| Unit 1: Introduction, chant, and medieval music |
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Introduction
Music in the medieval western church
Cycles of the day and of the year
Form of the mass and of the office
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Preamble: Music in the Greek and Roman world
Mode and chant
Types of chants
Reading modern chant notation
Practice singing the office of sext
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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.
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The Office of Sext (PDF) |
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Types of chants (cont.)
Office review
Chant manuscripts and notation
Syllabic, neumatic, and melismatic chants
Hexachords and the Guidonian hand
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Anon. Mass: Gloria I, Gradual (Viderunt omnes), and Alleluia (Allelulia. Dies sanctificatus), from Mass for Christmas Day. Cappella Giulia, Nicolas Jones. Anthology #7-9. |
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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
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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]
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Wipo of Burgundy. Victimae Paschali Laudes. |
| Bridge 1: From chant to 1315 |
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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
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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.
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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
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Leonin. Viderunt Omnes. Early Music Consort of London, David Munrow. Anthology #20.
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Perotin. Viderunt Omnes.
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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.
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Perotin. Viderunt Omnes. |
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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 |
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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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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 |
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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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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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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 |
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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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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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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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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 |
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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 |
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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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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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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 |
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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. |