KUTZTOWN UNIVERSITY KUTZTOWN, PENNSYLVANIA DEPARTMENT OF MUSIC COLLEGE OF VISUAL AND PERFORMING ARTS. MUS 207 Music in Britain

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1 I. Course Description KUTZTOWN UNIVERSITY KUTZTOWN, PENNSYLVANIA DEPARTMENT OF MUSIC COLLEGE OF VISUAL AND PERFORMING ARTS MUS 207 Music in Britain Approved by Department: November 4, 2008 This course is a study of the music of England, Ireland, Scotland, and Wales, including an analysis of its structures, styles, and aesthetic concepts. Major composers of all historic periods will be considered and their contributions in the various genres will be represented within the context of the social and historical background of the British Isles. Prerequisite: MUS 010 or permission of the Instructor 3 Semester hours 3 Clock hours II. Course Rationale This course is an integral part of a program of British Studies. The course will also add breadth to the body of Music Literature courses and multi-cultural depth. This course will offer a broader background in British culture to students interested and involved in exchanges with British institutions. Students from many disciplines will find this course both informative and enjoyable. III. Course Objectives Upon completion of this course, the student will be able to: 1. demonstrate knowledge of the origins and development of music in the British Isles. 2. demonstrate knowledge of the origins and development of music in the English Church. 3. demonstrate an understanding of the contributions of Handel in the fields of opera and oratorio. 4. discuss the historical, cultural, and social context of music in the 18 th, 19 th, and 20 th centuries. 5. assess the contributions of composers from all historic periods, and especially of the 20 th century.

2 IV. Assessment Assessment of each student's level of accomplishment with reference to the course objectives will be based upon a subset of the following: 1. regular examinations. 2. graded homework assignments. 3. regular listening quizzes. 4. a research paper or presentation. 6. essays on reading and listening assignments, or live performance reviews. V. Course Outline I. Introduction A. Overview of English History from the Romans to the present day B. Four periods of musical development 1. Tudor Glory 2. Handel, Haydn, and foreign-born composers in the 18 th century 3. Resurgence of native-born composers in the 19 th century 4. Flourishing of British composers in the 20 th and 21 st centuries II. III. IV. Tudor Glory A. Early Renaissance and John Dunstable B. The Church of England Henry VIII C. The English Reformation William Byrd and Thomas Tallis D. Madrigals and Lute songs John Dowland and Thomas Weelkes E. English pipe-organ building The Seventeenth Century A. Orlando Gibbons and Italian reforms B. Henry Purcell and opera C. politics and music The Eighteenth Century A. George Frederic Handel 1. Instrumental Music Water and Fireworks music 2. Opera 3. Oratorio and Messiah B. Franz Joseph Haydn and the London symphonies C. Other European Musicians D. Native composers Thomas Arne

3 V. The Nineteenth Century A. Foreign composers in the Victorian age B. Native composers 1. Charles Wesley 2. Sir Arthur Sullivan C. Native performers Jenny Lind VI. The Twentieth Century A. Edward Elgar B. Gustav Holst C. Ralph Vaughan Williams D. William Walton E. Benjamin Britten VII. Late 20 th and early 21 st Centuries A. More recent Classical composers 1. Malcolm Arnold 2. Peter Maxwell Davies 3. John Tavener B. Musical Theater and Popular Music 1. The Beatles and the British sound 2. The Rolling Stones 3. Andrew Lloyd Webber VI. Instructional Resources Adams, Byron, ed. Edward Elgar and His World. Princeton: Princeton University Press, Ainger, Michael. Gilbert and Sullivan: A Dual Biography. New York: Oxford University Press, Arundell, Dennis Drew. Henry Purcell. Freeport, NY: Greenwood Publishing Group, Best, Gary. Charles Wesley: A Biography. London: Epworth Press, Beulow, George J. A History of Baroque Music. Bloomington: University of Indiana Press, Brackett, David. Interpreting Popular Music. New York: Cambridge University Press, Brown, Howard and Louise Stein. Music in The Renaissance. 2 nd ed. Upper Saddle River, NJ: Prentice-Hall, Burkholder, J. Peter, Donald Jay Grout, and Claude Palisca. A History of Western Music, 7 th ed. New York: W. W. Norton, 2006.

4 Buxton, John. Elizabethan Taste. New York: Humanities Press International, Caldwell, John. English Keyboard Music before the Nineteenth Century. New York: Dover Publications, Cole, Suzanne. Thomas Tallis and his Music in Victorian England. Rochester, NY: Boydell Press, Cooke, Mervyn. The Cambridge Companion to Benjamin Britten. Cambridge: Cambridge University Press, Everett, Walter A. and Paul R. Laird, ed. The Cambridge Companion to the Musical. New York: Cambridge University Press, Foulkes, Richard, ed. British Theatre in the 1890s. New York: Cambridge University Press, Greene, Richard. Holst: The Planets. Cambridge: Cambridge University Press, Griffiths, Paul. Modern Music and After: Directions since Oxford: Oxford University Press, Inc., Heffer, Simon. Vaughan Williams. London: Northeastern, Jackson, Paul R. The Life and Music of Sir Malcolm Arnold: The Brilliant and the Dark. Burlington, VT: Ashgate Publishing, Kelly, Michael Bryan. The Beatle Myth. Jefferson, N. C.: McFarland and Company, Kerman, Joseph. Opera as Drama, rev. ed. Berkeley: University of California Press, Landon, H. C. Robbins. (Joseph) Haydn: A Documentary Study. New York: Rizzoli International Pub, Lucas, John. Thomas Beecham: An Obsession with Music. Rochester, NY: Boydell Press, Mackerness, Eric D. A Social History of English Music. London: Routledge and K. Paul, McVeagh, Diana, ed. New Grove Twentieth Century English Masters: Elgar, Delius, Vaughan Williams, Holst, Walton, Tippett, Britten. New York: W. W. Norton, Mellers, Wilfred. Music and Society: England and the European Tradition. London: Travis and Emory Music Bookshop, 2008.

5 Metzer, David. Quotation and Cultural Meaning in Twentieth-Century Music. Cambridge: Cambridge University Press, Neighbour, Oliver W. The Music of William Byrd, Vol. 3, The Consort and Keyboard Music of William Byrd. London: Faber, Palisca, Claude. Baroque Music. Englewood Cliffs, NJ: Prentice-Hall, Inc., Perone, James E. Mods, Rockers, and the Music of the British Invasion. London: Praeger Publishers, Rankin, Susan and David Hiley, ed. Music in the Medieval English Liturgy. Oxford, England: Clarendon Press, Reed, Phillip, Mervyn Cooke, and Donald Mitchell, eds. Letters from a Life: The Selected Letters of Benjamin Britten, Volume Four: Rochester, NY: Boydell Press, Sadie, Stanley, ed. The New Grove Dictionary of Music and Musicians, 2 nd ed. London: Macmillan, Salzman, Eric. Twentieth-Century Music: An Introduction, 4 th ed. Upper Saddle River, NJ: Prentice-Hall, Schulenberg, David. Music of the Baroque. New York: Oxford University Press, Schwartz, Elliot, and Daniel Godfrey. Music Since 1945: Issues, Materials, and Literature. New York: Schirmer Books, Seabrook, Mike. Max: The Life and Music of Peter Maxwell Davies. London: Victor Gollancz, Snelson, John. Andrew Lloyd Webber. New Haven, CT: Yale University Press, Stevens, John. E. Music and Poetry in the Early English Tudor Court. Cambridge: Cambridge University Press, Tavener, John and Brian Keeble, ed. The Music of Silence: A Composer s Testament. London: Faber and Faber, Treitler, Leo. Strunk s Source Readings in Music History, rev. ed. New York: W. W. Norton, Watkins, Glenn. Soundings: Music in the Twentieth Century. New York: Schirmer, Westrup, J. A. Purcell (Master Musicians), rev. ed. New York: Oxford University Press, 2001.

6 Williams, Ralph Vaughan. The Making of Music. New York: Greenwood Press Reprint, Winkler, Elizabeth. The Function of Song in Contemporary British Drama. Newark, Deleware: University of Delaware Press, Wright, Craig and Bryan Simms. Music in Western Civilization. Belmont, CA: Thomson Schirmer, Young, Percy M. History of British Music. New York: W. W. Norton and Co., 1967.