Recordings
[AMWC]= CDs accompanying Roden, Timothy J., Craig Wright, and Bryan R. Simms. “Antiquity through the Renaissance.” In Anthology for Music in Western Civilization. Schirmer, 2009. ISBN: 9780495572756. The book also contains some of the scores reviewed in class.
[NAWM] = CDs accompanying Palisca, Claude V. Norton Anthology of Western Music, Vol. 1: Ancient to Baroque. 4th Ed. W. W. Norton, 2009. ISBN: 9780393931266.
Scores
Catholic Church. Graduale triplex: seu Graduale Romanum Pauli PP. VI cura recognitum and rhythmicis signis a Solesmensibus monachis ornatum / neumis Laudunensibus (cod. 239) et Sangallensibus (codicum San Gallensis 359 et Einsidlensis 121) nunc auctum. Abbaye Saint-Pierre de Solesmes, 1979. ISBN: 9782852740945.
———. Cantatorium, IXe siècle, n˚359 de la Bibliotheque de Saint-Gall: Paléographie Musicale. Series 2, Vol. 2. Edited by DOM André Mocquereau. Éditions Herbert Lang & Cie Sa., 1968.
———. Le missel de Bénévent VI-33: Paléographie Musicale. Series 1, Vol. 20. Edited by DOM Jacques Hourlier and DOM Jacques Froger. Peter Lang, 1983.
Hildegard, Saint. Symphonia harmoniae caelestium revelationum. Alamire, 1991.
Pickering, Jane. Jane Pickeringe’s Lute Book c. 1616–c. 1650. Boethius Press, 1985.
| LEC # | TOPICS | RECORDINGS | SCORES |
|---|---|---|---|
| In Focus 1: Chant: Structure, Performance, and Development | |||
| 1 | Introduction to Early Music and to Chant | Feria Secunda Ad Sextam (Office of Sext) (PDF) | |
| 2 | Antiquity to Chant |
Anon. “Epitaph of Seikilos.” Gregorio Paniagua & Atrium Musicae de Madrid. [NAWM 2001] Disc 1, Track. 1. Euripides. “Stasimon Chorus.” Orestes. Atrium Musicae de Madrid, Gregorio Paniagua & Atrium Musicae de Madrid. [NAWM 2001] Disc 1, Track 2. Anon. “Antiphon: Tecum principium,” and “Psalm 109: Dixit Dominus.” Office of Second Vespers, Nativity of Our Lord. Craig Wright & Cantores Yalenses. [NAWM 2001] Disc 1, Tracks 14, 15. Anon. “Introit: Puer natus est nobis.” Mass for Christmas Day. Hubert Dopf & Choralschola Der Wiener Hofburgkapelle. [NAWM 2001] Disc 1, Track 3. Anon. “Kyrie.” Monks of Prinknash & Nuns of Stanbrook Abbeys. Christmas Chant - Traditional Latin Plainsong. Saydisc, 2011. Track 9. |
Epitaph of Seikilos |
| 3 | The Purpose and Types of Chant |
Anon. “Gloria,” “Gradual: Viderunt omnes,” “Alleluia,” and “Offertory: Tui sunt coeli.” Mass for Christmas Day. Hubert Dopf & Choralschola Der Wiener Hofburgkapelle. [NAWM 2001] Disc 1, Tracks 5-8, 10. Anon. “Credo I.” Misa de la Virgen IX. Cor Monàstic de L’Abadia de Montserrat. RCA Victor Basic 100, Vol. 71: Gregorian Chants. RCA Victor, 1995. Track 26. |
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| 4 | Diversity and Development in Chan |
Wipo of Burgundy. “Victimae paschali.”
Tuotilo of St. Gall. “Tropes pour l’introit: Puer natur est, Hodie cantandus est.” Dominique Vellard & Ensemble Gille Binchois. Music and Poetry of Saint-Gall. Harmonia Mundi, 1998. Track 3. ———. “Kyrie trope: Omnipotens genitor.” Nicolas Jones & Cappella Giulia. [AMWC] Disc 1, Track 11. Hildegard of Bingen. “Scientia Dei,” “Anima,” “Stepitus Diaboli,” and “Virtues.” Ordo Virtutum. Barbara Thornton & Sequentia. [AMWC] Disc 1, Track 14. |
Wipo of Burgundy. Victimae Paschali Laudes. Hildegard of Bingen. Symphonia et Ordo virtutum. |
| Other Topics 1: From Chant to the Fourteenth-Century | |||
| 5 | Secular Monophony in the Middle Ages |
Ventadorn, Bernart de. “Can vei la lauzeta mover.” Paul Hillier. Troubadour Songs and Medieval Lyrics. Hyperion, 1993. Dia, Beatriz de. “A chantar m’er.” René Clemencic & Clemencic Consort. [AMWC] Disc 1, Track 15. Vaquerias, Raimbaut da. “Kalenda Maya.”
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| 6 | The Birth of Polyphony |
Anon. “Organum Rex Caeli, Domine,” and “Organum Sit Gloria Domini.” Musica Enchiriadis. The European Musical Heritage 800-1750. McGraw-Hill, 2004. Tracks 7, 8. Anon. “Viderunt Hemanuel.” Paul Berry, Derek Chester, Nicolas Jones & Cappella Giulia. [AMWC] Disc 1, Track 18. Anon. “Congaudeant Catholici.” Theater of Voices. The Age of Cathedrals. Harmonia Mundi, 1996. Track 4. Léonin. “Viderunt Omnes.” David Munrow & Early Music Consort of London. Music of the Gothic Era. Archiv Produktion, 2002. Disc 1, Track 1. |
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| 7 | Polyphony (and some mono-phony) in the 13th and early 14th century |
Pérotin. “Viderunt Omnes.” Hilliard Ensemble. Perotin. ECM Records, 2000. Track 1. ———. “Ave Maria, fons leticie / Latus, motet a 2.” Dominique Vellard & Ensemble Gilles Binchois. Le chant des cathédrales, Notre Dame, ss. XII-XIV. Cantus, 2005. Disc 1, Track 12. Anon. “Amours mi font souffrir / En mai / [Flos Filius].” Anonymous 4. Love’s Illusion: Music from the Montpellier Codex. Harmonia Mundi, 1994. Track 3. Petrus de Cruce. “Aucun ont trouvé.” Charles Brett, David Munrow & Early Music Consort of London. Music of the Gothic Era. Archiv Produktion, 2002. Disc 2, Track 2. |
Pérotin. “Viderunt Omnes.” |
| 8 | Fauvel, Vitry, Machaut and Music in France before 1370 |
Anon. “La Quarte Estampie Real.” La Nef. Montségur: La Tragédie Cathare. Dorian, 1996. Track 8. Anon. “Quare fremuerunt gentes.” René Clemencic & Clemencic Consort. [AMWC] Disc 1, Track 27. Vitry, Philippe de. “Impudenter Circumivi / Virtutibus Laudabilis.” Cantica Symphonia. Almisonis Melos: The Ivrea Codex. Opus 111, 2000. Track 7. Guillaume de Machaut. “Kyrie.”
Guillaume de Machaut. “Rose, liz, printemps, verdure.” Christopher Page & Gothic Voices. The Mirror of Narcissus. Hyperion, 1993. Track 9. |
Guillaume de Machaut. Kyrie, Mass of our Lady. |
| In Focus 2: Music in the Trecento (Italy 1340–1420) | |||
| 9 | Introduction to Trecento Music |
Jacopo da Bologna. “Non al suo amante.” Newberry Consort. Music for a Medieval Banquet. Harmonia Mundi, 1993. Track 5. Landini, Francesco. “Or su, gentili spiriti.” Charlotte Dobbs, Jenna-Claire Kemper, Nicolas Jones & Cappella Giulia. [AMWC] Disc 2, Track 8. |
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| 10 | Trecento Music and Musicology: Introduction to Research; Sacred Music |
Simon de Prodenzani. “La Badessa.” Newberry Consort. Music for a Medieval Banquet. Harmonia Mundi, 1993. Track 1. Zachara da Teramo. “Credo ‘Scabioso,’” and “D’amor languire.” Ensemble Micrologus. Un Fior Gentile. Micrologus, 2008. Tracks 3, 10. |
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| 11 | Simplicity and Complexity |
Zachara da Teramo. “Sumite, karissimi.” Orlando Consort. The Saracen and The Dove. Deutsche Grammophon, 1999. Track 15. Solage. “Fumeux fume.” David Munrow & Early Music Consort of London. The Art of Courtly Love. Virgin, 1996. Disc 1, Track 23. |
Solage. “Fumeaux fume par fumée.” |
| 12 | The End of the Trecento and The Rise of European Music |
Ciconia, Johannes. “Doctorum Principem.” Pedro Memelsdorff & Mala Punica. Sidus Praeclarum. Elektra, 1998. Track 14. Ciconia, Johannes. “O rosa bella.” Ensemble Project Ars Nova. Homage to Johannes Ciconia (1370-1412). New Albion, 2009. Track 7. Guillaume du Fay. “Adieu ces bons vins de Lannoys.” Christopher Page & Gothic Voices. Garden of Zephirus. Hyperion, 2007. Track 13. |
Ciconia, Johannes. “O rosa bella.” |
| First Exam | |||
| Other Topics 2: The “Renaissance” (1420–1600) | |||
| 13 | Music in the Mid-Fifteenth Century 1440–1480 |
Guillaume du Fay. “Nuper rosarum flores.” Alexander Blackly & Pomerium. [AMWC] Disc 2, Track 9. Anon. “L’homme armé.” Nicolas Jones & Cappella Giulia. [AMWC] Disc 2, Track 14. Guillaume du Fay. “Kyrie.” Missa L’homme armé. Jeremy Summerly & Oxford Camerata. [AMWC] Disc 2, Track 15. Ockeghem, Johannes. “Kyrie.” Missa prolationum. Edward Wickham & the Clerks Group. [AMWC] Disc 2, Track 17. Busnoys, Antoine. “In hydraulis.” Alexander Blachly & Pomerium. In Hydraulis & Other Works. Dorian, 1994. Track 1. |
Guillaume du Fay. “Nuper rosarum flores.” Anon. “L’homme armé.” Guillaume du Fay. Missa l’Homme Armé. Ockeghem, Johannes. Missa prolationum. Busnoys, Antoine. In hydraulis. |
| 14 | Vocal Music: Josquin, his Contemporaries, and his Followers |
Lorenzo de’ Medici. “Sian galanti di Valenza.” Patrick Macey & Eastman Capella Antiqua. [AMWC] Disc 3, Track 1. Prez, Josquin des. “El grillo è bon cantore.” Philip Thorby & Musica Antiqua of London. [AMWC] Disc 3, Track 3. ———. “Ave Maria, gratia plena…virgo serena.” Paul Hillier & the Hilliard Ensemble. Josquin Desprez: Motets & Chansons. EMI Classics, 1997. Track 1. Claudin de Sermisy. “Tant que vivray.”
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Josquin des Prez. El grillo è bon cantore. Josquin des Prez. “Ave Maria…virgo serena.” Claudin de Sermisy. Tant que vivray. |
| 15 | Discussion: How to revise a research paper |
Isaac, Heinrich. “Innsbruck, ich muss dich lassen.”
Luther, Martin. “Ein feste Burg ist unser Gott.”
Orlando de Lasso. “Timor et tremor.” Peter Phillips & the Tallis Scholars. Orlandus Lassus: Missa Osculetor me. Gimell, 1989. Track 8. Giovanni Pierluigi da Palestrina. “Tu es Petrus I.” Stephen Cleobury & Choir of King’s College. [AMWC] Disc 3, Track 18. Giovanni Pierluigi da Palestrina. “Kyrie.” Missa Tu es Petrus. Stephen Cleobury & Choir of King’s College. [AMWC] Disc 3, Track 19. |
Isaac, Heinrich. Innsbruck, ich muss dich lassen. Luther, Martin, and Johann Walter. Ein feste Burg ist unser Gott. Orlando de Lasso, Timor et tremor. Giovanni Pierluigi da Palestrina. Tu es Petrus." Giovanni Pierluigi da Palestrina, Missa Tu es Petrus. |
| 16 | 16th century vocal and instrumental music |
Arcadelt, Jacques. “Il bianco e dolce cigno.” Anthony Rooley & Consort of Musicke. [AMWC] Disc 3, Track 4. Vecchi, Orazio. “Il bianco e dolce cigno.” Konrad Ruhland & Capella Antiqua. [AMWC] Disc 3, Track 5. Willaert, Adrian. “Aspro core e selvaggio.” [NAWM 2001] Disc 2, Track 53. Praetorius, Michael. “4 Voltes.” Terpsichore. Philip Pickett & New London Consort. Praetorius: Dances from Terpsichore. L’Oiseau Lyre, 2008. Track 15. ———. “Bransle Simple 1.” Bertil Farnlof & Bourrasque Ensemble. Praetorius: Dances from Terpsichore. Naxos, 1998. Track 9. Certon, Pierre. “La, la, la, je ne l’ose dire.” The King’s Singers. Madrigal History Tour. EMI Classics, 2004. Track 16. |
Arcadelt, Jacques. Il bianco e dolce cigno. Vecchi, Orazio. Il bianco e dolce cigno. Certon, Pierre. “La, la, la, je ne l’ose dire.” Praetorius, Michael. Terpsichore. |
| Special Event: Jane Alden, “Why Facsimiles?” | |||
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**In Focus 3: Elizabethan London ** |
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| 17 | Tutor England / The Elizabethan Madrigal |
King Henry VIII. “Pastyme with Good Companye.” Capilla Flamenca. [AMWC] Disc 3, Track 20. Weelkes, Thomas. “As Vesta was from Latmos Hill Descending.” Ian Partridge & Pro Cantione Antiqua. [AMWC] Disc 3, Track 23. |
King Henry VIII. “Pastyme with Good Companye.” Weelkes, Thomas. “As Vesta was from Latmos hill descending.” |
| 18 | English Music in Church and School |
Byrd, William. “Though Amaryllis Dance in Green,” from Psalmes, Sonets, & Songs of sadnes and pietie, made into Musicke of fiue parts. Russell Oberlin & In Nomine Players. Byrd: Music for Voice & Viols. Lyrichord, 1995. Track 6. ———. “O Lord, make thy servant, Elizabeth.” King’s Singers. [AMWC] Disc 3, Track 21. ———. “Quomodo cantabimus.” Harry Christophers & the Sixteen. Byrd: Masses for 4 and 5 voices. EMI, 2004. Disc 2, Track 2. Morley, Thomas. “April is in my Mistress’ Face.” Paul Hillier & Hilliard Ensemble. English and Italian Renaissance Madrigals. EMI Classics, 2000. Disc 2, Track 3. |
Byrd, William. “Though Amaryllis Dance in Green.” (PDF - 1.1MB) Byrd, William. O Lord, Make thy Servant, Elizabeth. Morley, Thomas. April is in my Mistress’ Face. |
| 19 | Instrumental Music and Lute Song (Doug Freundlich, Guest Lecturer) |
Byrd, William. “The Woods so Wild.” Fitzwilliam Virginal Book. Ursula Duetschler. Pieces from the ‘Fitzwilliam Virginal Book.’ Claves, 1990. Track 4. Dowland, John. “Can She Excuse My Wrongs?” First Book of Songes. Frederick Urrey & Ronn McFarlane. O Mistress Mine. Dorian, 1993. Track 1. ———. “The Earle of Essex Galliard.” Lachrimae or Seaven Tears. Jakob Lindberg & the Dowland Consort. John Dowland: Lachrimae or Seaven Tears. Bis, 1994. Track 9. Dowland, John. “Galliard Can She Excuse.”
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Byrd, William. “The Woods So Wild.” Fitzwilliam Virginal Book. Vol. 1. Dowland, John. “Can She Excuse My Wrongs?” Dowland, John. Lachrimae, or Seven Tears. |
| 20 | Music in London Society |
Selections from Nancy Hadden & Circa 1500. New Fashions: Cries and Ballads of London. CRD, 1998.
Taverner, John. “Sanctus & Benedictus.” Missa Gloria Tibi Trinitas. Peter Phillips & Tallis Scholars. John Taverner: Missa Gloria Tibi Trinitas. Gimell, 1984. Track 9. |
Dowland, John. “Fine Knacks for Ladies.” |
| Second Hour Exam | |||
| Other Topics 3: New Developments on the Continent, 1570–1620 | |||
| 21 | Madrigal and Drama in Late Sixteenth-Century Italy; Music in Venice |
Gesualdo, Carlo. “Moro, lasso.” Manfred Schreier. [AMWC] Disc 3, Track 25. Gabrieli, Giovanni. “Sonata pian’ e forte a 8, alla bassa.” Sacrae symphoniae. Timothy Roberts & His Majesty’s Sagbutts & Cornetts. Gabrieli: The Canzonas and Sonatas from Sacrae Symphoniae (1597). Hyperion, 1997. Track 9. |
Gesualdo, Carlo. “Moro, lasso.” Gabrieli, Giovanni. Sacrae symphoniae. |
| 22 | The Rise of Opera and a New Style |
Caccini, Giulio. “Perfidissimo volto.” Le nuove musiche. Nigel Rogers, Colin Tilney. [NAWM 1996] Disc 3, Track 35-36. Peri, Jacopo. “Io, che d’alti sospir,” “Nel pur ardor”, “Per quel vago boschetto.” Euridice. [NAWM 2001] Disc 3, Tracks 54-55; [NAWM 1996] Disc 3, Track 39. Monteverdi, Claudio. “Possente spirto.” L’Orfeo. John Eliot Gardiner, Anthony Rolfe Johnson. Monteverdi: L’Orfeo. Archiv Produktion, 1997. Disc 2, Track 3. Monteverdi, Claudio. Vespro della Beata Vergine. Archiv Produktion, 1990 (1974 recording). |
Caccini, Giulio. Le nuove musiche. Peri, Jacopo. Euridice. Monteverdi, Claudio. L’Orfeo. Monteverdi, Claudio. Vespro della Beata Vergine. |
