{"id":8390,"date":"2015-10-23T15:33:27","date_gmt":"2015-10-23T14:33:27","guid":{"rendered":"https:\/\/www.florencemusiciltrillo.com\/?p=8390"},"modified":"2018-11-05T17:07:55","modified_gmt":"2018-11-05T16:07:55","slug":"academic-course-offerings-3","status":"publish","type":"post","link":"https:\/\/www.florencemusiciltrillo.com\/zh-hans\/academic-course-offerings-3\/","title":{"rendered":"ACADEMIC COURSE OFFERINGS"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

\"\"These courses offer students historical contexts for European music styles from the Baroque to Modern Period.
\nDuring classes, students listen to audio recordings and explore both historical and aesthetic elements of each instrumental and vocal genre. The classes also analyzes works with attention paid to distinctions in style and techniques for each time period, as well as to individual musical elements such as harmony, melody, and rhythm.<\/p>\n

\u00a0The listening portion of the course helps to develop a greater awareness and appreciation for all music and its connections to other art forms (literature, painting, and architecture in particular).
\nWhen possible, and with all that Florence has to offer, students will attend relevant live performances at the important venues of the city.<\/p>\n

MUSIC HISTORY SURVEYS<\/h2>\n
    \n
  1. Middle Ages, Renaissance, Baroque Periods.<\/li>\n
  2. Classical, Romantic, Contemporary Periods.<\/li>\n<\/ol>\n

    \u00a0<\/strong>A chronological survey, divided into two semesters, of Western music from the Middle Ages to the present, the courses emphasize changes in musical styles and forms. These two comprehensive chronological surveys explore music within its historical context, touching upon the social, political, scientific, and artistic landscape of each period, with an emphasis on key composers and masterpieces for each period.\u00a0 Throughout the semester special attention will be given to the development of listening skills, with the aim of enabling a dynamic and critical engagement with the musical works studied.\u00a0 No previous musical experience is required.\u00a0 It is vital that students keep up with the reading and listening assignments. Each lecture will focus on one or more specific pieces of music, and students will be expected to have read the assigned passages available online and to have listened to the assigned works in advance of the relevant lecture.<\/p>\n

    MUSIC APPRECIATION<\/h2>\n

    The study of several musical masterpieces, from the works of Bach and Handel to the 20th<\/sup>\u00a0 Century American musical.
    \nStudy of a representative selection of pieces in the current repertory of the concert hall from the last 300 years of Western classical music, beginning with an appreciation of the elements of music (melody, harmony, rhythm, instrumentation, performance issues) and then developing critical listening tools while viewing and listening to a succession of selected masterpieces such as Handel\u2019s Messiah<\/em>, Mozart\u2019s Clarinet Quintet<\/em>, Beethoven\u2019s Ninth Symphony<\/em>, Berlioz\u2019s Symphonie Fantastique<\/em>, Verdi\u2019s Otello<\/em>, Stravinsky\u2019s Petrushka<\/em>, and Bernstein\u2019s West Side Story<\/em>.<\/p>\n

    HOW WE LISTEN TO AND PERFORM MUSIC IN OUR AGE OF RECORDING<\/h2>\n

    In the last 100 years of recordings our relationship to music has changed in interesting and significant ways.
    \nThis course will have two guiding principles: the \u201cpast\u201d begins yesterday, and the art of listening to music \u2013 live or in recorded form \u2013 is a skill of active participation in which the listener engages with the artistic process.\u00a0 In dealing with the music of the past, the course will consider the following ideas.\u00a0 Is a work of art (a composition) a one-time aesthetic statement of expression representative of its own time, or does that work continue to live, breathe, change, and evolve \u2013 and, if so, how?\u00a0 After inspiration, composition, preparation, and initial performances \u2013 necessary steps in its gestation \u2013 is a work heard (seen) differently with the passing of time?\u00a0Should a given contemporary performance or recording be at all \u201cidentical\u201d or \u201cclose\u201d to the original performance, and if so in what ways?\u00a0 In fact, in what ways may we speak of \u201cauthenticity\u201d in musical performance?\u00a0What were the expectations of listeners at the time of first performances and should that have any bearing on performances today?\u00a0 With the development of recorded technology and our extraordinary access to recorded music, how important are live performances today?\u00a0 Is there a difference, in fact, in hearing a work live or recorded, and if so what is it and how does it affect us?<\/p>\n

    INDIVIDUAL COMPOSER STUDIES<\/h2>\n
      \n
    1. Monteverdi and Vivaldi<\/li>\n
    2. Mozart and Haydn<\/li>\n
    3. Beethoven<\/li>\n
    4. German Romantics: Shubert, Schumann, Brahms<\/li>\n
    5. Bach and Handel<\/li>\n
    6. Italian Opera of the 19th<\/sup>century<\/li>\n<\/ol>\n

      Students are introduced to Italian opera, from a background in the earliest masterpieces such as \u201cOrfeo\u201d by Monteverdi to \u201cLa Boheme\u201d by Puccini, including works such as \u201cDon Giovanni\u201d by Mozart, \u201cIl Barbiere di Siviglia\u201d by Rossini, \u201cLa Traviata\u201d by Verdi, and others with careful attention to analyses of language (libretto) and dramatic action on stage.<\/p>\n

      The operas of Verdi within the context of Italian Romanticism and the Risorgimento is the main focus of study.
      \nThis course offers students attendance at a live performance in one of the magnificent opera theaters of Florence or nearby cities.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_toggle title=”MUSIC HISTORY I STUDIES IN MUSIC HISTORY TO 1650 Syllabus esample”]COURSE MATERIALS:<\/p>\n

      Required text book: \u00a0Mark Evan Bonds, A History of Music in Western Culture<\/em>, 4th ed., vol. I (Pearson, 2014), with accompanying Anthology of Scores (vol. I) and CDs (vol. I).\u00a0 Selected passages from books and scores pertaining to this course may be found on our webpage.<\/p>\n

       <\/p>\n

      Schedule for Reading\/Listening Assignments, Papers, Quizzes, and Exams<\/strong><\/p>\n

      Introduction to the Middle Ages. \u00a0\u00a0Bonds, 3-15, 17-24.<\/p>\n

      Intro. to Plainchant: Church Year, Liturgical Books, Melodic Styles and<\/p>\n

      Notation.\u00a0\u00a0 Bonds, 25-37.<\/p>\n

      Plainchant (cont’d): Modes.\u00a0 Bonds, 37-42.\u00a0\u00a0 Listening:\u00a0 Psalm 116 (Laudat<\/u>\u00a0Dominum<\/u>) with antiphon Pacem relinquo<\/u>; Introit Resurrexi<\/u> from the Easter Mass.<\/p>\n

      The Mass and Office.\u00a0 Listening:\u00a0 Easter Mass (Gradual<\/u>, Alleluia<\/u>,<\/p>\n

      Sequence<\/u>, and Communion<\/u>).<\/p>\n

       <\/p>\n

      Expansion of the Liturgy:\u00a0 Bonds, 42-52.\u00a0 Listening: Hildegard of Bingen\u2019s<\/p>\n

      Ordo Virtutum<\/u>.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 QUIZ #1<\/strong><\/p>\n

       <\/p>\n

      Secular Monophony: \u00a0Latin Songs; Troubadours and Trouv\u00e8res. Bonds, 52-58.\u00a0\u00a0 Listening: Beatriz de Dia (A chantar<\/u>), Cantigas de Santa Maria (A Santa<\/u><\/p>\n

      Maria dadas<\/u>).<\/p>\n

       <\/p>\n

      The Rise of Polyphony. Bonds, 59-63.\u00a0\u00a0 Listening: Kyrie Cunctipotens genitor<\/u>.<\/p>\n

       <\/p>\n

      Notre Dame Organum.\u00a0 Bonds, 63-67.\u00a0 Listening: Leonin, Haec dies<\/u>.<\/p>\n

      The Ars Antiqua Motet From its Origins to 1300.\u00a0 Bonds, 67-73.<\/p>\n

      Listening: three motets (Anthology nos. 12, 13, and 14).<\/p>\n

      Instruments and Instrumental Music of the Middle Ages. \u00a0Bonds, 87-91. Listening:\u00a0 Anthology no. 28 (La quinte estampie real<\/u>).<\/p>\n

       <\/p>\n

      QUIZ #2<\/strong><\/p>\n

      French Ars Nova<\/em>: Philippe de Vitry, Notation, Roman de Fauvel<\/em>.\u00a0 Bonds, 74-78.<\/p>\n

      Listening: Vitry\u2019s Garrit gallus<\/u>.<\/p>\n

       <\/p>\n

      14th-Century Liturgical Polyphony.\u00a0\u00a0 Guillaume de Machaut: Life, Motets, Mass. Bonds, 78-82.\u00a0 Listening: Machaut\u2019s Messe de Nostre Dame<\/u> (Kyrie).<\/p>\n

       <\/p>\n

      Machaut (cont’d): Secular Songs.\u00a0 Bonds, 82-83.\u00a0 \u00a0Listening: Machaut\u2019s Je puis trop bien<\/u>, Douce dame jolie<\/u>, and Ma fin est mon commencement<\/u>.<\/p>\n

       <\/p>\n

      Italian Ars Nova<\/em> Song Styles.\u00a0 Bonds, 85-86. \u00a0Listening: Jacopo da Bologna\u2019s\u00a0Non al suo amante<\/u> and Lorenzo\u2019s A poste messe<\/u>.<\/p>\n

       <\/p>\n

      Francesco Landini.\u00a0 Listening: Ecco la primavera<\/u>.<\/p>\n

      Ars Subtilior.\u00a0 Bonds, 83-85.\u00a0 Listening: Cordier\u2019s Tout par compas<\/u>, Antonello da<\/p>\n

      Caserta\u2019s Beaute parfaite<\/u> (score given out in class).<\/p>\n

       <\/p>\n

      Transition to the Renaissance: Johannes Ciconia.\u00a0 Listening: Ciconia’s O rosa<\/u>bella<\/u> (score given out in class).<\/p>\n

       <\/p>\n

      Ciconia (cont’d): Motets and Mass Music.\u00a0 Listening: Doctorum principem<\/u>.<\/p>\n

      Review for Mid-term Exam.<\/p>\n

       <\/p>\n

      MID-TERM EXAM<\/strong><\/p>\n

       <\/p>\n

      A Renaissance in Music? — An Overview. \u00a0\u00a0\u00a0\u00a0\u00a0Bonds, 93-104.<\/p>\n

       <\/p>\n

      English Music of the Early Fifteenth Century.\u00a0 Bonds, 105-108.\u00a0 Listening: Dunstable\u2019s Quam pulchra es<\/u>.<\/p>\n

       <\/p>\n

       <\/p>\n

      Guillaume Du Fay: Life, Chansons.\u00a0 Bonds, 108-111.\u00a0 Listening: Du Fay\u2019s Adieu<\/u>\u00a0<\/em>ces bons vins<\/u> (Anthology no. 40).<\/p>\n

       <\/p>\n

      Guillaume Du Fay: Motets and Hymn Settings.\u00a0 Listening: Conditor alme siderum<\/u>\u00a0and Nuper rosarum flores<\/u>.\u00a0Du Fay (cont\u2019d)<\/p>\n

       <\/p>\n

      SPRING BREAK<\/strong>\u00a0\u00a0\u00a0 (no class)<\/p>\n

       <\/p>\n

      Guillaume Du Fay’s Masses.\u00a0\u00a0 Bonds, 121-126.\u00a0 Listening: ballade Se la face ay<\/u>ale<\/u> and the Missa Se la face ay pale<\/u> (Gloria).\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 PAPER #1 DUE<\/strong><\/p>\n

       <\/p>\n

      The \u201cL\u2019homme arm\u00e9\u201d Tradition.\u00a0 Bonds, 126-127.\u00a0 Listening: the tune \u201cL’homme\u00a0arm\u00e9\u201d (Ex. 5-2) and Dufay’s Missa L’homme arm\u00e9<\/u> (Agnus Dei; score given out in<\/p>\n

      class); Ockeghem\u2019s Missa prolationum<\/u> (Kyrie).<\/p>\n

       <\/p>\n

      The Late 15th Century: Songs by Ockeghem, Busnois, and their contemporaries. Bonds, 136-139.\u00a0\u00a0 Listening: Gizeghem\u2019s De tous biens plaine<\/u>, and Isaac\u2019s \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Innsbruck, ich muss dich lassen<\/u>.<\/p>\n

       <\/p>\n

      Josquin des Prez: Life and Motets.\u00a0 Bonds, 114-120.\u00a0 Listening: motets Ave Maria<\/u>\u00a0and Absalon fili mi<\/u>.<\/p>\n

       <\/p>\n

      Josquin (cont’d): Masses.\u00a0 Bonds, 128-136.\u00a0 Listening: Fortuna desperata<\/u> and<\/p>\n

      Missa Fortuna desperata<\/u> (Kyrie and Agnus Dei); Missa Pange Lingua<\/u> (Kyrie).<\/p>\n

       <\/p>\n

      Josquin: Secular Works.\u00a0 Josquin\u2019s El grillo<\/u> (Anthology no. 44) and Faulte<\/u>\u00a0d\u2019argent<\/u> (score given out in class).<\/p>\n

       <\/p>\n

      Instrumental Music, 1480-1550.\u00a0 Bonds, 144-151, 172-178.\u00a0\u00a0\u00a0 Listening: Anthology nos. 60-64.<\/p>\n

       <\/p>\n

      \u00a0QUIZ #3<\/strong><\/p>\n

       <\/p>\n

      Italian Music, 1490-1520.\u00a0 Bonds, 139-142.\u00a0 Listening: Marco Cara\u2019s Hor<\/u>venduto ho la speranza<\/u>.<\/p>\n

       <\/p>\n

      Secular Forms, 1520-1550: Parisian Chanson.\u00a0\u00a0 Bonds, 152-153.\u00a0\u00a0 Listening: Sermisy\u2019s Tant que vivray<\/u>.<\/p>\n

       <\/p>\n

      Secular Forms (cont’d): Italian Madrigal.\u00a0\u00a0\u00a0 Bonds, 153-156.\u00a0\u00a0\u00a0\u00a0 Listening:\u00a0Arcadelt\u2019s Il bianco e dolce cigno<\/u> and Rore\u2019s Da le belle contrade d\u2019oriente<\/u>.<\/p>\n

       <\/p>\n

      Italian Madrigal (cont\u2019d).\u00a0\u00a0 The English Madrigal and Lute Song.\u00a0 Bonds, 157-165.\u00a0 Listening:\u00a0 Marenzio\u2019s Solo e pensoso<\/u> and Luzzaschi\u2019s T\u2019amo mia vita<\/u>.<\/p>\n

       <\/p>\n

      Music of the Reformation and Counter-Reformation.\u00a0\u00a0 Bonds, 165-172, 178-184. Listening:\u00a0 Palestrina\u2019s Missa Pape Marcelli<\/u> (Credo) and Lassus\u2019 Cum essem<\/u> \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 parvulus<\/u>.<\/p>\n

       <\/p>\n

      Introduction to the Baroque Era.\u00a0\u00a0 Bonds, 187-195.<\/p>\n

      The Seconda Prattica<\/em>.\u00a0 Bonds, 196-209.\u00a0 Listening:\u00a0 Peri\u2019s Dunque fra torbide<\/u><\/p>\n

      onde<\/u>; Caccini\u2019s Sfogava con le stelle<\/u>.<\/p>\n

       <\/p>\n

      Claudio Monteverdi and the Madrigal.\u00a0 Bonds, 210-217.\u00a0 Listening: Monteverdi\u2019s\u00a0Cruda Amarilli<\/u> and Zefiro torna<\/u>.<\/p>\n

       <\/p>\n

      \u00a0PAPER #2 DUE <\/strong><\/p>\n

       <\/p>\n

      Claudio Monteverdi and the Birth of Opera.\u00a0 Bonds, 218-223.\u00a0 Listening: Monteverdi\u2019s Orfeo<\/em> (excerpt from Act II).<\/p>\n

      Monteverdi (cont\u2019d).\u00a0\u00a0\u00a0 Final Exam Review<\/p>\n

       <\/p>\n

      FINAL EXAM<\/strong>[\/vc_toggle][\/vc_column][\/vc_row][vc_row][vc_column][vc_toggle title=”MUSIC APPRECIATION GREAT MUSICAL WORKS Syllabus”]Readings:<\/strong> Course materials will be available online and\/or handed out in class.<\/p>\n

      Listening:<\/strong> Students can access listening and reading assignments through links on the course webpage. Some course materials will also be made available on our website.<\/p>\n

      Description:<\/strong>\u00a0 We will study a representative selection of pieces in the current repertory of the concert hall from the last nearly 300 years of Western classical music.<\/p>\n

      Format:<\/strong> Two 90-minute lecture each week; assigned listening\/reading to be completed before the relevant class meeting(s).<\/p>\n

       <\/p>\n

      Class Schedule<\/p>\n

      Introduction to the course<\/p>\n

      Read “Elements of Music” on pitch, melody, harmony, mode, and tonality<\/p>\n

      Read “Elements of Music” on rhythm and sound quality<\/p>\n

      Read “Elements of Music” on form.\u00a0 \u00a0 \u00a0 Review for Quiz I<\/p>\n

      Quiz I<\/strong> on “Elements of Music”<\/p>\n

      Music as Religion: read on Handel’s Messiah<\/em>; listen to Part I<\/p>\n

      Messiah<\/em> (cont’d), Parts II and III<\/p>\n

      Music as Reasoned Discourse: read on Mozart’s Clarinet Quintet<\/em>, and listen to mvts. I and II<\/p>\n

      Clarinet Quintet<\/em>, mvts. III and IV<\/p>\n

      Music as Personal Triumph: read on Beethoven’s Ninth Symphony<\/em>, and listen to mvt. I<\/p>\n

      Ninth Symphony<\/em>, mvts. II and III<\/p>\n

      Ninth Symphony<\/em>, mvt. IV<\/p>\n

      Quiz II<\/strong><\/p>\n

      Program Music: read on Berlioz’s Symphonie Fasntastique; listen to mvts. I and II<\/p>\n

      Symphonie Fantastique, mvts. III, IV and V<\/p>\n

      FALL BREAK<\/p>\n

      Music Romanticism: read on and listen to Chopin’s Ballade in G minor<\/em><\/p>\n

      Music Romanticism – piano miniatures: Schubert, Schumann and Chopin<\/p>\n

      Musical Romanticism on a Large Scale: Schumann’s Piano Concerto in A minor<\/em>, op. 54<\/p>\n

      Quiz III<\/p>\n

      Musical Theater: read on Verdi’s Otello<\/p>\n

      Viewing Otello<\/em><\/strong><\/p>\n

      Otello<\/em>, Act I<\/p>\n

      Otello<\/em>, Act II and III<\/p>\n

      Otello<\/em>, Act IV<\/p>\n

      Paper due on Otello<\/strong>; class discussion<\/p>\n

      THANKSGIVING BREAK (no classes)<\/p>\n

      Modernism’s New Language; read on Stravinsky’s<\/p>\n

      P\u00e9trouchka<\/em>; listen to Tableaux 1 and 2<\/p>\n

      P\u00e9trouchka<\/em>; listen to Tableaux 3 and 4<\/p>\n

      American Music: read on Bernstein’s West Side Story<\/em>; listen to Act I<\/p>\n

      West Side Story<\/em>, Act II<\/p>\n

      Final Exam<\/strong><\/p>\n

       <\/p>\n

       <\/p>\n

       <\/p>\n

      [\/vc_toggle][\/vc_column][\/vc_row][vc_row][vc_column][vc_toggle title=”HOW TO LISTEN AND PERFORM”]<\/p>\n\n\n\n\n\n
      Readings:<\/b><\/td>\nCourse materials are available online or will be handed out in class. <\/span><\/td>\n<\/tr>\n
      Listening:<\/b><\/td>\nStudents can access selected listening assignments through links on our webpage. <\/span>As always, the page is restricted to Il Trillo use only<\/span>.<\/span><\/td>\n<\/tr>\n
      Description:<\/b><\/td>\nThis course asks the question of how we deal with past works of art as seen and heard with 21st-century sensibilities. <\/span>We will study a representative selection of pieces in the current repertory of the concert hall from the last 300 years of Western classical music.<\/span> \u00a0This course will have two guiding principles: the \u201cpast\u201d begins yesterday, and the art of listening to music \u2013 live or in recorded form \u2013 is a skill of active participation in which the listener engages with the artistic process. \u00a0\u00a0\u00a0<\/span><\/p>\n

      In dealing with the music of the past, the course will consider the following ideas. \u00a0Is a work of art (a composition) a one-time aesthetic statement of expression representative of its own time, or does that work continue to live, breathe, change, and evolve \u2013 and, if so, how? \u00a0After inspiration, composition, preparation, and initial performances \u2013 necessary steps in its gestation \u2013 is a work heard (seen) differently with the passing of time? Should a given contemporary performance or recording be at all \u201cidentical\u201d or \u201cclose\u201d to the original performance, and if so in what ways? \u00a0In fact, in what ways may we speak of \u201cauthenticity\u201d in musical performance? What were the expectations of listeners at the time of first performances and should that have any bearing on performances today? How does the 21st-century performer deal with varying levels of prescriptive musical notations of the past and what is the relationship of notation to the interpretive role of the performing musician? \u00a0With the development of recorded technology and our extraordinary access to recorded music, how important are live performances today? Is there a difference, in fact, in hearing a work live or recorded, and if so what is it and how does it affect us? <\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

       <\/p>\n

      Class Schedule<\/b><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
      Introduction to the course. \u00a0\u201cThe Notation is not the Music\u201d: \u00a0Discussion of the parameters of music that make it a work of art: \u00a0melody, harmony, rhythm, tempo, dynamics, tone color, texture, form, articulation, phrasing, and expression. <\/span><\/td>\n<\/tr>\n
      \u00a0<\/span>Week 1<\/b> \u00a0– <\/span>Background to the basic premise of the course: what is the nature of a work of musical art (in the Western European legacy) and in what ways do we respond to it in the 21st century?<\/span><\/p>\n

      Introduction to basic listening skills: the parameters of music; genres; historical styles. \u00a0[<\/span>Elements of Music<\/span>] \u00a0We will use six works to illustrate melody, harmony, rhythm, tempo, dynamics, tone color, and form: \u00a0Haydn\u2019s \u201cSurprise\u201d Symphony (slow movement); Beethoven\u2019s \u201cPathetique\u201d Sonata (third movement); Mozart\u2019s Clarinet Quintet (first movement); Schubert\u2019s song \u201cErlk\u00f6nig\u201d; \u00a0Debussy\u2019s <\/span>Pr\u00e9lude \u00e0 l\u2019apr\u00e8s-midi d\u2019un faune<\/span><\/i>; and Britten\u2019s \u201cYoung Person\u2019s Guide to the Orchestra\u201d.<\/span><\/td>\n<\/tr>\n

      Performance practices and historical traditions, from the Baroque period to the present.<\/span><\/p>\n

      Music as Religion: read about and listen to Handel’s<\/span> Messiah<\/span><\/i><\/td>\n<\/tr>\n

      Week 2 <\/b>\u00a0– <\/span><\/p>\n

      Continue with <\/span>Elements of Music<\/span>.<\/span><\/p>\n

      Performance practices and historical traditions, from the Baroque period to the present day. \u00a0Use Handel\u2019s oratorio <\/span>Messiah<\/span><\/i> and his opera <\/span>Julius Caesar<\/span><\/i>.<\/span><\/p>\n

      \u201cPerforming Practice\u201d in <\/span>New Grove Dictionary of Music and Musicians<\/span><\/i> (2001); readings in <\/span>Performance Practice: Music After 1600<\/span><\/i>, ed. H. M. Brown and Stanley Sadie (1989).<\/span><\/td>\n<\/tr>\n

      \u201cThe Pastness of the Present and the Presence of the Past\u201d (1988): J. S. Bach\u2019s <\/span>Brandenburg Concerto #5<\/span><\/i> (first movement). \u00a0Introduction to the essential points made in Richard Taruskin\u2019s article on musical performance and authenticity, especially the performer as interpreter vs. the performer as transmitter. \u00a0Listen to Glenn Gould and Andras Schiff performances of Bach\u2019s <\/span>Goldberg Variations<\/span><\/i>. \u00a0\u00a0<\/span><\/td>\n<\/tr>\n
      \u00a0<\/span><\/td>\n<\/tr>\n
      \u201cAuthenticity\u201d \u00a0\u2014 being faithful to the score, to composers\u2019 intentions, to the first performance of a work? \u00a0The rise and commercialization of \u201coriginal instrument\u201d recordings. Audience expectations then and now: can we listen to music with 18th-, 19th- , or even 20th-century ears? \u00a0\u00a0\u00a0Beethoven\u2019s Symphonies. <\/span><\/p>\n

      Reading: \u00a0Butt, <\/span>Playing With History<\/span><\/i> (2002), Chpt. 1<\/span><\/p>\n

      Week 3<\/b> \u00a0– <\/span><\/p>\n

      \u201dAuthenticity\u201d \u00a0\u2014 being faithful to the score, to composers\u2019 intentions, to the first performance of a work? \u00a0The rise and commercialization of \u201coriginal instrument\u201d recordings. Use Beethoven\u2019s Symphonies Nos. 3 and 5, as well as Berlioz\u2019s <\/span>Symphonie Fantastique<\/span><\/i>.<\/span><\/p>\n

      Kenyon, \u201cAuthenticity and Early Music: Some Issues and Questions\u201d (1988); \u00a0Taruskin, \u201cBeethoven Symphonies . . . The New Antiquity,\u201d <\/span>Opus<\/span><\/i> (1987).<\/span><\/td>\n<\/tr>\n

      Music as Personal Triumph: read about and listen to Beethoven’s <\/span>Ninth Symphony<\/span><\/i><\/td>\n<\/tr>\n
      \u00a0<\/span><\/p>\n

      Week 4<\/b> \u00a0– <\/span><\/td>\n<\/tr>\n

      Program Music: read about and listen to Berlioz\u2019s <\/span>Symphonie Fantastique<\/span><\/i><\/td>\n<\/tr>\n
      \u00a0<\/span>Week 5<\/b> \u00a0– <\/span><\/p>\n

      Examination of meanings and conventions in the ever-more-prescriptive musical notation of the past 500 years. \u00a0Use a Monteverdi madrigal; a Mozart piano concerto; piano works by Schubert, Chopin, Brahms, Schoenberg, and Carter.<\/span><\/p>\n

      Readings: Butt, <\/span>Playing With History<\/span><\/i> (2002), Chpt. 4; \u201cThe Orchestra: Origins and Transformations\u201d; \u00a0D. Ranada, \u201cThe Orchestral Image,\u201d <\/span>Opus<\/span><\/i> (1986).<\/span><\/td>\n<\/tr>\n

      Essay #1 due<\/b><\/td>\n<\/tr>\n
      Examination of meanings and conventions in the ever-more-prescriptive musical notation of the past 500 years. \u00a0We may select a Monteverdi madrigal, a Mozart piano concerto, and piano works by Schubert, Chopin, Brahms, and Schoenberg. \u00a0Comparative listening: multiple performances (recordings) of selected compositions. We will use some of Stravinsky\u2019s multiple recordings (as conductor) of his own works.<\/span><\/td>\n<\/tr>\n
      <\/td>\n<\/tr>\n
      Music as Reasoned Discourse: read about and listen to the first movement of Mozart’s <\/span>Clarinet Quintet<\/span><\/i><\/td>\n<\/tr>\n
      \u00a0\u00a0<\/span>Week 6<\/b> \u00a0– <\/span>Adaptations: older music reworked. \u00a0Berg <\/span>Violin Concerto<\/span><\/i>, Stokowski\u2019s orchestral arrangements of J. S. Bach and others.<\/span><\/td>\n<\/tr>\n
      Musical Romanticism: read about and listen to Chopin’s <\/span>Ballade in G minor<\/span><\/i>Musical Romanticism \u2014 Piano Miniatures: Schubert, Schumann, and Chopin<\/span><\/td>\n<\/tr>\n
      <\/td>\n<\/tr>\n
      Musical Romanticism – Large Scale: Schumann\u2019s <\/span>Piano Concerto in A minor, op. 54<\/span><\/i><\/td>\n<\/tr>\n
      Week 7<\/b> \u00a0– <\/span>Art music and its interactions with the traditions of jazz, pop and globalized world musics. The Jacques Loussier Trio, Gunther Schuller, Bernstein\u2019s <\/span>West Side Story<\/span><\/i>.<\/span><\/p>\n

      F A L L \u00a0\u00a0B R E A K<\/b><\/td>\n<\/tr>\n

      Making music and hearing music in live performances. \u00a0What effect have recordings had on our modern musical culture? \u00a0\u00a0Reading: Katz, <\/span>Capturing Sound: How Technology Has Changed Music<\/span><\/i> (2004) [selected pages TBA]<\/span><\/p>\n

      Crutchfield, \u201cBrahms by Those Who Knew Him,\u201d <\/span>Opus<\/span><\/i> (1986)<\/span><\/td>\n<\/tr>\n

      \u00a0 <\/span><\/td>\n<\/tr>\n
      The age of mechanical reproduction. \u00a0Individual projects on varied repertory: focus on live performances vs. recorded works. \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/td>\n<\/tr>\n
      \u00a0<\/span>Week 8<\/b> \u00a0– <\/span><\/p>\n

      Making music and hearing music in live performances. \u00a0What effects have recordings had on our modern musical culture?<\/span><\/p>\n

      Reading: \u00a0Katz, <\/span>Capturing Sound: How Technology Has Changed Music<\/span><\/i> (2004)<\/span><\/p>\n

      Crutchfield, \u201cBrahms by Those Who Knew Him,\u201d <\/span>Opus<\/span><\/i> (1986)<\/span><\/td>\n<\/tr>\n

      Individual projects (cont\u2019d) \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span>\u00a0<\/b><\/td>\n<\/tr>\n
      Week 9<\/b> \u00a0– <\/span><\/p>\n

      The age of mechanical reproduction (cont\u2019d). \u00a0Individual projects on varied repertory.<\/span><\/td>\n<\/tr>\n

      <\/td>\n<\/tr>\n
      Modernism’s New Language: read about and listen to Stravinsky’s <\/span>P\u00e9trouchka<\/span><\/i><\/p>\n

      Week 10<\/b> \u00a0– <\/span><\/p>\n

      Modernism and post-modernism: their influence on shaping musical performances. \u00a0Attendance at performances of contemporary music.<\/span><\/p>\n

      Reading: \u00a0Butt, <\/span>Playing With History<\/span><\/i> (2002), Chpt. 5.<\/span><\/td>\n<\/tr>\n

      \u00a0<\/span>Essay #2 due<\/b><\/td>\n<\/tr>\n
      <\/td>\n<\/tr>\n
      Art music and its interactions with the traditions of jazz, pop and globalized world musics: \u00a0Jacques Loussier Trio, Gunther Schuller <\/span><\/p>\n

      American Music: read about and listen to Bernstein\u2019s <\/span>West Side Story<\/span><\/i>, Act I<\/span><\/td>\n<\/tr>\n

      \u00a0<\/span>Week 11<\/b> \u00a0– <\/span><\/p>\n

      Comparative listening: multiple performances (recordings) of selected compositions.<\/span><\/p>\n

      Use Stravinsky\u2019s multiple recordings [as conductor] of his own works.<\/span><\/td>\n<\/tr>\n

      Bernstein\u2019s <\/span>West Side Story<\/span><\/i>; listen to Act II<\/span><\/p>\n

      Many years after the premiere Bernstein records the music of <\/span>West Side Story<\/span><\/i><\/td>\n<\/tr>\n

      Week 12<\/b> \u00a0– <\/span><\/p>\n

      Audience expectations then and now: can we listen to music with 18th-, 19th- , or even 20th-century ears? \u00a0\u00a0<\/span><\/p>\n

      Reading: \u00a0Butt, <\/span>Playing With History<\/span><\/i> (2002), Chpt. 1.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

      [\/vc_toggle][\/vc_column][\/vc_row][vc_row][vc_column][vc_toggle title=”BACH AND HANDEL Syllabus”]Course description<\/b>: JOHANN SEBASTIAN BACH (1685-1750) and GEORG FRIEDERICH HANDEL (1685-1759) are towering figures of the Baroque Period in the history of Western music. Though exact contemporaries and born in cities only some 70 miles apart, the two composers followed radically different career paths. In the course of examining a broad selection of their compositions we will consider not only the rhetorical and structural features of their respective musical \u201cdialects,\u201d but also how the various social, religious, and political environments in which they worked affected the nature and scope of their musical activities. \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span><\/p>\n

       <\/p>\n

      Course Requirements: <\/b><\/p>\n

      1) Three quizzes (each 15% of the course grade) in which you will be asked to define specific terms and write brief essays on larger concepts that have been discussed in class and in the readings. You will also be asked to identify and comment on recorded excerpts drawn from works we have studied in class. <\/span><\/p>\n

      2) The final examination (30% of the course grade) will consist of term identifications, recorded examples, and short essays. \u00a0<\/span><\/p>\n

      3) One 10-12 page essay (25%) on a comparison of performances of a representative work. \u00a0<\/span><\/p>\n

       <\/p>\n

      Required Texts<\/b>:<\/span><\/p>\n

      1) Christoph Wolff, <\/span>Johann Sebastian Bach: The Learned Musician<\/span><\/i> (Norton, 2000; paperback 2001)<\/span><\/p>\n

      2) Christopher Hogwood, <\/span>Handel<\/span><\/i> (Thames & Hudson, rev. ed. 2007)<\/span><\/p>\n

       <\/p>\n

      CLASS SCHEDULE<\/b><\/p>\n

       <\/p>\n

      Introduction to the course<\/span><\/p>\n

      Handel\u2019s youth and early training: Halle and Hamburg<\/span><\/p>\n

      Read:<\/span> Hogwood, pp. 11-29<\/span><\/p>\n

       <\/p>\n

      Handel in Italy (I): Sacred Music \u00a0<\/span><\/p>\n

      Read: Hogwood, pp. 30-48<\/span><\/p>\n

      Listen: Handel: <\/span>Dixit Dominus<\/span><\/i> Alessandro Scarlatti (1660-1725), <\/span>Dixit Dominus <\/span><\/i><\/p>\n

      Handel in Italy (II): Cantatas <\/span><\/p>\n

      Listen: <\/span>Tu fedel?<\/span><\/i>; \u00a0<\/span>Tra le fiamme<\/span><\/i> \u00a0<\/span><\/p>\n

      Handel in Italy (III): \u00a0<\/span>La Resurrezione<\/span><\/i> (early oratorio)<\/span><\/p>\n

      Handel in Italy (IV): Opera seria <\/span><\/p>\n

      Read: Dean, pp.1-21 (\u201cHandel as Opera Composer\u201d)<\/span><\/p>\n

      Listen: <\/span>Rodrigo<\/span><\/i>, Act II scenes 9-12 <\/span><\/p>\n

      Agrippina<\/span><\/i>, Overture; Act II scene 5 <\/span><\/p>\n

      Arrival in England: <\/span>Rinaldo<\/span><\/i><\/p>\n

      Read: Hogwood, pp. 49-65; Dean, pp. 168-78, 180-83<\/span><\/p>\n

      Listen: <\/span>Rinaldo<\/span><\/i> Act I, Armida\u2019s entrance, Almirena\u2019s \u201cBirds\u201d<\/span><\/p>\n

      scene, Rinaldo\u2019s \u201cCara sposa\u201d and his rage aria <\/span><\/p>\n

      \u201cRoyal\u201d Music <\/span><\/p>\n

      Read: Hogwood, pp. 65 (bottom) – 72<\/span><\/p>\n

      Listen: Handel, <\/span>Birthday Ode for Queen Anne<\/span><\/i><\/p>\n

      Handel, <\/span>Water Music<\/span><\/i>, Suite in F<\/span><\/p>\n

       <\/p>\n

      Masque and the Beginnings of the Oratorio <\/span><\/p>\n

      Handel: \u00a0<\/span>Acis and Galatea<\/span><\/i> \u00a0\u00a0<\/span><\/p>\n

      Keyboard and other instrumental music: <\/span>Suite in E <\/span><\/i><\/p>\n

      Recorder\/Oboe Sonata in F \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Read: Hogwood, pp. 72-75<\/span><\/p>\n

      Violin Sonatas<\/span><\/p>\n

       <\/p>\n

      Quiz No.1<\/strong><\/p>\n

      BACH<\/p>\n

        \n
      1. S. Bach\u2019s musical roots<\/span><\/li>\n<\/ol>\n

        Read: Wolff, Prologue and Ch. 1 (pp. 1-31)<\/span><\/p>\n

        New Bach Reader<\/span>, pp. 295-307<\/span><\/p>\n

         <\/p>\n

        Virtuosity and compositional planning<\/span><\/p>\n

        Read: Wolff, Chs. 2 and 3 (pp. 33-75)<\/span><\/p>\n

        Listen: <\/span>Toccata in D minor<\/span><\/i> BWV 565 <\/span><\/p>\n

        Capriccio on the Departure of the Beloved Brother<\/span><\/i><\/p>\n

         <\/p>\n

        Organist at Arnstadt (1703-07)<\/span><\/p>\n

        Read: Wolff, pp. 77-top of 98 <\/span><\/p>\n

        Listen: <\/span>Passacaglia in C minor<\/span><\/i><\/p>\n

        Bach\u2019s Earliest Cantatas<\/span><\/p>\n

        Read: Wolff, pp. 98-115<\/span><\/p>\n

        Listen: Cantata 4: <\/span>Christ lag in Todesbanden<\/span><\/i><\/p>\n

        Court Musician: Weimar 1708-14 \u00a0<\/span><\/p>\n

        Read: Wolff, Ch. 5 (pp. 117-45)<\/span><\/p>\n

        Listen: BWV 208, <\/span>\u201cHunt\u201d Cantata <\/span><\/i><\/p>\n

        Orgelb\u00fcchlein<\/span><\/i> (excerpts TBA) <\/span><\/p>\n

        Weimar sacred cantatas <\/span><\/p>\n

        Read: Wolff, pp. 147-69 (top)<\/span><\/p>\n

        Listen: <\/span>Cantata 182<\/span><\/i>: <\/span>Himmelsk\u00f6nig, sei willkomen<\/span><\/i><\/p>\n

        Cantata 63<\/span><\/i>: <\/span>Christen, \u00e4tzet diesen Tag<\/span><\/i> \u00a0<\/span><\/p>\n

         <\/p>\n

        The Concept of the Concerto<\/span><\/p>\n

        Read: Wolff, pp. 169-85. \u00a0<\/span>Keyboard Concerto in D minor<\/span><\/i>, BWV 1052 \u00a0\u00a0<\/span><\/p>\n

        Listen: <\/span>Concerto for two violins in D minor<\/span><\/i><\/p>\n

         <\/p>\n

        Capellmeister in C\u00f6then; the violin sonatas and partitas <\/span><\/p>\n

        Read: Wolff, pp. 187-207 (top)<\/span><\/p>\n

        Listen: Organ chorales from \u201cGreat Eighteen Chorales\u201d<\/span><\/p>\n

        An Wasserfl\u00fcssen Babylon<\/span><\/i>, BWV 653<\/span><\/p>\n

        Von Gott will ich nicht lassen<\/span><\/i>, BWV 658<\/span><\/p>\n

        Schm\u00fccke dich, o liebe Seele<\/span><\/i>, BWV 654<\/span><\/p>\n

         <\/p>\n

        The \u201cFrench\u201d Suites, the Inventions, and the Well-Tempered Clavier Bk. I<\/span><\/p>\n

        Read: Wolff, 207-32 (top). \u00a0<\/span>Invention #1<\/span><\/i> in C major \u00a0<\/span><\/p>\n

        Listen: Suite #5 in G<\/span><\/p>\n

         <\/p>\n

        Chamber Music: \u00a0Gamba Sonatas; The Six Brandenburg Concertos <\/span><\/p>\n

        Read: Wolff, 232-35<\/span><\/p>\n

        Listen: \u00a0<\/span>Brandenburg Concerto 2<\/span><\/i><\/p>\n

        Brandenburg Concerto No. 5<\/span><\/i><\/p>\n

        Read: Handout<\/span><\/p>\n

        Listen: <\/span>Brandenburg Concerto No. 5<\/span><\/i><\/p>\n

         <\/p>\n

        Quiz No. 2 <\/b><\/p>\n

         <\/p>\n

        SPRING BREAK<\/b><\/p>\n

         <\/p>\n

        Handel<\/b><\/p>\n

         <\/p>\n

        Handel and the Royal Academy of Music in the 1720s (<\/span>Radamisto<\/span><\/i>; <\/span>Ottone<\/span><\/i>)<\/span><\/p>\n

        Read: Hogwood, pp. 76-89. \u00a0The role of <\/span>castrati<\/span><\/i>.<\/span><\/p>\n

        Listen: <\/span>Radamisto<\/span><\/i>: \u00a0Overture, ActI scene 4, Act II<\/span><\/p>\n

        scenes 1-2<\/span><\/p>\n

        Ottone<\/span><\/i>: Overture, Act I \u201cLa speranza\u201d and <\/span><\/p>\n

        \u201cDell\u2019onda\u201d; Act II \u201cDopo l\u2019orrore\u201d; Act III \u201cDove sei,\u201d \u201cIo son <\/span><\/p>\n

        tradito,\u201d and \u201cTanti affanni\u201d<\/span><\/p>\n

         <\/p>\n

        Giulio Cesare<\/span><\/i> \u00a0<\/span><\/p>\n

        Read:<\/span> Dean, pp. 483-500<\/span><\/p>\n

        Listen:<\/span> Overture, \u201cEmio dir\u00f2,\u201d \u201cSvegliativi nel core,\u201d <\/span><\/p>\n

        \u201cAlma del gran,\u201d and \u201cCara speme\u201d<\/span><\/p>\n

        Orlando<\/span><\/i>: magic opera \u00a0\u00a0<\/span><\/p>\n

        Read: Hogwood, pp. 90-103<\/span><\/p>\n

        Listen: Overture, Act I scenes 1-4<\/span><\/p>\n

         <\/p>\n

        Saul<\/span><\/i>: oratorio \u00a0\u00a0<\/span><\/p>\n

        Read: Hogwood, pp. 153-58<\/span><\/p>\n

        Listen: Act III<\/span><\/p>\n

        Concerti grossi, Op. 6 (1739); Organ Concertos<\/span><\/p>\n

        Read: Hogwood, pp. 158-67<\/span><\/p>\n

        Listen: Concerto for Organ in F, Op. 4, no. 5<\/span><\/p>\n

        Concerti Grossi Op. 6, nos. 1 and 3<\/span><\/p>\n

         <\/p>\n

        Messiah<\/span><\/i><\/p>\n

        Read: Hogwood, pp. 167-83<\/span><\/p>\n

        Messiah<\/span><\/i> (cont\u2019d)<\/span><\/p>\n

        Messiah<\/span><\/i> (cont\u2019d)<\/span><\/p>\n

         <\/p>\n

        Quiz No. 3<\/b><\/p>\n

         <\/p>\n

        Bach<\/b><\/p>\n

         <\/p>\n

        Thomaskantor in Leipzig: the cantatas (1<\/span>st<\/span> Jahrgang)<\/span><\/p>\n

        Read: Wolff, pp. 237-75 (top)<\/span><\/p>\n

        Cantata 147<\/span><\/i>: <\/span>Herz und Mund und Tat<\/span><\/i> (chorale: \u201cWohl mir dass\u201d)<\/span><\/p>\n

        Magnificat<\/span><\/i><\/p>\n

        Leipzig cantatas (cont\u2019d): the 2<\/span>nd<\/span> Jahrgang<\/span><\/p>\n

        Read:<\/span> Wolff, pp. 275-88<\/span><\/p>\n

        Cantata 140<\/span><\/i>: <\/span>Wachet auf, ruft uns die Stimme<\/span><\/i><\/p>\n

         <\/p>\n

        The Passions; <\/span>St. Matthew Passion<\/span><\/i> (I) \u00a0<\/span><\/p>\n

        Read:<\/span> Wolff, pp. 288-95<\/span><\/p>\n

        Listen: The Passion according to St. Matthew [videorecording] <\/span><\/p>\n

         <\/p>\n

        St. Matthew Passion<\/span><\/i> \u00a0(II)<\/span><\/p>\n

        Read:<\/span> Wolff, pp. 296-303<\/span><\/p>\n

         <\/p>\n

        St. Matthew Passion<\/span><\/i> (III)<\/span><\/p>\n

        Read:<\/span> New Bach Reader<\/span>, pp. 508-19<\/span><\/p>\n

         <\/p>\n

        Clavier\u00fcbung<\/span><\/i> I and II<\/span><\/p>\n

        Read:<\/span> Wolff, pp. 373-89<\/span><\/p>\n

        Partitas Nos. 1 and 4<\/span><\/i>; <\/span>Italian Concerto<\/span><\/i><\/p>\n

        PAPER DUE<\/b><\/p>\n

         <\/p>\n

        B minor Mass<\/span><\/i><\/p>\n

        Read:<\/span> Wolff, pp. 367-72; 438-42<\/span><\/p>\n

        Listen<\/span>:<\/b> Kyrie, Gloria, and Credo<\/span><\/p>\n

        Goldberg Variations<\/span><\/i> (I)<\/span><\/p>\n

        Goldberg Variations<\/span><\/i> (II)<\/span><\/p>\n

        Discussion of Performances<\/span><\/p>\n

         <\/p>\n

        Musical Offering<\/span><\/i><\/p>\n

        Read:<\/span> Wolff, pp. 417-31<\/span><\/p>\n

        Listen:<\/span> Moroney, complete<\/span><\/p>\n

        Art of the Fugue<\/span><\/i>: Contemplating music<\/span><\/p>\n

        Shadows and influences: Bach, Handel, and later music history<\/span><\/p>\n

        Read:<\/span> Wolff, pp. 431-38; 442-72 <\/span><\/p>\n

        Read: <\/span>New Bach Reader<\/span>, pp. 485-506; \u00a0Hogwood, pp. 232-76<\/span><\/p>\n

        Listen:<\/span> Goebel, complete <\/span><\/p>\n

        Final Exam<\/b><\/p>\n

         <\/p>\n

         <\/p>\n

         <\/p>\n

         <\/p>\n

        [\/vc_toggle][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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