| SES # | TOPICS | RECORDINGS | SCORES |
|---|---|---|---|
| Unit 1: Introduction, chant, and medieval music | |||
| 1 | Introduction Music in the medieval western church Cycles of the day and of the year Form of the mass and of the office | ||
| 2 | Preamble: Music in the Greek and Roman world Mode and chant Types of chants Reading modern chant notation Practice singing the office of sext | Euripides. Stasimon Chorus, Orestes. Atrium Musicae de Madrid, Gregorio Paniagua. Anthology #1. Seikilos. Epitaph (Skolion), "As long as you live." Atrium Musicae de Madrid, Gregorio Paniagua. Anthology #2. Anon. Office: Antiphon (Tecum principium) and Psalm (Dixit Dominus). Cappella Giulia, Nicolas Jones. Anthology #3. Anon. Mass: Introit (Puer natus est nobis) and Kyrie, from Mass for Christmas Day. Cappella Giulia, Nicolas Jones. Anthology #5-6. | The Office of Sext (PDF) |
| 3 | Types of chants (cont.) Office review Chant manuscripts and notation Syllabic, neumatic, and melismatic chants Hexachords and the Guidonian hand | Anon. Mass: Gloria I, Gradual (Viderunt omnes), and Alleluia (Allelulia. Dies sanctificatus), from Mass for Christmas Day. Cappella Giulia, Nicolas Jones. Anthology #7-9. | |
| 4 | Non-Gregorian chant Modern chant books Innovation in the chant repertoire (sequences, tropes) Liturgical drama and the compositions of Hildegard of Bingham Other chant traditions in the west and elsewhere The unending tradition of chant | Tuotilo of St. Gall. Introit trope, Hodie cantandus est nobis. Paul Berry, Cappella Giulia, Nicolas Jones. Anthology #10. ———. Kyrie trope, Omnipotens genitor. Paul Berry, Cappella Giulia, Nicolas Jones. Anthology #11. Anon. Dies irae, dies illa. Cappella Giulia, Nicolas Jones. Anthology #12. Hildegard of Bingen. O rubor sanguinis. Anonymous IV. Anthology #13. ———. "Scientia Dei," "Anima," "Stepitus Diaboli," and "Virtues" from Ordo virtutum. Sequentia, Barbara Thornton. Anthology #14.
| Wipo of Burgundy. Victimae Paschali Laudes. |
| Bridge 1: From chant to 1315 | |||
| 5 | Secular monophony in the middle ages Troubadours and trouvères Court life in the later middle ages Discussion of previous assignment Polyphony before the Magnus Liber Theoretical sources and prehistory Musica Enchiriadis Earliest practical sources Conductus |
Bernart de Ventadorn. Can vei la lauzeta mover. Medieval Ensemble, Martin Best. Anthology #16. Anon. Viderunt Hemanuel. Cappella Giulia, Nicolas Jones. [A troped polyphonic composition]. Anthology #18. Magistrar Albertus of Paris. "Congaudeant Catholici" from Codex Calixtinus. Catherine Bott, New London Consort, Philip Pickett. Anthology #19. | |
| 6 | Polyphony in Paris (Notre Dame) and in the early 13th century Anonymous IV Leonin and Perotin Organum and Discant Modal rhythm Ars antiqua motet: Introduction | Leonin. Viderunt Omnes. Early Music Consort of London, David Munrow. Anthology #20.
Anon. Orientis partibus ("Song of the Ass"). Orlando Consort, Philip Pickett. Anthology #22. Anon. Ars antiqua motet: El mois d'avril / O quam sancta / Et gaudebit. Cappella Giulia, Nicolas Jones. Anthology #24. | Perotin. Viderunt Omnes. |
| 7 | Music in the 13th and early 14th century Motets become secular Ars antiqua manuscripts Instrumental music: Danses reals Roman de Fauvel Philippe de Vitry Isorhythm and hocket Listening quiz 1 | Anon. On parole de batre/A Paris/Frese nouvele. The Early Music Consort of London, David Munrow. Anthology #25. Philippe de Vitry. "Garrit Galus," "In nova fert," and "Neuma." From Roman de Fauvel. Sequentia, Barbara Thornton. Anthology #28. Anon. La quinta estampie real. The Early Music Consort of London, David Munrow. Anthology #29. | Anon. On parole de batre / A Paris / Frese nouvele. La quarte estampie real (PDF)# |
| Unit 2: Music in the (mainly Italian) fourteenth century | |||
| 8 | Guillaume de Machaut and music in France before 1370 Machaut, poet and musician Formes fixes Motets and mass Reims vs. court life Machaut and the Gesamtausgabe | Guillaume de Machaut. Hoquetus David. The Early Music Consort of London, David Munrow. Anthology #31. ———. Je puis trop bien. Orlando Consort. Anthology #32. ———. Douce dame jolie. Gothic Voices, Christopher Page. Anthology #33.
| Guillaume de Machaut. Hoquetus David. ———. Kyrie, Mass of our Lady. |
| 9 | Trecento music 1 Discussion and performance of Se per dureça Principles of Italian notation Jacopo da Bologna and the madrigal Francesco and the ballata | Jacopo da Bologna. Non al suo amante. Judith Malafronte, Newberry Consort. Anthology #37. [A two-voice madrigal with text by Petrarch.] Landini, Francesco. Or su, gentili spiriti. Charlotte Dobbs, Jenna-Claire Kemper, Cappella Giulia, Nicolas Jones. Anthology #38. [A three-voice ballata.] | |
| 10 | Trecento music 2: New trends in our knowledge of Italian music Squarcialupi codex Other sources Zachara da Teramo and the Parody mass Johannes Ciconia and the Motet |
| |
| 11 | Simplicity and complexity Keyboard music Cantus Planus Binatim Ars Subtilior | Cordier, Baude. Tout par compas suy composés. Ensemble Organum, Marcel Pérès. Anthology #35. Philippus [or Philippcoctus] de Caserta. Par les bons Gedeons. Orlando Consort. Anthology #36. | |
| Exam 1 | |||
| Bridge 2: The continental renaissance | |||
| 12 | The Renaissance and music 1420-1460 Guillaume Dufay and his contemporaries The English sound Fauxbourdon Motets and cyclic masses Ockeghem and the canon |
———. Nuper Rosarum Flores. Pomerium, Alexander Blachly. Anthology #39. Anon. "L'homme armé." Cappella Giulia, Nicolas Jones. Anthology #44. Dufay, Guillaume. Kyrie from Missa L'homme armé. Oxford Camerata, Jeremy Summerly. Anthology #45. Ockeghem, Johannes. Kyrie from Missa Prolationem. The Clerks' Group, Edward Wickham. Anthology #47. | Dufay. Nuper Rosarum Flores. Anon. "L'homme armé." |
| 13 | Vocal music: Josquin, his contemporaries, and his followers Patronage Documents and manuscripts Josquin and his (or someone else's?) innovations; "Ave Maria" "The pervasive myth of pervasive imitation" | Obrecht, "Credo" from Missa sub tuum presidium. Capella Lipsiensis, Dietrich Knothe. Anthology #51.
| Josquin des Prez. El Grillo è bon Cantore.
———. "Ave Maria…virgo serena." |
| 14 | Other innovations in continental music, 1460-1550 Palestrina and Lasso Dance and keyboard music Instrumental forms French song Protestantism and music | Palestrina, Giovanni. "Kyrie." From Missa Tu es Petrus. Choir of King's College, Stephen Cleobury. Anthology #70. Claudin de Sermisy. Tant que vivray. (c. 1528) In original form and arrangment for voice and lute. Catherine Bott. Anthology #60. Isaac, Heinrich. Innsbruck, ich muss dich lassen (c. 1515). Collegium Köln, Wolfgang Fromm. Anthology #64b. Luther, Martin and Johann Walter. Ein feste Burg ist unser Gott (c. 1529). Cappella Giulia, Nicolas Jones. Anthology #66. | Claudin de Sermisy. Tant que vivray. Isaac, Heinrich. Innsbruck, ich muss dich lassen. Walter, Johann. Ein feste Burg ist unser Gott. |
| Unit 3: Elizabethan London | |||
| 15 | From Dunstaple to Elizabeth: Tudor England The Elizabethan Madrigal (Weelkes, Gibbons, etc.) and its Italian predecessors Music printing | Arcadelt, Jacques. Il bianco e dolce cigno (c. 1538). Consort of Musicke, Anthony Rooley. Anthology #56. Vecchi, Orazio. Il bianco e dolce cigno (c. 1589). Capella Antiqua, Konrad Ruhland. Anthology #57. (skim) King Henry VIII. "Pastyme with Good Companye" (c. 1520). Capilla Flamenca. Anthology #71. (skim) Weelkes, Thomas. "As Vesta was from Latmos hill descending." Pro Cantione Antiqua. Anthology #75. (skim) | Arcadelt, Jacques. Il bianco e dolce cigno. Vecchi, Orazio. Il bianco e dolce cigno. King Henry VIII. "Pastyme with Good Companye." Weelkes, Thomas. "As Vesta was from Latmos hill descending." |
| 16 | Chapel Royal Catholicism and Anglicanism in England (William Byrd) Music education, instruction, and theory (Thomas Morley) |
———. O Lord, Make thy servant, Elizabeth (c. 1570). King's Singers. Anthology #73.
Morley, Thomas. April is in my Mistress' Face. Hilliard Ensemble, Peter Hillier. | Byrd, William. "Though Amaryllis Dance in Green." (PDF)# ———. O Lord, Make thy Servant, Elizabeth. Morley, Thomas. April is in my Mistress' Face. |
| 17 | Instrumental music and lute song (Doug Freundlich, guest performer/lecturer) Dowland and lute song Consort music Jane Pickering lute book ("Toys;" "Maids in Constrite") "Can She Excuse?" "Woods So Wild?" (William Byrd setting no. 30) "Fitzwilliam Virginal Book" | Dowland, John. "Flow My Tears" (1600). Barbara Bonney, Academy of Ancient Music, Christoper Hogwood. Anthology #76.
| Dowland, John. Lachrimae. Leeds, UK: Boethius Press, 1974. [Reprint of the c.1605 edition.] ———. "Flow My Tears." ———. "Can She Excuse My Wrongs?" |
| 18 | Music in society: The cries of London More secular music in England More keyboard music In Nomine music Listening quiz 2 |
Dowland, John. "Fine Knacks for Ladies."
| Songs of Thomas Ravenscroft (PDF)# Dowland, John. "Fine Knacks for Ladies." |
| Bridge 3: Missed traditions in the late renaissance | |||
| 19 | Chromaticism in the late 16th-century Italian madrigal The dances and writings of Michael Praetorius | Gesualdo, Carlo. "Moro, lasso" (1613). Manfred Schreier. Anthology #77.
| Gesualdo, Carlo. "Moro, lasso." Certon, Pierre. "La, la, la, je ne lo dire." |
| Topic 4: Music in Venice 1570-1660 | |||
| 20 | Maestri di cappella Venice: (Rore), Williaert (Andrea and) Giovanni Gabrieli and music in the Basilica of S. Marco Cori spezzati. Gabrieli's music for brass Preamble to the Baroque and the rise of a new style: Florentine Camerata; Peri, Cavalieri, etc. (early monody) Basso Continuo | Merulo, Claudio. Canzona 5 (c. 1600). Washington Cornett and Sackbutt Ensemble, Michael Holmes. Anthology #63.
Willaert, Adrian. Aspro core e selvaggio (mid 1540s). NAWM 1996, disc 2. Caccini, Giulio. Perfidissimo volto, "solo madrigal" (c. 1590). NAWM 1996. Peri, Jacopo. Three excerpts from Le musiche sopra l'Euridice (1600). NAWM 1996, disc 3. | |
| 21 | Monteverdi (1567-1642) before and in Venice | Monteverdi, Claudio. Combatimento di Tancredi et Clorinda. Capella Savaria, Nicholas McGegan. Hungaroton HCD 12952, 1994. ———. "Zefiro Torna." Songs of Love and Death. Red Byrd. Factory FAC 336, 1990. ———. L'incoronazione di Poppea, Act I, scene 3. NAWM 2006. | Monteverde, Claudio. Combatimento di Tancredi et Clorinda. ———. Zefiro Torna. |
| 22 | Opera in Venice after Monteverdi Barbara Strozzi Venice's influence: Heinrich Schütz Instrumental music in Venice | Strozzi, Barbara. Lagrime Mie (1650s). NAWM 1996. Schütz, Heinrich. Saul, was verfolgst du mich? (1650). Saul: Symphoniae Sacrae III. Musica Fiata, Kammerchor Stuttgart, Frieder Bernius. Deutsche Harmonia Mundia, 1989. Marini, Biagio. Sonata IV per il violino per sonar con due corde (ca. 1626). Romanesca. Harmonia Mundia USA, 1997. Cavalli, Francesco. Giasone, act I, scene 6 (7). Concerto Vocale, Rene Jacobs. Harmonia Mundi. | Strozzi, Barbara. Lagrime Mie. Schütz, Heinrich. Saul, was verfolgst du mich? |
| Exam 2 | |||
| Conclusion: Other baroque music / music towards the end of the seventeenth century | |||
| 23 | Non-Venetian developments: Oratorio: Carissimi, Jephte Jewish music published in Venice Church music towards the end of the century |
de Araujo, Juan. Los conflades de la estleya (late 1600s). NAWM 1996.
| de Araujo, Juan. Los Conflades de la estleya. |
| 24 | Music in the 1680s | Corelli, Arcangelo. Trio Sonata op. 3 no. 2 (mvmts 1-2). From NAWM 2006. de la Guerre, Elizabeth-Claude Jacquet. Mvt. 1 (Prelude) and 2 (Allemande). Suite no. 3 in A-minor. From NAWM 2006. Lully, Jean-Baptiste. "Finally, he's in my power" from Armide. Purcell, Henry. "Thy Hand Belinda…When I am laid to rest." Dido and Aeneas. From NAWM, Tracks 19 and 20. From NAWM 2006. | Purcell, Henry. Dido and Aeneas. |
Table of Contents
Listening and Scores
Listening & Scores
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Recordings
[Anthology] The CD accompanying Roden, Timothy J., Craig Wright, and Bryan R. Simms. "Antiquity through the Renaissance." In Anthology for Music in Western Civilization. Vol. A. Belmont, CA: Thomson/Schirmer, 2006. ISBN: 9780495008798.
[NAWM 1996] Palisca, Claude, ed. Norton Recorded Anthology of Western Music. Vol. 1. New York, NY: W.W. Norton and Sons, 1996. ISBN: 9780393100570.
[NAWM 2006] Burkholder, J. Peter, and Claude Palisca, eds. Norton Recorded Anthology of Western Music. Vol. 1, Ancient to Baroque. 5th ed. New York, NY: W.W. Norton and Sons, 2006. 9780393106084.
Scores
Catholic Church. Graduale Triplex: seu Graduale Romanum Pauli PP. VI cura recognitum & rhythmicis signis a Solesmensibus monachis ornatum / neumis Laudunensibus (cod. 239) et Sangallensibus (codicum San Gallensis 359 et Einsidlensis 121) nunc auctum. Solemes: Abbaye Saint-Pierre de Solesmes, 1979. ISBN: 9782852740440.
———. Cantatorium, IXe siècle, n°359 de la Bibliotheque de Saint-Gall: Paléographie Musicale. Edited by Deuxième Série, Tome deux, and DOM André Mocquereau. Bern, Switzerland: Éditions Herbert Lang & Cie Sa., 1968.
———. Le missel de Bénévent VI-33: Paléographie Musicale. Edited by Tome vingt, DOM Jacques Hourlier, and DOM Jacques Froger. Bern, Switzerland: Peter Lang, 1983.
Hildegard, Saint. Symphonia Harmoniae Caelestium Revelationum . Peer, Belgium: Alamire, 1991.
Pickering, Jane. Jane Pickeringe's Lute Book c. 1616-c. 1650. Kilkenny, Ireland: Boethius Press, 1985. ISBN: 9780863140167.
Codices Electronici Sangallenses (CESG) - Virtual Library.
- Example: Opening of the Mass for Easter - "Resurrexit", "Alleluia, Pascha Nostrum." Cod. Sang. 339, p. 107.
Listening
In addition to professional commercial recordings, this table also features links to some freely distributed amateur recordings and scores (via the Choral Public Domain Library) available on the Web. These supplemental recordings and scores give an introduction to the works, but recordings may lack some of the nuance or critical ear of the professional recordings and the scores may have some inaccuracies.