Music 251W Music in Europe Before 1600

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1 Fall, 2004, meets TR 2:30-3:45 Office hours: TR 10:30-11:30 Prof. Hamessley 204 List, ; lhamessl Music 251W Music in Europe Before 1600 Objectives: The primary goal of this course is to familiarize you with the major developments in musical styles and genres during the Middle Ages and Renaissance. Besides the consideration of the theory and specific musical genres of the time, the course will include an examination of the political, economic, and cultural environments that influenced the musical practices of those eras. Required Texts and Materials: You must buy the following texts; however, copies may be on reserve (with the exception of the study guide, which you MUST purchase right away). Barbara Russano Hanning, Concise History of Western Music, 2 nd ed. [CHWM] Claude V. Palisca, Norton Anthology of Western Music, v. 1, 4th ed. [NAWM] scores. J. Peter Burkholder, Study and Listening Guide, 2 nd ed. Richard J. Wingell, Writing About Music: An Introductory Guide, 3 rd ed. Diana Hacker, A Pocket Style Manual, 3 rd ed. You must have an account. Announcements will be made via and Blackboard on the web. Bring CHWM and NAWM to each class meeting. Recommended Materials: Although copies of the following CDs will be on reserve, you may choose to buy them at the bookstore. Students find it quite useful to have the musical examples in their room for study when the library is closed. However, there will be listening examples drawn from many other recordings as well, so you will still need to plan listening/study time in the Music Library. There will be regular readings from the Weiss/Taruskin book as well, so buy this book if you don t want to do the reading in the Music Library. Norton Recorded Anthology of Western Music, 4 th ed., v. 1 [NRAWM] 6-CD set. MT6 G7 H Piero Weiss and Richard Taruskin, Music in the Western World. (ML160 M ). [MWW] Additional texts: Although the Concise History of Western Music and the NAWM scores and recordings are required, we will not rely only on them. There are required readings from other music history texts, and musical examples from other anthologies appear in your listening assignments. These are on reserve in the Music Library; thus, you will have to do much of your reading and listening in the Music Library. I use the following abbreviations in your assignments to designate these texts and anthologies. You should use these books if you would like to read about or see additional examples of a particular genre or composer s work. Texts MMW: Albert Seay, Music in the Medieval World ML172 S MR: Howard Mayer Brown, Music in the Renaissance ML172 B86 RM: Allan W. Atlas, Renaissance Music: Music in Western Europe, ML172 A MOR: Giulio Ongaro, Music of the Renaissance ML172 O Anthologies AERM: Greenberg and Maynard, Anthology of Early Renaissance Music M2 A517 AMM: Hoppin, Anthology of Medieval Music M1495 A55 ARM: Atlas, Anthology of Renaissance Music: Music in Western Europe, MT91 A EMH: Fuller, European Musical Heritage, M2 E HAM: Davison and Apel, Historical Anthology of Music M2 D25 H5 v. 1 and v. 2

2 HAMW: Briscoe, Historical Anthology of Music by Women M1 H HMWC: Bonds, A History of Music in Western Culture, v. 1 M2 B suppl. MM: Marrocco and Sandon, Medieval Music M1 M4 MMB: Parrish, Masterpieces of Music Before 1750 M2 P25 M3 OBEM: Oxford Book of English Madrigals M1547 O OBIM: Oxford Book of Italian Madrigals M1579 O OBTA: Oxford Book of Tudor Anthems M2060 O SSHS: Lincoln & Bonta, Study Scores of Historical Styles, v. 1 MT6.5 S v. 1 TEM: Parrish and Ohl, A Treasury of Early Music M2 P25 T7

3 Assignments: This course proceeds according to topic as outlined by the chapters in your textbooks. For each topic you will have a reading and a listening assignment as well as sections from the Study Guide to complete. The reading assignment includes the commentary accompanying the pieces found in any of the anthologies and additional reading as necessary. You may find the following outline helpful in planning your study time for each topic. 1. Read the assigned material and work through the relevant sections of the Study Guide. 2. With this as a background, begin the listening assignment. Subheadings for each topic are listed in the syllabus to help you gauge the pace of your listening for each topic. Listen very attentively. How are the stylistic characteristics you read about reflected in the music? 3. Take notes as you listen; work through the relevant Music for Study sections in your Study Guide. It is helpful to write on the score when using your anthology [NAWM]. 4. Class discussion. Do not begin your work on each topic with this step! Class time is intended to expand upon the material you should already be familiar with. Your participation in discussion will have an impact on your grade, and you will want to make sure you can participate meaningfully. 5. Listen again to the music, and reread any material that may still be unclear. Be certain you can hear as well as verbalize what is happening in the music. 6. Finish the relevant exercises in your Study and Listening Guide, including the List of Terms. I will collect your Study Guides at the end of each unit in order to check your work. Write your review essay of the study questions. Review Essays: This course is Writing Intensive, so we will spend time working on your writing skills about music, which is a challenging task. At the beginning of each topic, I will give you a set of study questions to consider during our time on each topic. You are to pick one of these questions and respond to it in writing; some questions may be related in such a way that you want to consider more than one. Your essay should be words and typewritten, and it will be due at the beginning of class on the first day of the following unit. In this essay I expect you to demonstrate your understanding of the major concepts of each topic by responding to the question(s) in light of the assigned readings, class discussions, and listening assignments. In order to go beyond mere description, think through each topic/question and organize your thoughts into two or three main points that you want to make. You should try to synthesize the material rather than simply writing a summary of it do not simply go through the book and summarize what you find there. These essays will be submitted at the beginning of the first day of class AFTER each unit, and they will be graded. You may be given the opportunity to re-write and/or revise these essays at my discretion. You will also submit feedback sheets in which you outline the errors and problems noted in your essays. (See attached Grading Criteria for Writing Assignments. ) The purpose of these essays is threefold. First, they will help you stay abreast of the material that the course covers; they are an opportunity for you to pause and review what you have learned in each unit. Second, the essays will be invaluable to you at exam time; essay questions for the exams will be drawn from the questions I give you for each topic. Thus, you will have begun much of your exam prep by writing on one or two of the questions. These questions will serve as a study guide for the exam, and you should be prepared to write on each question, whether or not you wrote your essay on it. Third, writing these short essays will give you practice in writing the kind of short essay that you will find on exams you will get feedback on your work (its accuracy, organization, and completeness) so that you can be better prepared for the exams. I will not accept late review essays without a compelling reason (illness, family emergency; NOT absence from class due to a sporting event or other non-medical, non-emergency reasons). You may not skip a class in order to finish a review essay. Paper and Class Presentation: One paper and class presentation will be required. Details are on the final page of this syllabus. You may be expected to critique each other s work, meet with me, meet with the Writing Center

4 tutors, and rewrite the paper as necessary. Late papers will be penalized one letter grade per day late. If you must turn in a paper late, you must notify me in advance (not the day it s due). This applies both to drafts and final papers. Skipping a class to finish a draft or a final paper will be the equivalent of a one-day late paper. Your final grade for the paper will be a combination of the draft grade and the final paper grade. Listening Quizzes: After each topic, you will take a listening quiz. During the quizzes, you may use notes that you have taken on the listening assignments. These notes may not include the texts of the pieces or any music notation. The quizzes will be scheduled outside of regular class time. Topics 4 and 8 will be tested during the Midterm and Final Exams respectively. The final exam will also include a cumulative listening quiz that covers all previous units. Each quiz will contain two types of examples: 1. Identification of assigned listening material. For this section, you will hear and identify pieces that were on your listening assignments. The selection may start at any point, not just at the beginning. 2. Unassigned listening material. Several selections will be played, and you will determine their approximate date/region of composition and suggest a probable composer (or school of composition) on the basis of stylistic considerations which you will outline. Computer Work: Several Music History and Theory computer programs will be assigned from among those in the Music Department Computer Lab. These will help you immeasurably in your understanding of the basic concepts of the Roman Liturgy, the modal system, and Renaissance music theory. Exams: Because each exam contains listening portions for which I must be present, I do not re-schedule any exams except due to emergency situations that you have discussed with the Associate Dean of Students. You should look now at the exam schedule and make your plans accordingly. Our final exam is scheduled for Friday, Dec. 17, 2-5pm. You should not make plans to leave campus during finals week before this date. Plan to use a pen or dark pencil for your answers. Legible handwriting works wonders for your grade if I can t read what you write, I can t give you credit for your answers. Attendance: Your presence and participation in class will have an impact on your grade, so you will be expected to attend all classes. You must let me know of any absences due to scheduled sports games by the end of the second week of classes. More than two unexcused absences will have a detrimental effect on your grade. Each absence after that will result in your final grade being lowered a 1/3 letter grade (e.g. B+ with 2 absences over the limit = B-). If you are aware of times you will miss for any reason please see me, call me, or me to make arrangements. Otherwise, I will assume that you will be in class. Note also that there are two events you are required to attend for this course. Be sure to get your tix early for Philomel!! Fri., Oct. 22 Workshop with Philomel, 12noon-12:50, Schambach 201. Fri., Oct. 22 Philomel, 8pm, Wellin Hall. Office Hours and Extra Help: If you need to see me, please make an appointment with me by or by seeing me after class. I am happy to help you with class material and with your writing assignments. Hamilton College will make reasonable accommodations for students with properly documented disabilities. If you are eligible to receive an accommodation and would like to request it for this course, please discuss it with me and allow two weeks notice. You will need to provide Nancy Thompson, Sr. Associate Dean of Students (KJ 104; ext. 4022) with appropriate documentation of your disability. Evaluation: Midterm 20% Final 25% (written-20%, cumulative listening-5%) Paper 15% Listening quizzes 10% (I will omit the lowest score you receive on these quizzes)

5 Study Guide 10% Review Essays 20% Honor Code: All quizzes, exams, papers, and any other work submitted for a grade in this course must be prepared in accordance with the Hamilton College Honor Code. I encourage you to do the listening together and discuss the material and the music with your classmates; however, your graded work must be your own. It is also an infringement of copyright law and library policy to make copies of any recorded material in the Music Library (all records, CDs, and tapes). I will consider a violation of this policy to be a violation of the Honor Code. Music Library Hours: (located in the basement of McEwen) 9:30 am-11:30 pm: Monday-Thursday 9:30 am-4:30 pm: Friday 12 noon-5 pm: Saturday 12 noon-11 pm: Sunday Note: these hours are subject to change; check the schedule posted on the library door. Remember, the Music Library has a limited number of listening stations, and you are not the only music students using the library. PLAN AHEAD!

6 Music 251 Class Schedule The Middle Ages Topic 1 The Chant of the Medieval Church, Chaps. 1 & 2 T Aug 31 R Sept. 1 T Sept. 7 R Sept. 9 Ancient Greece and Early Christian Rome. Medieval philosophy. Reading: CHWM, pp. 1-17; MWW, 1, 2, 3, 4, 10, 11. Roman Chant and Liturgy. Reading: CHWM, pp ; MWW, 6, 7, 8. Computer: Gregorian Chant; Modes. Complete the Gregorian Chant worksheet. Later Developments of the Chant. Medieval Music Theory and Practice: The Church Modes. Reading: CHWM, pp ; MWW, 12, 13 Solmization. Early notation. MEET IN BURKE LIBRARY, Graves Rare Book Room Reading: CHWM, pp ; MWW, 14 Topic 2 Medieval Secular Song and Instrumental Music, Chap. 2 T Sept. 14 R Sept. 16 T Sept. 21 Goliards, Jongleurs, Troubadours. Review Essay (RE) Topic 1 due. LISTENING QUIZ TOPIC 1. Reading: CHWM, pp ; MWW, 15. Trouvères, Trobaritz. Reading: CHWM, pp Instruments. Reading: MMW, Ch. 4, Topic 3 Medieval Polyphony Through the 13th Century, Chap. 3 R Sept. 23 T Sept. 28 R Sept. 30 Early Organum. RE Topic 2 due. LISTENING QUIZ TOPIC 2. Reading: CHWM, pp ; MWW, 16 Notre Dame Organum. Reading: CHWM, pp The Motet, Polyphonic Conductus. Reading: CHWM, pp , MWW, 17. Topic 4 French and Italian Music in the Fourteenth Century, Chap. 4 R Oct. 7 T Oct. 12 The ars nova in France. Theory & Practice in 14th-Century Music. RE Topic 3 due. LISTENING QUIZ TOPIC 3. Reading: CHWM, pp ; 82-84; MWW, 18. Machaut-sacred music; secular music: formes fixes. Reading: CHWM, pp , pp ; MWW, 20. R Oct. 14 No class (see Friday Oct. 22). T Oct. 19 Italian Trecento Music. Landini. Later 14th-century. The Subtler Art. Reading: CHWM, pp , 85; MWW, 19. R Oct. 21 MID-TERM EXAM: The Middle Ages (will include a listening portion for Topic 4)

7 F Oct. 22 F Oct. 22 Workshop with Philomel, 12noon-12:50, Schambach 201. Attendance REQUIRE D Philomel, 8pm, Wellin Hall. Attendance REQUIRED

8 The Renaissance Topic 5 The Rise of the Renaissance: England and Burgundy, Chap. 5 T Oct. 26 R Oct. 28 T Nov. 2 Topic 6 R Nov. 4 T Nov. 9 R Nov. 11 English Music and Its Influence. Dunstable and the contenance angloise. Reading: CHWM, pp ; MWW, 21. Music in the Burgundian Lands. Dufay and Binchois. Chansons, motets. Reading: CHWM, pp ; MWW, 22. Dufay; motets and masses. Reading: CHWM, pp Topic Chosen for Paper. Sacred Music of the High Renaissance Music of the Low Countries, Chap. 6 Musical Culture of the Renaissance. Northern Composers & Their Music. RE Topic 5 due. LISTENING QUIZ TOPIC 5. Reading: CHWM, pp Josquin and His Contemporaries. Chansons, motets. Reading: CHWM, pp ; MWW, 26, 30. Josquin, masses; The Generation after Josquin, Willaert. Reading: CHWM, pp , ; MWW, 31. List of Sources due; Piece chosen and copy, with translation, turned in. Topic 7 New Currents in 16th-Century Music, Chap. 7 T Nov. 16 R Nov. 18 T Nov. 23 T Nov. 30 The Rise of National Styles: Secular Song outside of Italy, French chanson. RE Topic 6 due. LISTENING QUIZ TOPIC 6. Reading: CHWM, pp ; MWW, 24, 25. The Rise of National Styles: Italy. The Italian Madrigal. Outline due by 4 pm. Reading: CHWM, pp ; MWW, 38. Other Northerners; Mannerism. English madrigals. Reading: CHWM, pp , ; MWW, 35, st draft of paper due by 4 pm. NB: We will meet class as usual on Tues. If you re absent for any reason except illness, it will be an unexcused absence. Also, this is avery fun class don t miss it! English Lute Songs. The Rise of Instrumental Music. Reading: CHWM, pp ; MWW, 23, 41, 42. Topic 8 Church Music of the Late Renaissance & Reformation, Chap. 8 R Dec. 2 T Dec. 7 R Dec. 9 R Dec. 18 The Reformation in Germany. The Reformation outside Germany. Anglican Church Music RE Topic 7 due. LISTENING QUIZ TOPIC 7. Reading: CHWM, pp ; MWW, 27, 28, 29. The Counter-Reformation. Palestrina, Lassus, Victoria, Byrd. Reading: CHWM, pp ; MWW, 33, 34, 36, 37. Final Paper Due. In-class presentations (schedule may be adjusted to accommodate everyone) FINAL EXAM 2-5pm (includes a listening portion for Topic 8, as well as a cumulative Listening Final Exam)

9 Music 251 Paper Assignment/Class Presentation For your paper and class presentation you first need to choose a persona from those listed below (you will each pick a different one first come, first served). You will then write, from the perspective of that persona, an account in which you do the following: 1. Describe who you are. What is your gender, age, social class, professional/amateur status? 2. Describe where you live (country, city, village, country home or estate, court, monastery, etc.). 3. Describe when you live (historical time period, war-time, prosperity, political upheaval, church stability/instability, etc.). 4. Describe a typical day/musical event in your life. What are your musical responsibilities? In what kinds of events or contexts do you make music? How did you get your musical training? Do you have control over the music you make? Who pays you (or supports you in lieu of monetary payment)? 5. Outline the kind of music (genre, style) that you perform, compose, or hear. 6. Choose a typical piece of music you have performed, composed, or heard one that is not from the texts or listening assignments. As your 21 st -century Hamilton student identity, analyze this work using the skills you have learned in this class. Describe structural and formal devices, harmonic and contrapuntal characteristics, texture, relationship between words and text (if applicable), stylistic innovations that the piece displays, and anything else that strikes you as significant. Length: words (5-8 pages) + bibliography page, typed, double-spaced with this ration in mind: Questions 1-5 = 1/2 of the paper; Question 6 = 1/2 of the paper. Class Presentation: During the final week of classes you will present your research (approx. 10 min.). You will give a brief report (1 min.) of your persona (who, where, when, how, why, etc.). You will then lead the class through your musical analysis (provide photocopies of the score for each person). The majority of your presentation should be on the analysis. These presentations will be a good review of the semester s material for the final exam. Research Sources: You should begin with the textbooks, specifically those additional texts listed at the beginning of this syllabus. You should also consult The New Grove Dictionary of Music: each article contains an extensive bibliography which will lead you to other sources. Other music history books are available in Burke Library consult the card catalogue. Invaluable information will be found in journal articles consult The Music Index and/or RILM to locate relevant articles. You should use both types of sources. We will spend some time talking about how to find and use these research sources. Dates to remember: Nov. 2: Topic chosen submit in class on sheet of paper Nov. 11: Annotated list of sources in proper bibliographic form due (Sources that are in addition to textbooks and Grove Dictionary articles) Copy of piece chosen due, including a translation if applicable Nov. 18: Outline due Nov. 23: First draft of paper due by 4pm WITH a copy of the piece. Dec. 7: Final paper due at beginning of class Dec. 9: Class Presentations Don t assume that you have to wait until just before these dates to do the work. If you need help choosing a topic or finding material, please see me at least one week prior to the relevant due date. It has been shown that the earlier a student starts this project, the higher the grade is. Possible topics: Benedictine monk Notre Dame choirboy Nun in the convent at Bingen

10 Troubadour/Trouvere/Trobaritz A French or Italian Ars Nova composer A member of the Burgundian court during and immediately following Dunstable s visit The printer of much of Josquin s music, Ottaviano Petrucci A Lutheran chorale composer Church composer in Rome during the Reformation An Italian gentleman/woman who read and lived by The Book of the Courtier An English composer/music master at one of the large country homes One of the singing ladies at Ferrara

11 Music 251 Characteristics of review essay grades A A thorough and detailed engagement with the question; appropriate and persuasive use of musical examples or quotations; a logical and elegant flow to the essay. An active attempt to make connections between materials of different units and/or music and ideas encountered outside of class. An A review essay is one in which the student has spent a good deal of time and energy thinking beyond what was said in class or read in the text. B Thought and effort have gone into the review essay which is solid but not striking. The question is answered correctly and completely, but with more summary than analysis. A B review essay is complete and accurate, but is not as detailed as the questions might warrant. The essay may not be adequately supported by musical examples of quotations. C An uneven treatment of the question, either not beyond a basic restatement of the issues or not in great detail; incomplete or incorrect material included. The paper may lack a coherent argument or exhibit problems in organization. There may be evidence of sloppy or last-minute preparation. Little or no evidence of musical examples or quotations. The review essay fulfills the assignment, but no more. A C review essay may be incomplete, inaccurate, or have substantial gaps. D The review essay is seriously deficient in content, level of engagement with the question, or both. The essay is substantively less than what was assigned; no musical examples or quotations are included. Evidence of very little preparation or thinking outside of class. The essay may reveal a haphazard approach to the question and may have serious problems of organization. A D review essay may be incomplete, inaccurate, or have substantial gaps of a more serious nature than the C essay. F The review essay shows general weaknesses even greater than those of a D review essay. 0 The review essay is missing or is plagiarized in part or whole. These guidelines are adapted from the Writing Center s handout, Characteristics of paper grades. Grade Definitions to keep in mind A + A A B + B B C + C Exceptional; significantly exceeds the highest expectations for the assignment or course. Outstanding; meets the highest standards for the assignment or course. Excellent; meets very high standards for the assignment or course. Very good; meets high standards for the assignment or course. Good; meets anticipated standards for the assignment or course. More than adequate; shows some reasonable command of the material. Acceptable; meets basic standards for the assignment or course. Acceptable; meets some of the basic standards for the assignment or course.

12 C D F Acceptable, while falling short of meeting basic standards in several ways. Minimally acceptable; lowest passing grade. Failing; very poor performance. Quoted and slightly adapted from Grading Proposals, Princeton University, Grading Definitions, April 6, 2004 <

Music 3753: History of Music from Classical Antiquity to 1600 Fall 2017

Music 3753: History of Music from Classical Antiquity to 1600 Fall 2017 Class meeting: Monday/Wednesday/Friday 8:30-9:20 a.m. 123 SCPA Instructor: Course description: Topical outline: Required texts: Allen