CATALOG DESCRIPTION:  The History of Western Music from Antiquity through the Baroque Era.  Non-western art music traditions will also be considered.

TEXT:  Stolba, K. Marie.  The Development of Western Music, 2nd. ed.  Dubuque, IA:  Brown & Benchmark Publishers, 1994.

 Stolba, K. Marie, ed.  The Development of Western Music an Anthology, 2nd. ed. Dubuque, IA:  Brown & Benchmark Publishers, 1994.

COURSE OBJECTIVES:  MUH 4211 is a survey course dealing with the history of western art music from antiquity through the end of the Baroque, including aspects of non-western art music traditions.  It is designed to cover the following areas:

 1.  Names, dates and general stylistic characteristics of the major historical periods of music.  Attention will be paid to the relationship of music to visual arts, literature and sociopolitical developments.

 2.  Principal composers and compositional schools within each period, from the standpoint of pertinent biographical data, compositional output, stylistic characteristics, and  significant developments and innovations.

 3.  The origin and development of compositional forms and performance media during each period.

 4.  Listening familiarity with selected major works of each period.

COURSE PROCEDURE:  Class sessions will be devoted to lecture, discussion, and demonstration of various musical examples by recordings, videotapes and musical scores.   Students will be expected to read the appropriate sections of text before lecture sessions.  Lectures will clarify the text and will contain information not found in the text.  Therefore, regular attendance will be necessary for adequate comprehension of the subject matter.  Four tests will be given during the semester, covering respectively Antiquity and the Middle Ages, the Renaissance, the Early and Middle Baroque, and the High Baroque.  Each test will consist of objective, essay and listening sections.  Listening selections will be made available on cassette tapes to students in the Department of Music office.   Essay questions will be announced on reviews distributed prior to each exam.

 In addition, students will be required to submit a research paper, 10-15 pages in length, on some aspect of music history from Antiquity through the Baroque.  Details of format and content requirements will be given to students at the beginning of the term.  Students will be encouraged, though not required, to choose a topic which relates to their major area of study.  The final grade will be determined by a combination of the test grades and the research paper grade, with each grade counting 20% of the final grade.  Class participation and preparation may also be considered in the final grade.

Grading scale: 93-100 = A,  90-92 = A-, 87-89 - B+, 83-87 = B, 80-82 = B-, 77-79 = C+, 70-76 = C, 67-69 = C-, 66-67 = D+, 63-65 = D, 60-62 = D-, 59 or below = F
 

WEEK OF:

8/25:  Introduction and rationale.  Discussion of class requirements.  Non-western art traditions of Africa, India, China.  Arabic and Jewish influences on western traditions.  Music of antiquity:  Greece and Rome.

9/1:  LABOR DAY HOLIDAY, 9/1  The early Christian church.  Roman liturgical practice.  The practice of plainchant.  Trope, sequence, liturgical drama.  Theory and notation.  Secular monody--troubadour, trouvere, minnesinger, jongleur, goliard.  Instrumental music.  Beginnings of polyphony.  Organum:  parallel, free, florid.  Notre Dame School:  Leoninus and Perotinus.  Polyphonic conductus, clausula, motet.  (Ch. I - III).

9/8:    The Ars Nova.  Phillipe de Vitry.  Roman de Fauvel.  The isorhythmic motet.  Guillaume de Machaut.  The Messe de Notre Dame.  Secular formes fixes:   rondeaux, ballade, virelai.  The Italian Trecento.  Landini.  Changes in theoretical practice and the use of musica ficta. (Ch. IV).  EXAM NO. 1

9/15:  RESEARCH PAPER TOPICS DUE.   Sources of Renaissance style.  English influences and John Dunstable.  Fauxbourdon.  The Burgundian School:  Dufay and Binchois.  Chanson, motet, cantus firmus mass. (Ch. V)

9/22:  The early Renaissance.  Artistic and sociopolitical background.  General musical aspects.  Petrucci and music printing.  The Franco-flemish School:  Ockeghem, Josquin, Obrecht, Isaac.  The paraphrase mass.  (Ch. VI).

9/29:  Rise of national styles.  The Italian frottola, the Parisian chanson, the German lied, the Spanish villancico.  Instrumental music:  instruments, compositional types, aspects of performance practice.  The madrigal:  Rore, Maurenzio, Gesualdo, Monteverdi. (Ch. VII).

10/6:  Elizabethan England:  Morley, Weelkes, Dowland.  The madrigal, ballett, lute song.  The Triumphs of Oriana.  The Broken Consort.  Music of the Reformation:  Luther and the chorale and contrafacta, Calvin and the Psalter, the Anglican Anthem.  (Ch. VIII)

10/13:  The Counter Reformation and High Renaissance choral music.  The Council of Trent.  Palestrina, Victoria, Lassus, Byrd.  (Ch. VIII).  EXAM NO. 2.

10/20: Sources of the Baroque style.  Artistic and sociopolitical influences.  Giovanni Gabrielli and the Venetian School.  General musical characteristics.  The two practices, the doctrine of affections, the concertato principal, rhythmic dualism, figured bass and the basso continuo, tonal harmonic practice, equal temperament.  The beginnings of opera.  The Florentine Camerata and monody.  Monteverdi:  Orfeo and L'Incoronazione di Poppea.  (Ch. IX).

10/27:  Opera after Monteverdi.  The ground bass.  Schutz.  The beginnings of the oratorio and cantata.  Instrumental music:  ricercare, canzona, chaconne, passacaglia, variations, dance, improvisatory (Ch. IX).

11/3:  The late 17th century.  Vocal music:  opera, cantata, church music, Lully, A. Scarlatti, Purcell.  Idiomatic forms of instrumental music:  keyboard, chamber, orchestral forms.  Froberger, F. Couperin, Kuhnau, Corelli, Torelli.  (Chs. X and XI).  RESEARCH PAPER BIBLIOGRAPHIES DUE.  EXAM NO. 3.

11/10:   VETERAN'S DAY HOLIDAY, 11/11.  The early 18th century.  Vivaldi and the Concerto.  Scarlatti and the harpsichord sonata.  Rameau, contributions to music theory, music for opera and keyboard.  (Ch. XII).

11/17:    Handel.  Instrumental music: chamber music, concerto, orchestral suites.  Vocal music:  opera, cantata, oratorio.  Handel's aria technique.  (Ch. XII).

11/24:  RESEARCH PAPERS DUE.  THANKSGIVING HOLIDAY, 11/27-28.  Johann Sebastian Bach:  Instrumental music:  organ works, harpsichord works, solo violin and violoncello works, chamber music, concertos.  (Ch. XII)

12/1:  J.S. Bach:  vocal music:  cantatas, passions, oratorios, motets, masses. (Ch.XII).

12/8:  EXAM NO. 4 -- 10:30 - 1:00

TOPIC:  Due within one month of the first day of class.  Your topic should ideally have some relevance to your major field of study, although this is not a requirement.  A voice major, for instance, may choose to study the vocal works of a particular composer; or perhaps a single major work or group of works, such as opera, mass, or art song.

CONTENT REQUIREMENTS:  All papers must include a title page and bibliography.  The required length will be announced in your course syllabus.  All papers are required to include at least six sources, one of which must be from The New Grove Dictionary of Music and Musicians.  The main text will be typed, double-spaced.  A generalized summary of form follows:

NOTE:  ALL SOURCES, NOT ONLY DIRECT QUOTATIONS, ARE TO BE ACKNOWLEDGED IN YOUR PAPER.  In general, each paragraph in a formal research paper should have a note acknowledging its source, unless the information is strictly your own, as in an introduction or summary.  If the information in a paragraph is taken from two or more sources, each must be acknowledged (though only a single source is necessary for each idea).
 To acknowledge the source of your information, cite the author's last name and the page(s) from which the information was taken.  The note will be enclosed in parentheses and will be located immediately following the sentence or paragraph in which the information was presented.  For example, to acknowledge information found in The Classic Style by Charles Rosen, on pp. 250-252, use the following form:

 ...the use of a double ending of the exposition of the first movement of K.491 (Rosen, 250-252).

 If there is more than one source by the same author in your bibliography,  distinguish among the sources by including the date of publication.    For example, if you used four sources in your bibliography by Charles Rosen, and this particular idea was taken from a source published in 1986, use the following form:

 ...of K.491 (Rosen, 1986, 250-252).

MUSICAL EXAMPLES/ILLUSTRATIONS:  Each example should follow its reference in the text, where practical, and should be numbered, identified as to its source (work, movement, and measure number in the case of a musical example; bibliographic source or model in the case of an illustration).   The identification should precede the example, which shoud be set off by triple spacing.  Be sure to leave adequate room to paste in the example.  For example:
 

 Ex. 1.  Bach, Goldberg Variations, var. 3, mm.9-11.
DIRECT QUOTATIONS:  Direct quotations of more than a line or two should be set off from the text by single spacing and an indentation of five spaces from both right and left margins.  Avoid too heavy a reliance on short quotations; these are almost always better paraphrased.
 
BIBLIOGRAPHICAL ENTRIES:  Entries should be single-spaced, and arranged in alphabetical order.  Cite the author's last name first, then first name (in the case of multiple authors, subsequent names should be arranged with the first name first, then last name).  The first line will not be indented, and all subsequent lines will be indented by five spaces.  You should include in your bibliography all works which are cited directly in your text, and also any source which has been helpful when consulted, whether it was directly cited or not.   Follow the following formats:

A.  For a book:

Staler, Ilona.  Music in the Middle Ages -- A Modern View, 2nd. ed., tr. Francesca Scala.  New York:  W.W. Norton  & Co., 1940.

B.  For an article in a reference work:

O'Clytemnestra, Ema.  "Dufay," Grove's Dictionary of Music and Musicians, 5th ed., 10 vols., ed.  Eric Blom. London:  St. Martin's Press, Inc.  1958, II, 793-795.

C.  For an article in a periodical:

Quayle, J. Danforth.  "The Castratoe in 18th Century Opera:  an Overview," Modern Music III/1  (Jan. 1926), 3-9.

 Note that books are to be underlined (or italicized, if you are working with a word processor with that capability), while sections of books are placed in quotation marks.  This same principle holds when referring to musical works:  large works are to be underlined, while sections of those works are placed in quotation marks.  For example, a reference to "Eusebius" from Schumann's Carnaval.

DUE DATE:  ALL PAPERS WILL BE DUE WITHOUT EXCEPTION ON THE DATE SPECIFIED IN YOUR SYLLABUS.  Late papers will be penalized by one letter grade per week.