(last updated 5/2/2017)

Lecturer: Prof. Karen Desmond (kdesmond@brandeis.edu)

Teaching Assistant: Matt Heck (matthew.heck@gmail.com)

Schedule: Tues/Fri 11:00-12:20 PM at Slosberg Music 215

Lecturer Office Hours: Tuesdays and Fridays: 10:00 AM to 11:00 AM, or email for appointment. My office is Room 222, Slosberg Music Building.

Description: A survey of music history from antiquity to the mid-17th century, considering major styles, composers, genres, and techniques of musical composition from a historical and analytical perspective. Topics include Gregorian chant, the motet and madrigal, Monteverdi and early opera, and developments in instrumental genres.

Prerequisites: MUS 101a and b, or by permission of the instructor. This course may not be repeated for credit by students who have taken MUS 131b in prior years.

Learning outcomes:

• An in-depth knowledge of the content, style, and techniques of specific Western European repertories from ancient times to the early baroque, and the related technical and analytical vocabulary;

• An understanding of the intersections between cultural and political landscapes and artistic products and processes, and how audiences participate in this interaction;

• An introduction to the interdisciplinary study of music history using approaches and materials from history, literature, art history, etc.

Required Work

Midterm Examination (February 28, 2017): 20%

Final Examination (TBD according to official schedule): 30%

Class Participation and Glossary: 15% Participation includes your in-class discussion of reading and listening assignments. Citations of the specific readings and compositions are expected to be included in your examinations during term and your final essay. You will be asked each week to submit answers to Teaching Questions (TQs) through an online form. 10% of your grade will be determined on the quantity of TQs you submit: if you submit 10 TQs during the term, and have a good attendance record, you will be awarded the full 10%.

You should bring your glossary that includes definitions of all new terms (handwritten is fine) to the research paper conference: you will automatically receive 5% if you demonstrate that you have been maintaining this glossary. You may also want to use

MUS  131A - 1   History of Music I: Ancient through Early Baroque

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this research notebook to keep track of your class notes, and your personal observations and questions regarding the assigned readings and listening assignments.

Research Paper: 35% 3,000 words, in two drafts. Draft 1 (5%): Due in research paper conference, the week of April 3. Minimum requirement: good outline and opening paragraph with your basic thesis, and specific examples to be discussed). If you fail to come to the meeting, or come without your draft, you will lose the 5%.

Draft 2 (final draft, 30%): Due April 27 by 11:59 p.m. Extensions only granted if requested before the due date, with a good justification. If no extension granted the grade will go down one grade each weekday.

NB: The reading assignments for each week will either be from the Taruskin textbook or made available on Latte as PDFs. All reading assignments for the week should be completed before the class meets. It would also be helpful to listen to as many of the listening examples as you can before class.

Textbooks This is the required textbook are required for this course. It is available in the Brandeis book store. It is a score anthology so that you can follow along with the music in class, and study the music before class, while completing the listening assignements. Please bring to class each day.

Oxford Anthology of Western Music. Volume One: The Earliest Notations to the Early Eighteenth Century, edited by David J. Rothenberg and Robert R. Holzer, Richard Taruskin and Christopher H. Gibbs (Oxford, 2013) ISBN 9780199768257

I will assign most of the class readings from the following book, so it may be worth it to buy it. It is available second-hand on amazon.com for around $20, and the Kindle version is about $30. If you don’t buy the book, I will put a copy on reserve in the library so that you can borrow and scan the readings using the library scanner.

Richard Taruskin, Music from the Earliest Notations to the Sixteenth Century, The Oxford History of Western Music, vol. 1. New York: Oxford University Press, 2009.

Listening Assignments, Videos

You will notice that I have included many works to be listened to for each week: we will not necessarily cover all these in class, and I may modify the listening assignments and/or readings as the class progresses. However, this is a 4-credit course, and as such, you are expected to devote nine hours of work to this class outside of class time.

In the Course Outline below, compositions for which scores are not provided in the Oxford required anthology will be handed out in class and this is indicated in parentheses (‘will be provided in class’). You are also encouraged to browse the Naxos library and YouTube to broaden your knowledge of the repertories we are studying.

Class Policies Due dates for course work are noted in the ‘Required Work’ section above.

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Attendance in class is required and attendance will be taken each day. Two unexcused absences are allowed; further absences will affect your class participation mark.

No use of mobile phones in class (no texting, emails, Facebook, etc.). As for laptop computers, I would prefer that you take notes by hand. Several research studies have demonstrated that student retention of class content and ideas is significantly better when notes are taken by hand, and use of laptops or other devices during class is negatively correlated with student grades (see Junco 2012, Fried 2008, Muller & Oppenheimer 2014). If, however, there is a specific reason for using an electronic device during class please come and see me immediately.

Brandeis Policy Statements Students with disabilities: “If you are a student with a documented disability on record at Brandeis University and wish to have a reasonable accommodation made for you in this class, please see me immediately.”

Academic Integrity: “You are expected to be honest in all of your academic work. Please consult Brandeis University Rights and Responsibilities for all policies and procedures related to academic integrity. Students may be required to submit work to TurnItIn.com software to verify originality. Allegations of alleged academic dishonesty will be forwarded to the Director of Academic Integrity. Sanctions for academic dishonesty can include failing grades and/or suspension from the university. Citation and research assistance can be found at LTS - Library guides.” This means that you submit your own work, and that all material and information taken from other sources, including other people (not just quotations) is acknowledged in correct scholarly form.

COURSE OUTLINE AND SCHEDULE

Jan 17, 20   Chant Introduction: review of course syllabus, requirements, and assessment. The function of plainchant in medieval life and its earliest written transmission. Notions of the ‘Gregorian’ repertory, the reforms of Charlemagne, and the codification and dissemination of plainchant. Modal theory. Elaborating the plainchant repertory through tropes and the sequence. Reading: Taruskin, chapter 1, pp. 1-20, 31-5, chapter 2, pp. 41-7, 53-61 Scores: Anonymous, Ave maris stella Anonymous, Epitaph of Seikilos Anonymous, Haec dies Anonymous, Kyrie Cunctipotens genitor Hildegard of Bingen, Columba aspexit Peter Abelard, Epithalamica (score was handed out in class) Anonymous, Stond well moder (score was handed out in class)

I. Ancient and Medieval

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Jan 24, 27 Secular monophony The music of the twelfth-century troubadours and their institutional contexts. The spread of the repertory into northern France (the trouvères). Status of the singer/composer. Arras, song competitions, and the jeu-parti. Song forms (rondeau, virelai, ballade).

Required reading: Taruskin, chapter 3, pp. 105-33

Scores: Bernart de Ventadorn, Can vei la lauzeta mover

La Comtessa de Dia, A chantar Moniot d’Arras, Ce fut en mai Adam de la Halle, Bone amourete

Jan 31, Feb 3

13th-century organum and motet The Notre-Dame repertory (organa, clausulae, motet). Competing theories regarding the emergence of the motet, especially regarding the role of the clausula and text. Introduction to modal and mensural notation. Sacred vs. secular contexts. Intertextuality. ‘In seculum’ motets. ‘Tanquam’ motets. ‘Aptatur’ motets.

Required reading: Taruskin, chapter 6, pp. 169-98; chapter 7 pp. 207-229

Scores: Leonin, Viderunt omnes Perotin, Viderunt omnes Anon., Ex semine (clausula) Anonl, Ex semine (motet) Anon., L’autre jour/Au tens pascour/IN

SECULUM On parole/A Paris/FRESE NOUVELE

Feb 7, 10

Ars nova (motets and chansons) The Roman de Fauvel. Transition from ars antiqua to ars nova. Guillaume de Machaut chansons and 14th-century counterpoint.

Required reading: Taruskin, chapter 8, pp.

247-267; chapter 9, pp. 289-307

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Scores: Philippe de Vitry (attrib.), Tribum que non abhorruit/Quoniam/MERITO Philippe de Vitry (attrib.), Garrit/In nova/NEUMA

Guillaume de Machaut, Douce dame jolie Guillaume de Machaut, En mon cuer Guillaume de Machaut, Très bonne et belle Guillaume de Machaut, Ma fin est mon commencement (will be handed out in class)

Feb 14, 17 Music of the trecento, and late 14th-century music Italian 14th-century music, and music from France and Italy at the end of the fourteenth century. ‘Mannerism’.

Required reading: Taruskin, chapter 9, 336-350, chapter 10, pp. 351-374, 380-385

Scores: Baude Cordier, Tout par compas (will be handed out in class) Philippus de Caserta, En remirant Solage, Fumeux fume Jacopo da Bologna, Oselleto salvagio (madrigal setting) Jacopo da Bologna, Oselleto salvagio (caccia setting) Francesco Landini, Non avrà ma’ pietà Johannes Ciconia, Doctorum principem/Melodia suavissima/VIR MITIS

Winter Break, February 20-24 NO CLASS

February 28 MIDTERM EXAM

March 3, 7, 10 Du Fay, Ockeghem, Busnoys, Binchois, Obrecht - Songs and masses

The rise of ‘European’ music. Composers of the first half of the fifteenth century and the cyclic mass, with a focus on Missa caput and Missa l’homme armé. The fifteenth-century chanson.

Required reading: Taruskin, chapter 11, pp. 422-452; chapter 12, chapter 13, pp. 526-529 Scores: Anonymous, Sumer is icumen in Anonymous, Thomas gemma /Thomas cesus John Dunstable, Quam puchra es Guillaume Du Fay, Ave maris stella Gilles Binchois, Deuil angoisseux Anonymous, Missa Caput, Kyrie Johannes Ockeghem, Missa Caput, Kyrie Antoine Busnoys, Missa L’home armé, Sanctus, Agnus Dei

II. Renaissance and early Baroque

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March 14, 17 The Josquin Generation

This class focuses on the works of Josquin and his influence and reputation amongst his peers and his successors.

Required reading: Taruskin, chapter 14; chapter 15, pp. 599-604 Scores: Josquin des Prez, Ave Maria . . . virgo serena Antoine de Févin, Missa super Ave Maria, Kyrie

Mar 14, 17 Palestrina / Reformation / Counter-reformation

Palestrina and the final flowering of imitative polyphony. The Protestant reformation and the Catholic response (the Counter-Reformation).

Required reading: Taruskin, chapter 16, 670-689; chapter 18, 753-782 Listening: Giovanni Perluigi da Palestrina, Missa Papae Marcelli, Kyrie, Credo William Byrd, two Agnus Dei movements from The Mass in Four Parts, The Mass in Five Parts Martin Luther, Nun komm, der Heiden Heiland (Now come, Savior of the Gentiles) (score handed out in class) Martin Luther, Ein feste Burg (score handed out in class) Thomas Tallis, Spem in alium (no score, video link on Latte) Orlando di Lasso, Tristis est anima mea (scored handed out in class)

Mar 28, 31 Printing and Song in the 16th Century Vernacular song in France and Italy; the birth

of the Italian madrigal and evolution of the genre; changes in dissemination of music with the rise of commercial printing.

Required reading: Taruskin, Chapter 17 Scores:

Claudin Sermisy, Tant que vivray Jacques Arcadelt, Il bianco e dolce cigno Cipriano de Rore, Dalle belle contrade d’oriente Luca Marenzio, Solo e pensoso Carlo Gesualdo, Moro e lasso

Apr 4, 7 Early 17th-century vocal: Humanism and

the birth of opera The representational style and the monodic

‘revolution’; the madrigals of Monteverdi; Monteverdi’s operas for different audiences -

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court and commercial. Required reading: Taruskin, chapter 782-796; chapter 19 Scores:

Claudio Monteverdi, Cruda Amarilli Claudio Monteverdi, Lamento della Ninfa Claudio Monteverdi, Lamento d’Arianna Claudio Monteverdi, L’Orfeo, Act II Claudio Monteverdi, L’incoronazione di Poppea, Act I, scene 10; Act III, final duet ‘Pur ti

miro’    

April 10-April 18 Passover and Spring Recess - NO CLASS

April 21, 24 Music Travels in the 17th century : Trends in Italy, Germany, Master organists, including Frescobaldi; Germany, the Thirty Years War, and Heinrich Schütz;

French taste and opera, Lully; Jacobean England, masques, court music and Henry Purcell. Required reading: Gibbs & Taruskin, Oxford History of Western Music, chapter 8 (PDF will be uploaded to

Latte) Scores:

Tielman Susato, Danserye, Pavane and Galliard ‘La dona’ (score handed out in class) Luis de Narváez, Four variations on ‘Guardame’ (score handed out in class) Girolamo Frescobaldi, Cento partite sopra passacagli Heinrich Schütz, Symphoniae sacrae: III, Op. 12, Saul, Saul, was verfolgst du mich (‘Saul,

Saul, why do you persecute me?’) Henry Purcell, The Fairy Queen, Act II, ‘Hush no more’ Henry Purcell, Dido and Aeneas, Act III, Nos. 40-end

April 28, May 2 Review and class presentations.

May 5 Final examination.