examples, and you must be able to follow along with the score. You will not need the textbook during lecture, but the anthology is vital.

• Please use laptops and other electronic devices for taking notes, and not for other purposes. Web browsing, social networking, and game playing during class is a waste of your time as well as mine. I find it highly distracting, and so do other students sitting around you. Those violating this policy will be warned, and possibly asked to leave the hall.

• Cell phones must be turned off and must not be consulted or used. Using them for texting is very distracting to me and to those around you.

• Please do not sit in the back half of the hall, as lecturing loudly is taxing on my voice and it will be difficult for you to see multimedia images projected on the small screen.

• Please do not work on other assignments during lectures.

Quizzes

To ensure that you’re keeping up with the course material, every Tuesday class will begin with a brief quiz (15 minutes) that will help you to reinforce your knowledge as we progress through the term. The first quiz will take place on Tuesday, 21 September. These multiple-choice quizzes will not test “trivia” such as composers’ birthdates or the precise titles of musical works, but rather will test major points of emphasis in the lectures. Most of the questions will concern the previous week’s lectures, but there may also be some broader questions drawn from earlier in the term. If you have to be absent on a quiz day, you may request to take a makeup quiz within two weeks of the missed quiz. For example, if you miss Quiz #3 on Tuesday, 28 September, you may request and take a makeup quiz any time up to Tuesday, 12 October. Please contact me or the Teaching Assistant to arrange for a makeup quiz.

Final Examination The final examination will be an opportunity for you to demonstrate your cumulative knowledge of the material presented in the course. The examinations will consist of a mixture of listening examples, multiple-choice questions, and essay questions. The essay questions will ask you to synthesize broader analytical and historical concepts introduced in the readings and lectures. Our exam will be held in Recital Hall. The date for the final exam will not be known until sometime in October. Do not make any travel plans until you know the dates for your exams. UBC is officially in session until exams conclude on 21 December.

Research Paper During the course of the term you will be asked to write a research paper, which will be due in the Music Office by 4:30 p.m. on Friday, 19 November. You may choose your topic freely, but it must relate to Western music of the Medieval and/or Renaissance periods (before the year 1600). We will ask you to submit a brief topic proposal no later than Thursday, 14 October. You may submit this topic proposal on paper or via e-mail. We will either simply “OK” this topic or, if the topic is not appropriate for any reason, provide you with some guidance on how to revise it. Please read ahead in the textbook, listen to the CDs and follow along in the anthology, and think about a topic of interest to you. The paper will give you the opportunity to research a given topic, synthesize your ideas, and present them in a coherent and compelling fashion. Late papers will be accepted until the last day of exams (21 December), but with a deduction of 2% per day late (4% for a weekend). For example, a paper submitted on 26 November will take a deduction of 12% off of the grade it would have normally received. Papers will not be accepted after 21 December; any paper received after this date will receive a 0. Papers should conform to the following guidelines: Content:

• Your paper should have a clearly stated thesis at or near the beginning. A thesis is a statement of what you hope to show in your course of the paper. In the introduction to your paper you should inform the reader of how you intend to demonstrate your thesis.

• The paper should be coherent and concise. Plan out in advance how you intend to make your argument; an outline will be helpful. Each paragraph should provide evidence supporting your argument.

• In your conclusion, briefly review the evidence you have presented and restate your thesis.

• You are encouraged to find musical examples not in the Burkholder anthology.

Format:

• At least five, but no more than seven pages of text, with a word count between roughly 1600–2200 words.

• Double spacing • 12-point font • Margins of 1” top, bottom, left, and right • Pages should be numbered • Please place any illustrations, including musical examples, together at the end of your

paper. Number them consecutively (i.e., “Example 1”… “Example 2”…) and refer to these numbers in the course of your text.

• Please do not send electronic files Citations and bibliography:

• Sources for ideas or information not your own, whether directly quoted or paraphrased, must be cited using footnotes or endnotes. Copying ideas and/or language from printed or online sources without attribution constitutes plagiarism, a serious academic offense, and can lead to failure of the course or suspension from the university. Please take care to record the sources for your research while you are doing it, and cite these sources thoroughly and consistently in your paper.

• A bibliography of sources consulted and cited should be appended to the end of your paper. Your bibliography should include a range of sources, including books, journal articles, articles within books. Please avoid internet sources with the exception of Grove Music Online, and do not cite the Burkholder textbook. A selection of relevant books on Medieval and Renaissance topics will be placed on reserve, but you are encouraged to look more widely for suitable sources.

• Footnotes/endnotes and bibliography should conform to a consistent format. I recommend the system found in the Chicago Manual of Style, summarized in Kate Turabian’s A Manual for Writers of Term Papers, Theses, and Dissertations, 7th ed. (Chicago: University of Chicago Press, 2007). The Chicago Manual of Style can be found in the Music Library on the “short reference shelf” behind the circulation desk, call number Z253 .U69 2003; the Turabian Manual is found in the same location, call number LB2369 .T8 2007.

Grading scheme:

Library Assignment 5% Weekly quizzes 30% Research Paper 30% Final examination 35% Please note that Music Students may only retake this course once in case of failure. Failing MUSC 120 a second time will result in automatic withdrawal from UBC.

Other notes:

Burkholder’s 8th edition of the History of Western Music, together with the anthology and recordings, is a well-integrated approach to developments in Western music history that effectively balances analysis and cultural context. Together with the anthology and the CDs, it is well worth owning and is required for the entire core music history sequence. Please do not neglect the explanatory text in the

anthology for the musical examples, which provide additional insights into the musical techniques and structures visible in the score. For the first time in the long history of the “Grout,” decent musical recordings have been provided for each and every musical example in the anthology. Using all three items to reinforce each other is the best approach to studying! Students are strongly encouraged to familiarize themselves with the Music Library. Tours will be offered during the weeks of 13–17 September and 20–24 September at 12:00 and 3:00 daily. I also encourage you to visit the Music 120 Course Centre on either 9 September or 16 September, as the Head Music Librarian, Kirsten Walsh, will be giving an in-depth video presentation on using the library’s online catalogue and resources. On 30 September an assignment will be due concerning the location of library materials, and Ms. Walsh’s presentation will be of assistance in completing it.

Course schedule:

Thursday, 9 September: Introducing Music History and the Music Library Tuesday, 14 September: The Christian Church in the First Millennium

Reading: Burkholder, ch. 2 Listening: Mass for Christmas Day (Gregorian chant) (NAWM 3a–k; CD 1/4–23)

Thursday, 16 September: Roman Liturgy and Chant

Reading: Burkholder, ch. 3, 47–61 Listening: Chants from Vespers for Christmas Day (NAWM 4a–b; CD 1/24–28)

Tuesday, 21 September: Roman Liturgy and Chant (continued)

In class: QUIZ #1 Reading: Burkholder, ch. 3, 61–67 Listening: ?Wipo of Burgundy, Sequence Victimae paschali laudes (NAWM 5; CD 1/29) Tropes on Puer natus: Quem queritis in presepe (NAWM 6; CD 1/30–32) Hildegard of Bingen, Ordo virtutum: In principio omnes (NAWM 7; CD 1/33–35)

Thursday, 23 September: Song and Dance Music in the Middle Ages

Reading: Burkholder, ch. 4 Listening: Bernart de Ventadorn, Can vei la lauzeta mover (NAWM 8; CD 1/36) Comtessa de Dia, A chantar (NAWM 9; CD 1/37) Adam de la Halle, Robins m’aime (NAWM 10; CD 1/38) Walther von der Vogelweide, Palästinalied (NAWM 11; CD 1/39) Cantiga 159, Non sofre Santa María (NAWM 12; CD 1/40) La quarte estampie royal, from Le manuscrit de roi (NAWM 13; CD 1/41–47)

Tuesday, 28 September: Polyphony through the Thirteenth Century

In class: QUIZ #2 Reading: Burkholder, ch. 5, 84–102 Listening: Organa from Musica enchiriadis (NAWM 14a–c; CD 1/48–50) Alleluia Justus ut palma (NAWM 15; CD 1/51–52) Jubilemus, exultemus (NAWM 16; CD 1/53–56) Léonin, Viderunt omnes (NAWM 17; CD 1/57–64) Clausulae on Dominus, from Viderunt omnes (NAWM 18a–b; CD 1/65–66) Pérotin, Viderunt omnes (NAWM 19; CD 1/67–78) Ave virgo virginum (NAWM 20; CD 1/79)

Thursday, 30 September: Polyphony through the Thirteenth Century (continued)

Reading: Burkholder, ch. 5, 102–12 Due in class: Written assignment: Library Assignment Listening: Motets on tenor Dominus (NAWM 21a–d; CD 2/1–5) Adam de la Halle, De ma dame vient / Dieus, comment porroie / Omnes (NAWM 22; CD 2/6–8) Sumer is icumen in (NAWM 23; CD 2/9)

Tuesday, 5 October: French and Italian Music in the Fourteenth Century

In class: QUIZ #3 Reading: Burkholder, ch. 6, 113–33 Listening: Philippe de Vitry, In arboris / Tuba sacre fidei / Virgo sum (NAWM 24; CD 2/10–15) Guillaume de Machaut, Kyrie from Messe de Nostre Dame (NAWM 25; CD 2/16–22) Guillaume de Machaut, Foy porter (NAWM 26; CD 2/23) Guillaume de Machaut, Rose, liz, printemps, verdure (NAWM 27; CD 2/24–27) Philippus de Caserta, En remirant vo douce pourtraiture (NAWM 28; CD 2/28–30)

Thursday, 7 October: French and Italian Music in the Fourteenth Century (continued)

Reading: Burkholder, ch. 6, 133–43 Listening: Jacopo da Bologna, Non al suo amante (NAWM 29; CD 2/31–32) Gherardello da Firenze, Tosto che l’alba (NAWM 30; CD 2/33–34) Francesco Landini, Non avrà ma’ pietà (NAWM 31; CD 2/35–36)

Tuesday, 12 October: The Age of the Renaissance

In class: QUIZ #4 Reading: Burkholder, ch. 7, 146–57

Thursday, 14 October: The Age of the Renaissance (continued)

Reading: Burkholder, ch. 7, 157–66 Due in class: Research paper topic proposal Listening: Alleluia, A newë work (NAWM 32; CD 2/38–41) John Dunstable, Quam pulchra es (NAWM 33; CD 2/42–43)

Tuesday, 19 October: England and Burgundy in the Fifteenth Century

In class: QUIZ #5 Reading: Burkholder, ch. 8, 167–79 Listening: Alleluia, A newë work (NAWM 32; CD 2/38–41) John Dunstable, Quam pulchra es (NAWM 33; CD 2/42–43) Binchois, De plus en plus (NAWM 34; CD 2/44–45)

Thursday, 21 October: England and Burgundy in the Fifteenth Century (continued) Reading: Burkholder, ch. 8, 180–90 Listening: Guillaume Du Fay, Resvellies vous (NAWM 35; CD 2/46–48) Guillaume Du Fay, Christe, redemptor omnium (NAWM 36; CD 2/49) Guillaume Du Fay, Se la face ay pale and Gloria from Missa Se la face ay pale (NAWM 37a–b;

CD 2/51–59) Tuesday, 26 October: Franco-Flemish Composers, 1450–1520

In class: QUIZ #6 Reading: Burkholder, ch. 9, 191–201 Listening: Antoine Busnoys, Je ne puis vivre (NAWM 38; CD 2/60–62) Jean de Ockeghem, Kyrie from Missa prolationum (NAWM 39; CD 2/63–65)

Thursday, 28 October: Franco-Flemish Composers, 1450–1520 (continued)

Reading: Burkholder, ch. 9, 201–210 Listening: Henricus Isaac, Innsbruck, ich muss dich lassen (NAWM 40; CD 2/66) Josquin des Prez, Ave Maria … virgo serena (NAWM 41; CD 2/67–73) Josquin des Prez, Kyrie and Credo from Missa Pange lingua (NAWM 42a–b; CD 3/1–6) Josquin des Prez, Mille regretz (NAWM 43; CD 3/7)

Tuesday, 2 November: Sacred Music in the Era of the Reformation

In class: QUIZ #7 Reading: Burkholder, ch. 10, 211–25 Listening: St. Ambrose, Veni redemptor gentium; Martin Luther, Nun komm, der Heiden Heiland and Ein

feste Burg; Johann Walter, Ein feste Burg (NAWM 44a–d; CD 3/8–11) Loys Bourgeois, Psalm 134, Or sus serviteurs du Seigneur (NAWM 45a–b; CD 3/12–13) William Byrd, Sing joyfully unto God (NAWM 46; CD 3/14–18)

Thursday, 4 November: NO CLASS Tuesday, 9 November: Sacred Music in the Era of the Reformation (continued)

In class: QUIZ #8 Reading: Burkholder, ch. 10, 225–36 Listening: Giovanni Pierluigi da Palestrina, Credo and Agnus Dei I from Pope Marcellus Mass (NAWM 47a–

b; CD 3/19–27) Tomás Luis de Victoria, O magnum mysterium and Kyrie from Missa O magnum mysterium

(NAWM 48a–b; CD 3/28–34) Thursday, 11 November: NO CLASS (Remembrance Day) Tuesday, 16 November: Sacred Music in the Era of the Reformation (continued)

In class: QUIZ #9 Reading: Burkholder, ch. 10, 236–39 Listening: Orlando di Lasso, Cum essem parvulus (NAWM 49; CD 3/35–37)

Thursday, 18 November: Madrigal and Secular Song in the 16th Century

Reading: Burkholder, ch. 11, 240–56 Listening: Juan del Encina, Oy comamos y bebamos (NAWM 50; CD 3/38) Marco Cara, Io non compro più speranza (NAWM 51; CD 3/39–45) Jacques Arcadelt, Il bianco e dolce cigno (NAWM 52; CD 3/46–47) Cipriano de Rore, Da le belle contrade d’oriente (NAWM 53; CD 3/48–50) Luca Marenzio, Solo e pensoso (NAWM 54; CD 3/51–56) Carlo Gesualdo, ‘Io parto’ e non più dissi (NAWM 55; CD 3/57–59)

Friday, 19 November: RESEARCH PAPER DUE, MUSIC OFFICE, BY 4:30 P.M. Tuesday, 23 November: Madrigal and Secular Song in the 16th Century (continued)

In class: QUIZ #10 Reading: Burkholder, ch. 11, 256–63 Listening: Claudin de Sermisy, Tant que vivray (NAWM 56; CD 3/60–62) Orlando di Lasso, La nuict froide et sombre (NAWM 57; CD 3/63–64) Claude Le Jeune, Revecy venir du printans (NAWM 58; CD 3/65–72) Thomas Morley, My bonny lass she smileth (NAWM 59; CD 3/73–75) Thomas Weelkes, As Vesta was from Latmos hill descending (NAWM 60; CD 3/76–80) John Dowland, Flow, my tears (NAWM 61; CD 3/81–83)

Thursday, 25 November: The Rise of Instrumental Music

Reading: Burkholder, ch. 12, 264–85 Listening: Tielman Susato, Dances from Danserye (NAWM 62a–c; CD 3/84–86) Luys de Narváez, Intabulation and variation set from Los seys libros del Delphin (NAWM 63a–b;

CD 4/1–2) William Byrd, Pavana Lachrymae (NAWM 64; CD 4/3–8) Giovanni Gabrieli, Canzon septimi toni a 8 (NAWM 65; CD 4/9–16)

Tuesday, 30 November: The Middle Ages, the Renaissance, and the Future of Music

In class: QUIZ #11 Thursday, 2 December: Final Review TBA: FINAL EXAMINATION (Recital Hall) NOTE: THIS SYLLABUS IS NOT A CONTRACT, AND IS SUBJECT TO CHANGE