Music History 123456

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Music 381 Syllabus, Fall 2009

Course Description This course is the first in a two-semester survey of music in Western culture.The course has two goals: (1) it will trace a narrative historyof significantdevelopments in musical style, institutions, performance practices, and theoryfrom antiquity to the late Baroque; (2) through close readingsof representativeworks, students will learn how to analyze music in diverse styles and genres.

Certain recurring issues and themes will mark each stage of this history. Theseissues include the social and cultural role of the composer and performer,transformations in musical style, the sources of musical transmission (oralversus literate practices, manuscript versus print culture), changing conceptionsof music theory and the relationship of theory to musical practice, theeconomics of musical production (patronage and the market), and the history

of music aesthetics.

Prerequisite: MUSC 247 or permission of the instructor.

Instructor Dr. Blake Stevens

Classes Tuesday andursday, 9:25-10:40 am

Office Hours Monday and Wednesday, 10:00 am - noon, and by appointment

Office Simons Center for the Arts 323

Contact Office Phone: (843) 953-8220; Email: [email protected]

Course Requirements Reg ular attendance is required, as is careful study of the text, the worksincluded in the anthology of scores, and the accompanying recordings. Plan tospend a minimum of two hours in preparation for each class meeting; thinkthrough the issues presented in the assigned reading, develop insights of yourown, and take time to gain an understanding of the assigned repertory.

Several recent and important musicological studies are on reserve at the libraryto supplement the material in the required textbook and anthology. These textsinclude a history of music aesthetics (Lippman), a recent narrative history on amonumental scale (Taruskin), and collections of primary texts (Strunk, Weiss,Taruskin). For students desiring more information on a given topic, these textsshould offer a useful point of departure. Also useful is theNew Grove Dictionaryof Music and Musicians, the standard reference work in English.

Recordings of works by Machaut, Josquin des Prez, and J. S. Bach are also onreserve. These items include a complete mass setting from each of the styleperiods studied in the course, as well as Bachs Well-Tempered Clavier. Findtime to listen to each of these recordings, following along with a score ifpossible, by the end of the semester.

Music History 1: Western Music from Antiquity to 1750

Music History 1 Syllabus, Fall 2009


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Required Materials

J. Peter Burkholder, Donald Jay Grout, and Claude V. Palisca,A History of Western Music, 8th edition (New York and London: W. W. Norton, 2010)

J. Peter Burkholder and Claude V. Palisca,Norton Anthology of Western Music, Volume 1:Ancient toBaroque, 6th edition (New York and London: W. W. Norton, 2010)

Optional Materials

Norton Recorded Anthology of Western Music, Volume 1:Ancient to Baroque, 6 Compact Discs (New Yorkand London: W. W. Norton, 2010)

Note: all course materials are available at the bookstore.

Recommended Supplementary Readings on Reserve

Lippman, Edward A.A History of Western Musical Aesthetics. Lincoln: University of Nebraska Press,1992. [ML3845 .L565 1992]

Source Readings in Music History. Edited by Oliver Strunk. Revised edition edited by Leo Treitler.New York and London: W. W. Norton, 1998. [ML160 .S89 1998b]

Taruskin, Richard.e Oxford History of Western Music. 6 vols. Oxford: Oxford University Press, 2005.[ML160 .T18 2005]

Volume 1:e Earliest Notations to the Sixteenth Century Volume 2:e Seventeenth and Eighteenth Centuries Volume 3:e Nineteenth Century Volume 4:e Early Twentieth Century

Volume 5:e Late Twentieth Century Volume 6:Resources: Chronology, Bibliography, Master Index

Weiss, Piero, and Richard Taruskin.Music in the Western World: A History in Documents. New York: Schirmer Books, 1984. [ML160 .M865 1984]

Recordings on Reserve

Bach, Johann Sebastian.Das Wohltemperierte Klavier[e Well-Tempered Clavier], BWV 846893.

(1) Kenneth Gilbert, harpsichord. Hamburg: Archiv Produktion, 1984. [CD 2189] (2) Andrs Schiff, piano. London, England: London, 1986-87. [CD 298 and 302]

______.Mass in B minor, BWV 232. Monteverdi Choir; English Baroque Soloists; John Eliot Gardiner,conductor. Hamburg: Archiv Produktion, 1985. [CD 2191]

Josquin des Prez.Missa Pange lingua. Choir of Westminster Cathedral; James ODonnell, conductor. London: Hyperion, 1992. [CD 717]

Machaut, Guillaume de.Messe de Nostre Dame. Ensemble organum; Marcel Prs, conductor. Arles: Harmonia Mundi France, 1996. [CD 420]

Music History 1 Syllabus, Fall 2009, page 2


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Grading Procedures e course is divided into four parts. Each part will conclude with a shortexam based on the readings and music studied during that section. In place ofa final exam, students will complete a term project based on their interestsand specialization: possible projects include a research paper, an extended

musical analysis, or a performance-based project. To ensure a common focus,these projects should be based on Bachs Well-Tempered Clavier orMass in Bminor.Specific topics should be chosen in consultation with the professor bythe middle of the term.

Short writing projects (including brief essays and directed reading questions)will be assigned periodically to encourage careful preparation for class meetingsand to help students develop effective techniques for writing about music.

Since lectures will not merely duplicate the material in the textbook, regularattendance is required. Aer two unexcused absences, five percentage pointswill be deducted from the attendance grade for each unexcused absence.

Exams and Projects Sept 10, 2009 Exam 1: Music from Antiquity to the Late Middle Ages Oct 8, 2009 Exam 2: Renaissance and Reformation Oct 29, 2009 Exam 3: Early Baroque Music Dec 3, 2009 Exam 4: Late Baroque Music Finals Week Term Project Due

Make-Up Exams Make-up exams will be given if prior arrangements are made and if absencefrom class is unavoidable on the test day; otherwise, make-up exams will only beoffered in the case of documented emergency or illness.

Final Grade 15% Class attendance

20% Short writing projects40% Exams (four exams, 10% each)25% Term Project

Letter Grade 100-94 A 89-87 B+ 79-77 C+ 69-67 D+ 59-0 F

93-90 A- 86-83 B 76-73 C 66-63 D 82-80 B- 72-70 C- 62-60 D-

Academic Integrity Students are expected to follow the guidelines for academic integrity as statedin theHonor Code. Students should consult the Student Handbook for moreinformation:

http://www.cofc.edu/studentaffairs/general_info/studenthandbook.html



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Course Outline (subject to change)

Part 1 Music from Antiquity to the Late Middle Ages

8/25 e Concept of an Origin: e Early History of Western Music HWM1 (4-23)8/27 Plainchant: Transmission, Notation, and eory HWM2 (22-46)9/1 e Roman Liturgy: Functions and Types of Plainchant HWM 3 (47-67)9/3 Songs of the Troubadours and Trouvres HWM4 (63-83)9/8 Polyphony at Notre Dame HWM5 (84-112)9/10 eArs Nova andArs Subtilior; Exam #1 HWM6 (113-43)

Part 2 Music in Early Modern Europe: Renaissance and Reformation

9/15 e Late Middle Ages and the Italian Renaissance HWM7 (144-66)9/17 Music in England and Burgundy : Dunstable and Dufay HWM8 (167-90)

9/22 Franco-Flemish Composers (I): Ockeghem and Busnoys HWM9 (191-98 only)9/24 Franco-Flemish Composers (II): Josquin des Prez HWM9 (198-210 only)9/29 e Reformation HWM10 (211-25 only)10/1 e Counter-Reformation HWM10 (225-39 only)10/6 e Italian Madrigal and the French Chanson HWM 11 (240-63)10/8 Early History of Instrumental Music; Exam #2 HWM12 (264-85)

Part 3 Music in Early Modern Europe: Early Baroque Music

10/15 e Concept of the Baroque HWM13 (288-306)10/20 Principles of Opera and Drama HWM14 (307-16 only)10/22 e Operas of Claudio Monteverdi HWM14 (316-28 only)

10/27 Church and Chamber Music HWM15 (329-44 only)10/29 Seventeenth-Century Instrumental Music; Exam #3 HWM15 (344-53 only)

Part 4 Music in Early Modern Europe: Middle and Late Baroque Music

11/3 Lully and the Tragdie en musique HWM16 (354-83)11/5 Tonality in the Music of Alessandro Scarlatti and Corelli HWM17 (384-411)11/10 Concertos of Vivaldi and J. S. Bach HWM18 (414-27 only) HWM19 (436-48 only)11/12 J. S. Bach: Keyboard Music HWM 19 (442-46 only)11/17 J. S. Bach: Cantatas and Passions HWM19 (448-54 only)11/19 Issues in Performance Practice HWM16 (369-72 only) HWM18 (428-30 only)11/24 Rameau and the Tragdie lyrique HWM18 (430-35 only)12/1 Handel and Culture of Opera seria HWM19 (454-60 only)12/3 Handel and the English Oratorio; Exam #4 HWM19 (460-67 only)

Finals Week: Term Project Due
