| 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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| 2 |
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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Wright and Simms, pp. 0-28, esp. 6-7, 14-15, and 18-24.
Weiss and Taruskin. Plato, "Plato's Musical Idealism," pp. 6-10.
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| 3 |
Types of chants (cont.)
Office review
Chant manuscripts and notation
Syllabic, neumatic, and melismatic chants
Hexachords and the Guidonian hand
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Wright and Simms, pp. 28-34. |
| 4 |
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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Wright and Simms, p. 34. |
| Bridge 1: From chant to 1315 |
| 5 |
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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Wright and Simms, pp. 41-52. |
| 6 |
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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Wright and Simms, pp. 52-70.
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| 7 |
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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Wright and Simms, chapters 10-11. |
| Unit 2: Music in the (mainly Italian) fourteenth century |
| 8 |
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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Wright and Simms, chapter 12. |
| 9 |
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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Wright and Simms:
"Musical Interlude 1: From Medieval Manuscript to Modern Performance," pp. 95-101.
Chapter 14, pp. 102-110.
 Long, Michael. "Trecento Italy." In Antiquity and the Middle Ages. Edited by James McKinnon. Englewood Cliffs, NJ: Prentice Hall, 1991, pp. 241-268. ISBN: 9780130361615.
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| 10 |
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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| 11 |
Simplicity and complexity
Keyboard music
Cantus Planus Binatim
Ars Subtilior
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Wright and Simms, chapter 13, pp. 89-95.
Gallo, F. Alberto. "The Practice of cantus planus binatim in Italy From the Beginning of the 14th to the Beginning of the 16th Century." In Le Polifonie primitive in Friuli e in Europa. Atti del congresso internazionale Cividale del Friuli, 22-24 agosto 1980. Edited by Cesare Corsi and Pierluigi Petrobelli. Rome, Italy: Torre d'Orfeo, 1989, pp. 13-30. ISBN: 9788885147201. (Skim)
Cuthbert, Michael Scott. "Counting our losses." From Trecento Fragments. PhD Thesis, Harvard University, 2006. (PDF) (Skim)
[The full dissertation is at Trecento Fragments and Polyphony Beyond the Codex]
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Exam 1 |
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| Bridge 2: The continental renaissance |
| 12 |
The Renaissance and music 1420-1460
Guillaume Du Fay and his contemporaries
The English sound
Fauxbourdon
Motets and cyclic masses
Ockeghem and the canon
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Wright and Simms:
Chapter 15, "Music in Renaissance Florence" (cf. Craig Wright's work on Nuper rosarum flores), pp. 110-115.
Chapter 16, "English Music," "Fauxbourdon," pp. 118-119, and "Dunstaple," pp. 121-123.
Chapter 17, "Music in Burgundy" (on Du Fay and Binchois), pp. 123-131.
Chapter 18, "Ockeghem," pp. 132-135.
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| 13 |
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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Wright and Simms:
Chapter 19, "Jacob Obrecht and the Multiple Cantus Firmus Mass."
Chapter 21, "Josquin des Prez and Music in Ferrara."
Chapter 20, "Popular Music in Florence 1475-1540," "The Carnival Song and the Lauda," and "The Frottola."
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| 14 |
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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Wright and Simms:
"Musical Instruments," and "The Basse Danse," pp. 142-144.
Chapters 22-24, pp 168-202. (186-190 are optional)
Chapter 25, "Rome and Music of the Counter-Reformation."
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| Unit 3: Elizabethan London |
| 15 |
From Dunstaple to Elizabeth: Tudor England
The Elizabethan Madrigal (Weelkes, Gibbons, etc.) and its Italian predecessors
Music printing
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Wright and Simms:
Chapter 20, "The Early Madrigal in Florence," pp. 155-58.
Chapters 26 and 27, music in Elizabethan England, pp. 210-222.
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| 16 |
Chapel Royal
Catholicism and Anglicanism in England (William Byrd)
Music education, instruction, and theory (Thomas Morley)
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Atlas, Allan W. "Elizabethan England." In Anthology of Renaissance Music. New York, NY: W.W. Norton and Sons, 1998, pp. 661-75. ISBN: 9780393971699.
Morley, Thomas. A Plaine and Easie Introduction to Practicall Musicke. London, UK, 1597 (1771 printing), pp. 1-9 and 74. (PDF - 1.0 MB)
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| 17 |
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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Atlas, Allan W. "Elizabethan England." In Anthology of Renaissance Music. New York, NY: W.W. Norton and Sons, 1998, pp. 675-97. ISBN: 9780393971699.
Lute Tablature: Maids in Constrite (PDF)
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| 18 |
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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| Bridge 3: Missed traditions in the late renaissance |
| 19 |
Chromaticism in the late 16th-century Italian mad-rigal
The dances and writings of Michael Praetorius
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Wright and Simms. Chapter 28, "The Later Madrigal in Ferrara and Mantua," pp. 222-31.
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| Topic 4: Music in Venice 1570-1660 |
| 20 |
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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Wright and Simms:
Chapter 23, "Renaissance Instruments: Instrumental Genres" (on Merulo), pp. 182-185.
Chapter 29, "Early Baroque Music," pp. 234-40.
Chapter 30, "Birth of Opera: Early Opera in Florence," pp. 240-44.
Chapter 31, "The Concerted Style in Venice and Dresden: Giovanni Gabrieli and the Concerted Motet," p. 254.
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| 21 |
Monteverdi (1567-1642) before and in Venice |
Wright and Simms. "Early Opera in Mantua and Venice," pp. 244-50; and "Claudio Monteverdi and the Concerted Madrigal," pp. 254-56.
Rosand, Ellen. "Venice, 1580-1680." In The Early Baroque Era. Edited by Curtis Price. Englewood Cliffs, NJ: Prentice Hall, 1993. ISBN: 9780132237932.
Weiss and Taruskin. "From the Letters of Monteverdi," pp. 180-84; and "Castrato Singers," pp. 225-229.
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| 22 |
Opera in Venice after Monteverdi
Barbara Strozzi
Venice's influence: Heinrich Schütz
Instrumental music in Venice
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Wright and Simms. Chapter 31, "Strozzi and Schütz," pp. 256-61.
Weiss and Taruskin. "Schütz Recounts his Career," pp. 184-86.
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Exam 2 |
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| Conclusion: Other baroque music / music towards the end of the seventeenth century |
| 23 |
Non-Venetian developments: Oratorio: Carissimi, Jephte
Jewish music published in Venice
Church music towards the end of the century
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Optional Reading
Wright and Simms. Chapter 32, "Religious Music in Baroque Rome," pp. 262-74.
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| 24 |
Music in the 1680s |
Optional Reading
Wright and Simms. Chapter 33, "Instrumental Music in Italy," pp. 274-84; and Chapters 35-37, "Music in Paris and London," pp. 301-30.
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