Literature and Styles in Music I
Class Syllabus
A. Introduction
B. Music in Antiquity; Greek music theory (BGP: 4-23) Class transparencies
C. Philosophy and music in the early Christian Church (BGP: 24-31) Class transparencies
D. Gregorian Chant & the Roman Liturgy (BGP: 31-41; 50-70) Class transparencies, Part 1, Class transparencies, Part 2
Week II Sept. 11
A. Medieval music theory and performance practices (BGP: 41-49) ; Class transparencies
B. Secular monody and the minstrel traditionClass transparencies; instrumental music (BGP: 71-86) Class transparencies
C. Polyphony in the 13th century: types of organum (BGP: 87-94) Class transparencies
D. The rhythmic modes (BGP: 95-96)
E. Ear-training Quiz No. 1
Week III Sept. 18
A. Music of the Notre Dame School: Leonin and Perotin; development of the motet, conductus, cantilena and hocket styles; English Polyphony (BGP: 96-115) Class transparencies, Part 1, Class transparencies, Part 2 Writing Emphasis Assignment Due.
B. The Ars Nova in France: Machaut; the isorhythmic motet (BGP:116-135) Class transparencies
C. Common Practice theory: Introduction to seventh chords; the dominant seventh chord (Steinke: Chapter 1; assignments due on Monday)
D. Italian Trecento music: madrigal, caccia, ballata; the works of Landini; French music in the late 14th century (BGP: 135-41)Class transparencies
E. Ear-training Quiz No. 2
Week IV Sept. 25
A. Analysis: Machaut: "De bon espoir- Pusque le douce rousee- Speravi" (Burkhart) Steinke Assignments due.
B. Fourteenth century Musica Ficta and notation; instrumental music (BGP: 141-45)Class transparencies
C. Transition to the Renaissance; Music in England: Dunstable (BGP: 167-75) Class transparencies
D. The Burgundian School: Dufay and Binchois; Burgundian chansons, motets and masses (BGP: 175-89) Class transparencies
E. Ear-training Quiz No. 3
Week V Oct. 2
A. Analysis: "Communio" from Dufay's Missa Sancti Jacobi (Burkhart)
B. History-Theory Exam No. 1
C. The Renaissance: art, literature and society; general musical style; the Northern (Netherlands) composers: Ockeghem & Busnoys; musical performance (BGP: 146-66) Class transparencies
D. Josquin Des Prez: sacred and secular works. (BGP: 202-09) Class transparencies
E. Sightsinging Exam No. 1
Week VI Oct. 9
A. Listening Exam No. 1
B. Contemporaries of Josquin Des Prez (BGP: 198-202)
C. Analysis: Des Prez, "Absolon Fili Mi"
D. Franco-Flemish Composers: 1520-50 (BGP: 224-26) Class transparencies
E. Ear-training Quiz No. 4
Week VII Oct. 16
A. Rise of national styles (BGP: 240-44, 255-58) Class transparencies
B. The madrigal and related forms (BGP: 244-55)
C. English madrigal and lute songs (BGP: 258-63) Class transparencies
D. The rise of instrumental music (BGP: 264-81) Class transparencies
E. Ear-training Quiz No. 5
WEEK VIII Oct. 23
A. Music of the Reformation (BGP: 210-24) Class transparencies
B. Music of the Counter-Reformation: Palestrina (BGP: 226-32) Class transparencies
C. Analysis: Palestrina's Missa Aeterna Christi Munera, Sanctus and Benedictus (Burkhart)
D. Contemporaries of Palestrina: Lasso, Byrd, Victoria, Gesualdo (BGP: 233-39)
E. Ear-training Quiz No. 6
WEEK IX Oct. 30
A. Analysis: works by Lasso and Gesualdo (Burkhart)
B. Introduction to Renaissance counterpoint: melodic and rhythmic style
C.-D. Renaissance counterpoint continued: voice-leading and dissonance treatment; fundamentals of two-part composition
E. Ear-training Quiz No. 7
Week X Nov. 6
A. Renaissance Counterpoint Continued. (Begin setting of two-part Sanctus)
B. Common practice theory: Nondominant Seventh Chords, Steinke, Chapter 2 (Steinke Assignments due Thursday)
C. The Venetian polychoral style (BGP: 281-85) Class transparencies
D. Transition to the Baroque Era (Steinke assignments due)
E. Sightsinging Exam No. 2
Week XI Nov. 13
A. Listening Exam No. 2
B. Characteristics of the early Baroque: the Affections; Basso Continuo; Monteverdi's first and second practices (BGP: 286-306) Class transparencies
C. History-Theory Exam No. 2
D. Early Baroque opera antecedents; the Florentine Camerata (BGP: 307-16) Class transparencies
E. Ear-training Quiz No. 8
Week XII Nov. 20
A.-B. Monteverdi's L'Orfeo and other early operas (BGP: 316-27)
C. Early Baroque vocal chamber music; the concertato style (BGP: 328-32) Class transparencies (Sanctus compositions due)
Thanksgiving
Week XIII Nov. 27
A. Early Baroque Church music (BGP: 332-43) Class transparencies
B. Instrumental music in the early Baroque: ricercare, fantasia, canzona, sonata, variations (BGP: 344-52)
C. Instrumental music in the early Baroque: dance music; lute and keyboard music, improvisation Class transparencies
D. Opera in Italy, France, Germany, England and Spain (BGP: 353-65; 374-76; 379-81; 384-86; 400-03) Class transparencies
E. Ear-training Quiz No. 9
Week XIV Dec. 4
A. Middle Baroque Vocal Chamber music in Italy, France, Germany, England & Spain (BGP: 365-66; 376; 387-411, 403 )
B. Common Practice theory: altered nonharmonic tones and secondary dominants (Steinke, Chapter 3; assignments due Monday of week XV.)
C.. Analysis: Excerpt from Purcell's Dido and Aeneas (Burkhart) Steinke assignment due.
D. Church music and oratorio in the mature Baroque (BGP: 366; 381; 390-91; 404-05) Class transparencies
E. Sightsinging No. 3
Week XV Dec. 11
A. The mature Baroque: Keyboard music (BGP: 367-72; 382; 405-412) Class transparencies
B. Ensemble music: solo and trio sonatas (BGP: 391-97; 410-11 ); Analysis of Corelli Trio Sonata (Burkhart)
C. Orchestral music: the orchestral suite, orchestral concerto, concerto grosso and solo concerto (BGP: 397-400)
D. Theory Review
E. Final Listening Exam
Final History-Theory Exam will be on Dec. 18, from 8:00-10:00 in SA 351. The exam will be cumulative in regard to theory and history, although the essay questions will cover only the last 5 week unit.
Go to: