ROSE BRUFORD COLLEGE OF THEATRE & PERFORMANCE Module Specification

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1 1. GENERAL INFORMATION Title Baroque Part 1 Module code Credit rating 20 Level 5 Indicative Contact hours OS501 n/a Pre-requisite modules Level 4 Co-requisite modules School responsible Member of staff responsible ECT* 10 OS502 Notional hours of Learning** AIMS School of Performance Dr F Jane Schopf The module aims to: Provide an overview of baroque opera in Italy and France in the early baroque period Develop your ability to analyse baroque opera with reference to their physical and cultural contexts Develop your ability to analyse musical and dramatic form Develop your awareness of the issues involved in staging baroque operas today 3. BRIEF DESCRIPTION OF THE MODULE The module traces the development of opera from the Roman, Venetian and French schools to the end of the seventeenth century. The work and influence of the following are discussed: Alessandro Scarlatti, Zeno, Metastasio, Lully and Quinault. 4. INTENDED LEARNING OUTCOMES Category of outcome Knowledge and understanding Intellectual skills You will be able to: situate early baroque operas within their historical, social and political contexts Identify basic musical concepts such as keys and tonality and apply them in the study of vocal and orchestral scores place opera composers, librettists and practitioners in historical and relative contexts identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for the study of opera, and begin to apply these in critical assessments * ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT. ** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

2 Practical skills Transferable skills and personal qualities identify and apply analytical approaches appropriate for systematic historical and contextual inquiry undertake detailed comparative analyses of operas and approaches to opera practice utilise specialised skills in comparative opera analysis utilise specialist skills in music analysis utilise specialist skills in score reading maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis critical writing locate and discuss primary material within historical and theoretical frameworks start to demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical 5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING) You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses. 6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING) Assessment task Length Weighting within module (if relevant) Formative, multi-part /- 10% 40% Summative (essay based) /- 10% 60% 7. FURTHER INFORMATION Semester 1 or 2 Available on which programme(s)? Opera Studies 2

3 Available as Free Choice (UG) or to other programmes (PG)? No Content Teaching Method Weeks 1-4 Italian Opera in the 17th Century: Rome and Venice Sacred and secular music drama in Rome; the special circumstances of artistic life in the Papal States; the castrato; opera in Venice as public entertainment; Venetian opera; stylistic changes at the middle and towards the end of the 17th century; Alessandro Scarlatti; the Arcadian reform ; Zeno Weeks 5-8 The dramma per musica (I): The Libretto, 18th-Century Society and Intellectual Background Metastasio; the dramma per musica (libretto) as literary genre; Aristotelian theory of drama; Arcadian and Enlightenment aesthetics; conventions and cast of the dramma per musica; the dramma as a reflection of social values and hierarchy; adaptation for a musical setting. Weeks 9-12 The dramma per musica (II): The Performers, Music and Audience The Concerto/ritornello principle; types of music in opera seria; the singer; the Neapolitan style or style galant; theory of affects; the da-capo aria; singing styles; ornamentation; 18th-century acting; 18th-century listening habits. Weeks Opera in 17th-Century France: The tragédie en musique The background and sources of French opera: the role of Louis XIV as a patron; the comédie-ballet; the political purpose of French dramatic music; Lully, Quinault and the tragédie en musique: poetic conventions, types of instrumental and vocal music, subject matter; French opera after Lully. Distributed written material with graded exercises and tasks, many interactive, and all with responses. Specified texts Written Tutor feedback on submitted work, online tutorials and support VLE Wide use of online resources, interactive exercises with responses Chat rooms and online tutorials Feedback Given via chat rooms, online tutorials and s and fully annotated written comments on submitted work 3

4 Indicative Reading Barbier, Patrick. The World of the Castrati. London: Souvenir Press, 1998 Bianconi, Lorenzo. Music in the Seventeenth Century. Transl. by D. Bryant. Cambridge: CUP, 1987 Brown, Bruce A. Gluck and the French Theatre in Vienna. Oxford: Clarendon Press, 1991 Bucciarelli, Melania (ed.). Music as Social and Cultural Practice: Essays in Honor of Reinhard Strohm. Woodbridge, Suffolk: Boydell, 2007 Bucciarelli, Melania: Italian Opera and European Theatre, : Plots, Performers, Dramaturgies. Turnhout: Brepols, 2000 Christensen, Thomas. Rameau and Musical Thought in the Enlightenment. Cambridge: CUP, 1993 Glixon, Beth and Jonathan. Inventing the Business of Opera. Oxford, New York: OUP, 2006 Heartz, Daniel. Music in European Capitals. The Galant Style New York and London: Norton, 2003 Heartz, Daniel. The Creation of the Buffo Finale in Italian Opera (Proceedings of the Royal Music Association, Vol. 104 ( ) Rosand, Ellen. Monteverdi s Last Operas: A Venetian Triology. Berkeley:University of California Press, 2007 Somerset-Ward, Richard. Angels and Monsters: Male and Female Sopranos in the Story of Opera London: Yale University Press, 2004 Stauffer, G. B. (Ed.) The World of Baroque Music Indiana University Press, 2006 Sternfeld, F. W. The Birth of Opera Oxford: OUP, 1993 Wood, Caroline. Music and Drama in the tragédie en musique, New York and London: Garland, 1996 Proposed start date September 2012 Date of approval (for UoM office use) Information updated on Date of current version (for RBC use)

5 1. GENERAL INFORMATION Title Baroque Part 2 Module code Credit rating 20 Level 5 Indicative Contact hours OS502 n/a Pre-requisite modules Level 4 Co-requisite modules School responsible Member of staff responsible ECT* 10 OS501 Notional hours of Learning** AIMS School of Performance Dr F Jane Schopf The module aims to: Provide an overview of comic operas in France and Italy, and opera in Germany and England Develop your ability to analyse baroque opera with reference to their physical and cultural contexts Develop your understanding of the reforms instigated by Gluck 3. BRIEF DESCRIPTION OF THE MODULE The module sets opera seria against Gluck s reformist work. It revisits Gluck and Calzabigi s theoretical statements as a basis for undertaking an assessment of Baroque forms as viable theatre; the reliability of relationships between music and words and problems of authenticity. It investigates baroque opera in England and the work of G. F. Händel. 4. INTENDED LEARNING OUTCOMES Category of outcome Knowledge and You will be able to: situate operas within their historical, social and political contexts * ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT. ** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

6 understanding Intellectual skills Practical skills Transferable skills and personal qualities explain basic musical concepts such as keys and tonality and apply them in the study of vocal and orchestral scores place opera composers, librettists and practitioners in historical and relative contexts explain the first major reformation in opera explain the notion of authenticity identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for the study of opera, and begin to apply these in critical assessments identify and apply analytical approaches appropriate for systematic historical and contextual inquiry undertake detailed comparative analyses of operas and approaches to opera practice utilise specialised skills in comparative opera analysis utilise specialised skills in comparative opera analysis utilise specialist skills in score reading maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis in research, critical writing performance and music discuss primary material within historical and theoretical frameworks identify the theoretical assumptions informing the writings/practices of others formulate a comprehensive response to a designated assignment begin to demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical 5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING) You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses. 6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING) Assessment task Length Weighting within module (if relevant) Formative (multi-sectional Summative (essay style) /- 10% /- 10% 40% 60% 2

7 7. FURTHER INFORMATION Semester 1 or 2 Available on which programme(s)? Available as Free Choice (UG) or to other programmes (PG)? Opera Studies No Content Weeks 1-4 Comic opera in France and Italy The commedia dell arte traditon; rise of comic opera in Naples: the intermezzo; Goldoni and opera buffa in Venice; conventions, cast and musical style of Italian comic opera; the Parisian fair theatres; the querelle des bouffons; the rise of vaudeville comedy and opéra comique Weeks 5-8 Opera in German-speaking countries Hamburg and the tradition of German opera from the 1670s to the 1730s; Italian opera seria in German court cities: changes in musical style and forms around the middle of the 18th century; the Empfindsamkeit; the Sturm und Drang Weeks 9-12 Opera criticism and reform Opera in Vienna under Charles VI and Maria Theresa; Opera in Paris around the middle of the 18th century, Rameau; criticism of Italian opera; the Viennese reform : Durazzo, Gluck, Angiolini, Calzabigi, Guadagni; opera reform in Paris; Italian opera after the reform Weeks Opera in England Händel The Stuart period: the court masque, semi-opera; early attempts at establishing Italian opera in London; Handel, opera seria and the Royal Academies; the Opera of Nobility; ballad opera; English and Italian opera after Händel Teaching Method Distributed written material with graded exercises and tasks, many interactive, and all with responses. Specified texts Written Tutor feedback on submitted work, online tutorials and support VLE Wide use of online resources, interactive exercises with responses Chat rooms and online tutorials Feedback Given via chat rooms and s and fully annotated written comments on submitted work 3

8 Indicative Reading Baumann, Thomas. North German Opera in the Age of Goethe Cambridge: CUP, 1985 Brewer, John: The Pleasure of the Imagination. English Culture in the Eighteenth Century. London: Harper Collins, 2004 Bucciarelli, Melania: Italian Opera and European Theatre, : Plots, Performers, Dramaturgies. Turnhout, Brepols, 2000 Burden, Michael. - Performing the Music of Henry Purcell. Oxford: OUP, Purcell Remembered. London: Faber and Faber, The Purcell Companion. London: Faber and Faber, Burrows, Donald. Handel. Oxford: Oxford University Press, 1996 Dean, Winton. Handel s Operas: Oxford: Oxford University Press, 1995 Fubini, Enrico. Music & Culture in Eighteenth-Century Europe: A Source Book. Chicago: University of Chicago Press, 1994 Gibson, Elizabeth. The Royal Academy of Music : The Institution and Its Directors. New York: Garland, 1989 Howard, Patricia. Gluck: An Eighteenth-Century Portrait in Letters and Documents. Oxford: OUP, 1995 Isherwood, Robert M. Popular Musical Entertainment in Eighteenth-Century Paris, International Review of the Aesthetics and Sociology of Music, Vol. 9, No. 2 (Dec. 1978). Libby, Dennis. Italy: Two Opera Centres in Man and Music, The Classical Era: From the 1740s to the end of the 18th century, pp Edited by Neal Zaslaw. Macmillan, Somerset-Ward, Richard. Angels and Monsters: Male and Female Sopranos in the Story of Opera London: Yale University Press, 2004 Strohm, Reinhard: Dramma per musica: Italian Opera of the Eighteenth Century. New Haven, CT: Yale University Press, 1997 Talbot, Vivaldi Montezuma and opera seria,turnhout: Brepols, 2009 Zaslaw, Neal, ed. Man and Music, The Classical Era. Macmillan, Proposed start date September 2012 Date of approval (for UoM office use) Information updated on Date of current version (for RBC use)

9 1. GENERAL INFORMATION Title Romanticism Part 1 Module code Credit rating 20 Level 5 Indicative Contact hours OS503 n/a Pre-requisite modules Level 4 Co-requisite modules School responsible Member of staff responsible ECT* 10 OS504 Notional hours of Learning** 200 School of Performance Dr F Jane Schopf 2. AIMS The module aims to: Develop your understanding of Romanticism as an international movement that had an impact on all art forms Develop your ability to analyse the relationship between music and drama in Romantic opera Place the main developments in Romantic opera in their cultural context Analyse the relationship between Romantic opera and its sources 3. BRIEF DESCRIPTION OF THE MODULE The module aims to answer three key questions: What is Romanticism? What are the sources of Romanticism? What is the relationship between Romanticism and its sources? The module covers the inception of German Romantic opera and French grand opera. Principal works examined include: Weber Der Freischütz, the Faust myth and works by Meyerbeer and Gounod. * ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT. ** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

10 4. INTENDED LEARNING OUTCOMES Category of outcome Knowledge and understanding Intellectual skills Practical skills Transferable skills and personal qualities You will be able to: situate operas within their historical, social and political contexts place opera composers, librettists and practitioners in historical and relative contexts explain judgements of taste and value in a range of critical domains evaluate and discuss significant developments in opera explain the main artistic movements, traditions and ideologies that influenced opera during the Romantic period identify and practise primary study skills and scholarly research methods analyse the relationship between music and drama engage with, apply and integrate theoretical analyses in relation to primary and secondary material Undertake comparative analyses of operas and approaches to opera practice Utilise specialist skills in comparative opera analysis Utilise specialist skills in score reading maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis critical writing locate and discuss primary material within historical and theoretical frameworks identify the theoretical assumptions informing the writings/practices of others undertake relevant research and make effective use of supporting primary and secondary evidence and sources formulate a comprehensive response to a designated assignment start to demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical 5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING) You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses. 2

11 6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING) Assessment task Length Weighting within module (if relevant) Formative, multi-part /- 10% 40% Summative (essay based) /- 10% 60% 7. FURTHER INFORMATION Semester 1 or 2 Available on which programme(s)? Available as Free Choice (UG) or to other programmes (PG)? Opera Studies No Content Weeks 1 and 2 What is Romanticism? Addresses the question: What is Romanticism? by taking an interdisciplinary, contextual approach presenting the argument for the Long Nineteenth Century. Weeks 3 and 4 Romanticism and Music Discusses the changes occurring in music after the classical period and the composers which initiated that change. Weeks 5 and 6 German Opera The birth of German opera looking at the precursors and changes that occurred. Weeks 7 and 8 A detailed study of the sources that influenced Weber s Der Freischütz. Weeks 9 and 10 French Grand Opera The rise of French grand opera and the role of Meyerbeer and Scribe in crystallising the new genre. Weeks 11 and 12 Meyerbeer A study of his works together with recent re-evaluations of the significance of his operas. Weeks 13 and 14 The Faust Myth A study of a source that inspired the Romantics: Goethe s Faust together with a study of The Damnation of Faust by Berlioz. Weeks 15 and 16 Gounod and Faust A study of Gounod s Faust with discussion about how both the Berlioz work and Gounod s do, or, do not work in the theatre. 3

12 Teaching Method Distributed written material with graded exercises and tasks, many interactive, and all with responses. Specified texts Written Tutor feedback on submitted work, online tutorials and support VLE Wide use of online resources, interactive exercises with responses Chat rooms and online tutorials Feedback Given via chat rooms, online tutorials and s and fully annotated written comments on submitted work Indicative Reading Berlin, I. The Roots of Romanticism Hardy, H. Ed. London: Pimlico, 2000 Brown, J. R., ed. The Oxford Illustrated History of Theatre. Oxford/ New York: OUP, Charlton, David. Grand Opera Cambridge: CUP, 2003 Cuddon, J. A. The Penguin Dictionary of Literary Terms and Literary Theory. Harmondsworth: Penguin, 1999 Dahlhaus, c. Nineteenth-Century Music Trans. J. Bradford Robinson. University of California Press, 1989 Einstein, Alfred. Music in the Romantic Era. London: Dent, 1947 Everist, Mark. Music Drama at the Paris Odéon Berkley: University of California Press, 2002 Gerhard, Anselm. The Urbanisation of Opera Trans. Whittal, Chicago:University Press, 1998 Goethe, Johann Wolfgang. Faust Part I. Trans. David Luke. Oxford: Oxford University Press, Heath, D. & Boreham, J. Introducing Romanticism London: Icon, Huebner, S. The Operas of Charles Gounod Oxford: oxford University Press, 1992 Meyer, S. Carl Maria von Weber and the Search for a German Opera Indiana University Press, 2003 Mongrédien, J. French Music Amadeus Press, 1996 Pendle, Karin. Eugene Scribe and French Opera of the Nineteenth Century. Ann Arbor: UMI Research Press, 1979 Plantinga, L. Romantic Music London: Norton, 1984 Riasanovsky, N. V. The Emergence of Romanticism Oxford: Oxford University Press, Ringer, A. A. Ed. The Early Romantic Era London: Macmillan, 1990 Rosen, C. The Romantic Generation London: Harper Collins, 1995 Rousseau, Jean-Jacques. The Social Contract and Discourses. Trans. Christopher Betts. Oxford: Oxford University Press, Samson, J. The Late Romantic Era London: Macmillan, 1991 Trussler, S. The Cambridge Illustrated History of British Theatre. Cambridge: Cambridge University Press, Wolf, N. Caspar David Friedrich London: Taschen, Wu, Duncan, ed. Romanticism: An Anthology. Oxford: Blackwell, 2005 Proposed start date September

13 Date of approval (for UoM office use) Information updated on Date of current version (for RBC use)

14 1. GENERAL INFORMATION Title Romanticism Part 2 Module code OS504 Credit rating 20 Level 5 Indicative Contact hours n/a Pre-requisite modules Level 4 Co-requisite modules OS503 School responsible School of Performance Member of staff responsible Dr F Jane Schopf ECT* 10 Notional hours of Learning** AIMS The module aims to: Place the main developments in nineteenth-century Italian opera in their cultural context Further analyse the relationship between Romantic opera and its sources Understand the influence of Shakespeare on composers of this time Understand the concept of the long nineteenth century. 3. BRIEF DESCRIPTION OF THE MODULE The module discusses nineteenth-century Italian opera and its sources and late nineteenth-century French and German opera before reassessing the concept of Romanticism and the long nineteenth century. Composers studied include Rossini, Donizetti and Massenet. 4. INTENDED LEARNING OUTCOMES Category of outcome You will be able to: * ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT. ** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

15 Knowledge and understanding Intellectual skills situate operas within their historical, social and political contexts identify financial, political and operational contexts in which nineteenth-century operas were produced understand then influence of Shakespeare place composers, librettists and practitioners in historical and relative contexts explain and discuss significant developments in opera evaluate the main artistic movements, traditions and ideologies that influence and inform opera in this period acquire an informed awareness of the working contexts and organisation of nineteenth-century opera production identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for this period of opera, and begin to apply these in critical assessments identify and apply analytical approaches appropriate for systematic historical and contextual inquiry engage with, apply and integrate theoretical analyses in relation to primary and secondary material. Practical skills Transferable skills and personal qualities undertake detailed comparative analyses of operas and approaches to opera practice utilise specialised skills in comparative opera analysis utilise specialist skills in music analysis utilise specialist skills in score reading maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis in critical writing locate and discuss primary material within historical and theoretical frameworks identify the theoretical assumptions informing the writings/practices of others undertake relevant research and make effective use of supporting primary and secondary evidence and source formulate a comprehensive response to a designated assignment begin to demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical 5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING) You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses. 2

16 6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING) Assessment task Length Weighting within module (if relevant) Formative, multi-part /- 10% 40% Summative (essay based) /- 10% 60% 7. FURTHER INFORMATION Semester 1 or 2 Available on which programme(s)? Available as Free Choice (UG) or to other programmes (PG)? Opera Studies No Content Weeks 1 4 Italian Opera and its Sources: I An introduction to Italian Romanticism. A study of some of the essential features of bel canto opera. The influence of Romantic German drama on Italian opera. Weeks 5-8 Italian Opera and its Sources: II A study of Romantic attitudes to Shakespeare, with an emphasis on the influence of Shakespeare on Italian opera. Works studied include Donizetti s Maria Stuarda and Rossini s Otello. Weeks 9-12 Romantic Sources in later French Opera A study of Massenet s Werther, late-nineteenth-century operatic adaptation of a key text from the early phase of Romanticism. Teaching Method Weeks Late German Romantic opera A study of a late-nineteenth-century operatic trends in Germany and an assessment of the concept of the long nineteenth-century. Distributed written material with graded exercises and tasks, many interactive, and all with responses. Specified texts Written Tutor feedback on submitted work, online tutorials and support VLE Distributed written material with graded exercises and tasks, many interactive, and all with responses. Specified texts Written Tutor feedback on submitted work, online tutorials and support 3

17 Feedback Given via chat rooms, online tutorials and s and fully annotated written comments on submitted work Indicative Reading Allitt, John Stewart. Donizetti and the tradition of romantic love: a collection of essays on a theme. London: Element Books, 1975 Ashbrook, W. Donizetti and his operas. Cambridge: Cambridge University Press, 1982 Bentley, Eric, ed. The Theory of the Modern Stage. Harmondsworth: Penguin Books, 1992 Black, J. Donizetti s operas in Naples London: Macmillan, 1982 Cardinal, Roger. German Romantics. London: Studio Vista, 1975 Celletti, R. A History of Bel Canto. Trans. F. Fuller. Oxford: Clarendon Press, 1979 Charlton, David (Ed.). Cambridge Companion to Grand Opera CUP, 2003 Goethe, Johann Wolfgang. The Sorrows of Young Werther. Trans. Michael Hulse. Harmondsworth: Penguin, 1989 Kimbell, David. Italian Opera. Cambridge: Cambridge University Press, [1991] 1994 Manén, Lucie. Bel Canto Oxford: OUP, 1987 Roselli, J. Music & Musicians in Nineteenth-Century Italy London: Batsford, 19 Stendhal. The Life of Rossini Trans. Richard N. Coe. London: Calder, 1985 Proposed start date September 2012 Date of approval (for UoM office use) Information updated on Date of current version (for RBC use)

18 1. GENERAL INFORMATION Title Module code Credit rating 20 Level 5 Indicative Contact hours Pre-requisite modules Co-requisite modules School responsible Member of staff responsible Monteverdi OS505 n/a ECT* 10 Level 4 and OS501 and OS502 none Notional hours of Learning** 200 School of Performance Dr F Jane Schopf 2. AIMS The module aims to: engage you with detailed study of the social and cultural contexts and performance conditions of early opera enable you to make a detailed analysis of its innovative synthesis of music, dramatic action and design bring about a deepened awareness of the conditions in which opera originated and began develop, with an especial focus on Monteverdi contextualise early and significant developments in form and composition 3. BRIEF DESCRIPTION OF THE MODULE The module is centred on the achievement of Monteverdi as both a composer of non-operatic music, exponent of the new style, and as a musico-dramatist. The major concern, apart from the historical foundation laid during the period, is the question of the nature of the melodrama itself and the sometimes conflicting demands of music, words and staging. In addition to representative instrumental and vocal music (including Second Practice, monody and madrigal), the works studied will include Peri Euridice, Monteverdi, La Favola d Orfeo, Il ritorno d Ulisse in patria and L Incoronazione di Poppea. * ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT. ** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

19 4. INTENDED LEARNING OUTCOMES Category of outcome Knowledge and understanding Intellectual skills Practical skills Transferable skills and personal qualities You will be able to: situate operas within their historical, social and political contexts place Monteverdi in his historical and relative contexts evaluate judgements of taste and value in a range of critical domains understand and discuss significant developments in early opera gain a detailed knowledge of the main artistic movements, traditions and ideologies that influence and informed the genesis of opera demonstrate an awareness of the working contexts and organisation of early opera production identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for the study of opera, and begin to apply these in critical assessments identify and apply analytical approaches appropriate for systematic historical and contextual inquiry undertake detailed comparative analyses of operas and approaches to opera practice utilise specialised skills in comparative opera analysis utilise specialist skills in music analysis utilise specialist skills in score reading maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis critical writing locate and discuss primary material within historical and theoretical frameworks identify the theoretical assumptions informing the writings/practices of others start to undertake relevant research and make effective use of supporting primary and secondary evidence and source 2

20 formulate a comprehensive response to a designated assignment maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments engage in independent scholarly research and discursive written analysis undertake a range of formal assessments to a range of specified briefings (assignments) engage in critical self-assessment read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis in research, critical writing performance and music locate and discuss primary material within historical and theoretical frameworks identify the theoretical assumptions informing their own work and the writings/practices of others undertake relevant research and make effective use of supporting primary and secondary evidence and source formulate a comprehensive response to a designated assignment 5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING) You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses. 6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING) Assessment task Length Weighting within module (if relevant) Formative, multi-part /- 10% 40% Summative (essay based) /- 10% 60% 7. FURTHER INFORMATION Semester 1 or 2 Available on which programme(s)? Opera Studies 3

21 Available as Free Choice (UG) or to other programmes (PG)? No Content Weeks 1 and 2 Pastoral, intermedio, favola in musica Immediate predecessors of opera in the late sixteenth-century theatre in Italy; Jacopo Peri s Euridice (1600) and the workings of the Florentine recitative. Weeks 3 and 4 Monteverdi s Orfeo 1 The première of Orfeo; the structure and music Weeks 5 and 6 Orfeo 2 Weeks 7 and 8 Other musical theatre Other theatrical genres in the early seventeenth-century Italian court; intermedio, Monteverdi s Ballo delle ingrate (1608), Combattimento di Tancredi et Clorinda (1624). Weeks 9 and 10 Il ritorno d Ulisse in patria 1 Monteverdi in Venice; public opera; Il ritorno d Ulisse as a transitional work; from epic to libretto Weeks 11 and 12 Il ritorno d Ulisse in patria 2 Weeks 13 and 14 L incoronazione Poppea 1 From myth to history; the Accademia degli Incogniti and its influence on trends in Venetian opera; a moral imperative. Case-studies (1). Weeks 15 and 16 L incoronazione Poppea 2 Case-studies (2). Who wrote Poppea and whether it matters. Issues of reception history Teaching Method Distributed written material with graded exercises and tasks, many interactive, and all with responses. Specified texts Written Tutor feedback on submitted work, online tutorials and support VLE Wide use of online resources, interactive exercises with responses Chat rooms and online tutorials Feedback Given via chat rooms and s and fully annotated written comments on submitted work 4

22 Indicative Reading Arnold, D. and N. Fortune, ed. The New Monteverdi Companion. London: 1985 Bianconi, Lorenzo, and Thomas Walker. Production, Consumption and Political Function of Seventeenth-Century Opera. Early Music History Vol 4 (1984): Carter, Tim. Non occorre nominare tanti musici: Private Patronage and Public Ceremony in Late Sixteenth-Century Florence. I Tatti Studies: Essays in the Renaissance 4 (1991) Carter, Tim. In Love s Harmonious Consort?: Penelope and the Interpretation of Il ritorno d Ulisse in patria. Cambridge Opera Journal Vol 5, No. 1 (March 1993) Curtis, Alan. La Poppea Impasticciata, or Who Wrote the Music to L incoronazione (1643)? Journal of the American Musicological Society Vol 42, No. 1 (Spring 1989) McClary, Susan. Feminine Endings: Music, Gender, and Sexuality. Minnesota & London: University of Minnesota Press, Palisca, Claude Studies in the History of Italian Music and Music Theory. Oxford: OUP, 1994 Rosand, Ellen. Seneca and the Interpretation of L incoronazione di Poppea. Journal of the American Musicological Society Vol 38, No. 1 (Spring 1985) Tomlinson, Gary. Madrigal, Monody, and Monteverdi s via naturale alla immitatione. Journal of the American Musicological Society Vol 34, No. 1 (Spring 1981) Whenham, John, ed. Claudio Monteverdi: Orfeo. Cambridge Opera Handbooks. Cambridge: Cambridge University Press, 1986 Proposed start date September 2012 Date of approval (for UoM office use) Information updated on Date of current version (for RBC use)

23 1. GENERAL INFORMATION Title Module code Credit rating 20 Level 5 Indicative Contact hours Verdi OS506 n/a Pre-requisite modules Level 4 Co-requisite modules School responsible Member of staff responsible ECT* 10 none Notional hours of Learning** 200 School of Performance Dr F Jane Schopf 2. AIMS The module aims to: introduce you to the range of Verdi s operatic achievements, and enable you to understand his development and see how this reflected trends and taste in both opera and theatre in Europe involve you in the debates as to what opera is and should be for the future through examining Verdi as a touchstone for the modern main-stream repertoire enable you to make close analysis of Verdi s musical dramaturgy. 3. BRIEF DESCRIPTION OF THE MODULE Verdi s most obvious virtues melody, clear rhythm, orchestration, highly charged drama have tended to become the sole criteria by which his operas have been judged. As a result, his works more subtle and refined qualities have often been overlooked and the majority of his works ignored, Yet Verdi was a master dramatist, brilliant orchestrator and one of the most profoundly human of composers. This module examines his development through key points in his career as dramatist and composer; sets his work in the context of its period staging, casting and audience expectation - and examines his relationship with his librettists and their sources. * ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT. ** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

24 4. INTENDED LEARNING OUTCOMES Category of outcome Knowledge and understanding Intellectual skills Practical skills Transferable skills and personal qualities You will be able to: situate operas within their historical, social and political contexts identify financial, political and operational contexts in which Verdi s operas were produced apply basic musical concepts such as keys and tonality in the study of vocal and orchestral scores place Verdi, his librettists and practitioners in historical and relative contexts evaluate Verdi in the modern repertoire explain Verdi s musical dramaturgy Be able to identify and practise primary study skills and scholarly research methods Identify specific models of theory appropriate for opera and begin to apply them in critical assessments engage with, apply and integrate complex theoretical analyses in relation to primary and secondary material undertake detailed comparative analyses of operas and approaches to opera practice utilise specialised skills in comparative opera analysis utilise specialist skills in music analysis Begin to develop specialised skills in comparative opera analysis and score reading maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis in critical writing locate and discuss primary material within historical and theoretical frameworks identify the theoretical assumptions informing the writings/practices of others start to demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical 5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING) 2

25 You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses. 6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING) Assessment task Length Weighting within module (if relevant) Formative, multi-part 2000 (+/- 10%) 40% Summative (essay based) 3000 (+/- 10%) 60% 7. FURTHER INFORMATION Semester 1 or 2 Available on which programme(s)? Available as Free Choice (UG) or to other programmes (PG)? Opera Studies No 3

26 Content Weeks 1 and 2 Early nineteenth-century Italian opera A detailed discussion of the historical background, structure and content of representative works which set the scene for later developments in Italian opera and foreshadow Verdi s operas in different ways. Weeks 3 and 4 Nabucco (1842) and the Italian Risorgimento A discussion of Verdi s place in Italian Romanticism and his identification with the revolutionary movement, the Risorgimento, as revealed in this opera which is undoubtedly his first work of true stature. Weeks 5 and 6 Ernani (1844) and the Romantic ideal Victor Hugo s play Hernani was one of the key works of French Romanticism. We discuss the essential differences between the original play and the adaptation as conceived by Verdi s librettist, Francesco Maria Piave, and the composer himself. Weeks 7 and 8 Luisa Miller (1849): Verdi, Schiller, intrigue and love Kabale und Liebe was an important early work by the great German poet and dramatist, Friedrich Schiller. We compare the original play with the operatic adaptation and explore the reasons for the changes introduced by Verdi and his librettist, Salvatore Cammarano. Weeks 9 and 10 Il trovatore (1853) We discuss how this work is both backward-looking in its use of traditional forms and forward-looking in the way that these forms are stretched to their limits in the service of dramatic truth. Weeks 11 and 12 Simon Boccanegra (1857, rev. 1881) We shall see how Boito s revision inspired Verdi to write music of great originality. Weeks 13 and 14 Don Carlos Written originally as a five-act grand opera for the Parisian stage, this work was later revised for the Italian stage. A comparison will be made with the Friedrich Schiller original, and the essential differences between the French and Italian versions will be discussed. Weeks 15 and 16 Falstaff (1893) Discussion will be focused on the correspondence between librettist and composer and the nature and extent of the adaptation. Teaching Method Distributed written material with graded exercises and tasks, many interactive, and all with responses. Specified texts Written Tutor feedback on submitted work, online tutorials and support VLE Feedback Wide use of online resources, interactive exercises with responses Chat rooms and online tutorials Given via chat rooms and s and fully annotated written comments on submitted work 4

27 Indicative Reading Abraham, Gerald, (ed.) The Age of Beethoven, The New Oxford History of Music VIII. 2nd ed. Oxford: OUP, 1985; and Romanticism, The New Oxford History of Music IX. Oxford: OUP, Albright, D. Berlioz, Verdi, Wagner, Britten: Great Shakespeareans, 2012 Allitt, John S. Donizetti In the Light of Romanticism and the Teaching of Johann Simon Mayr London: Element, 1991 Balthazar, Scott L. (ed.) The Cambridge Companion to Verdi Cambridge: CUP, 2004 Bianconi, L. & Pestelli, G. (Eds.). Opera in Theory and Practice: Image and Myth University of Chicago, 2003 Boromé, Joseph A. Bellini and Beatrice di Tenda. Music and Letters 42, no.4 (October 1961). Budden, Julian. The Operas of Verdi. 3 vols. Oxford: Clarendon Press, Chusid, Martin, (ed.) Verdi s Middle Period ( ): Source Studies, Analysis and Performance Practice. Chicago: Chicago University Press, 1997 Conrad, P. Verdi and/or Wagner Thames and Hudson 2011 Edwards, G. and Edwards, R. The Verdi Baritone Indiana University Press, 1994 Galatopoulos, Stelios. Bellini London: Sanctuary, 2002 Harwood, G. Giuseppi Verdi: A research and Information guide Routledge, 2012 Hepokoski, James. Verdi, Giuseppina Pasqua, and the Composition of Falstaff. Nineteenth-Century Music 3, no.3 (Spring 1980) John, Nicholas, (ed.) Falstaff ENO Opera Guide 10. London: Calder, Il trovatore ENO Opera Guide 20. London: Calder, Simon Boccanegra ENO Opera Guide 32. London: Calder, Don Carlos ENO Opera Guide 46. London: Calder, Keys, A.C. Schiller and Italian Opera. Music and Letters 41, no. 3 (July 1960) Kimbell, David. Italian Opera. Cambridge: CUP, Verdi in the age of Italian Romanticism, CUP, 1985 Parakilas, James. Political Representation and the Chorus in Nineteenth- Century Opera. Nineteenth-Century Music 16, no. 2 (Fall 1992) Parker, Roger. The Dramatic Structure of Il trovatore. Music Analysis 1:2 (July 1982) Petrobelli, Pierluigi. Towards an Explanation of the Dramatic Structure of Il trovatore. Music Analysis 1, no.2 (July 1982) Pistone, Danièle. Nineteenth-Century Italian Opera Cambridge: Amadeus Press, Riall, Lucy. The Italian Risorgimento: State, Society and National Unification London: Routledge, Rosselli, John. Music and Musicians in Nineteenth-Century Italy London: Batsford, Sharpe, Lesley. Friedrich Schiller. Drama, Thought and Politics. Cambridge: CUP, 1991 Stendhal.The Life of Rossini Trans. Richard N. Coe. London: Calder, Van, Gilles de. Verdi s Theater: Creating Drama through Music Chicago: Chicago University Press, 1998

28 Proposed start date Date of approval (for UoM office use) Information updated on September 2012 Date of current version (for RBC use) Jan

29 1. GENERAL INFORMATION Title Module code Credit rating 20 Level 5 Indicative Contact hours Pre-requisite modules Co-requisite modules School responsible Member of staff responsible Wagner OS507 n/a ECT* 10 none none Notional hours of Learning** 200 School of Performance Dr F Jane Schopf 2. AIMS The module aims to: give you an overview and an understanding of Wagner s development in relation to his cultural and socio-political contexts enable you to engage with Wagner s theoretical writings and their implications for music drama enable you to make an analysis of examples of his mature work. 3. BRIEF DESCRIPTION OF THE MODULE This module discusses Wagner s dramatic development by looking at operas from each of his artistic periods setting them in their contemporary and theatrical contexts. It also explores the various social, political and philosophical influences on Wagner s creativity throughout his life. * ECT (European Credit Transfer and Accumulation System): There are 2 UK credits for every 1 ECT credit, in accordance with the Credit Framework (QAA). Therefore if a module is worth 20 UK credits, this will equate to 10 ECT. ** Notional hours of learning: The number of hours which it is expected that a learner (at a particular level) will spend, on average, to achieve the specified learning outcomes at that level. It is expected that there will be 10 hours of notional study associated with every 1 credit achieved. Therefore if a module is worth 20 credits, this will equate to 200 notional study hours, in accordance with the Credit Framework (QAA).

30 4. INTENDED LEARNING OUTCOMES Category of outcome Knowledge and understanding Intellectual skills Practical skills Transferable skills and personal qualities You will be able to: situate Wagner s operas within their historical, social and political contexts identify financial, political and operational contexts in which his operas were produced apply basic musical concepts such as keys and tonality in the study of vocal and orchestral scores evaluate and discuss Wagner s developments in opera explain the main artistic movements, traditions and ideologies that influenced and informed Wagner identify and practise primary study skills and scholarly research methods identify specific models of theory and analysis appropriate for the study of opera, and begin to apply these in critical assessments undertake detailed comparative analyses of operas and approaches to opera practice utilise specialised skills in comparative opera analysis utilise specialist skills in music analysis utilise specialist skills in score reading maintain scholarly modes of presentation and approaches to referencing and bibliography present a structured argument in written assignments undertake a range of formal assessments to a range of specified briefings (assignments) read and follow musical notation respond to the precise terms of a designated assignment develop and apply skills of analysis in critical writing identify the theoretical assumptions informing the writings/practices of others make effective use of supporting primary and secondary evidence and sources begin to demonstrate approaches to analytical inquiry which are discursive, associative and flexible rather than precisely chronological or historical 5. LEARNING AND TEACHING PROCESSES (INCLUDING THE USE OF E-LEARNING) You will receive written text via our E-learning platform. The material has staged exercises and tasks throughout, many being interactive. All exercises have full explanatory responses. 6. ASSESSMENT (INCLUDING THE USE OF E-LEARNING) Assessment task Length Weighting within 2