Professor DeFord
Spring 2002
MUSHL 205: SYLLABUS
I. Objectives
This course is the first semester of a four-semester music-history sequence required of all
music majors. Prerequisite or corequisite courses are MUSTH 120 and ENGL 120. Specific
objectives are:
A. To provide an overview of the history of music in western culture to about 1750.
B. To introduce tools and methods of library research in music.
C. To develop writing skills applied to the field of music.
II.
Required materials
A. Multimedia study guides: The text for the course is a set of multimedia study guides
written by the instructor. It available in a computer-equipped practice room. Copies will
also be available on disk for students who have access to PC computers outside of school.
You may print out the information in these guides, but they are intended to be used
primarily at a computer, which coordinates text, graphics, and sound.
B. Recordings: Three CDs containing all pieces required for listening will be distributed in
class. Students will purchase them at cost ($10.00 for the set).
C. Scores: Students will purchase the score anthology for K. Marie Stolba, The Development
of Western Music, vol. 1 ($34.00). This anthology must be brought to class every day.
Pieces not in the anthology will be handed out.
III.
Assignments
A. Multimedia study guides: Reading and aural study from the multimedia study guides is
assigned for each class.
B. Listening: 1-3 short pieces or movements are assigned for each class. Students must
listen to each of them several times and get to know them very well. Listening should be
done in a variety of ways: following the scores, using the multimedia study guides, and
without visual aids.
C. Written assignments: Written assignments involving library research and analysis of the
assigned pieces are due on alternate Mondays throughout the semester.
IV.
Examinations
A. Quizzes: 2/20, 3/18, 4/22, 5/6
B. Full-period examinations: 3/4, 4/8
C. Final examination: Wednesday, May 22, 5:20-7:20 p.m.
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V. Grading policy
Grades for this course will be determined as follows:
Library assignments:
Quizzes:
Full-period examinations:
Final examination:
30%
10%
30%
30%
For further information, see handout on Grading Policy.
VI.
Instructor information
Professor Ruth DeFord
Room 400G
212-772-5537
email: rdeford@shiva.hunter.cuny.edu
Office hours: Mondays, 2:00-4:00, and by appointment
VII.
Course Web Page: http://hunter.cuny.edu; search ERES; choose ERES 3.1. Use instructor
name (DeFord), not course number, to find the page. (The course number is incorrect in the
computer.) All handouts except supplementary scores will be available on the web page.
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ASSIGNMENTS
W 1/30 Introduction to the course (study guide: Introduction)
Unit I: The Middle Ages
M 2/4
Chants of the Office (800-1000)
The Middle Ages: Historical overview, Characteristics of musical style (study guide)
Gregorian chant (study guide)
Psalm 109 with Antiphon Tecum principium (handout)
W 2/6
Chants of the Mass (800-1000)
Kyrie: Kyrie I (p. 4)
Alleluia: Alleluia Pascha nostrum (p. 7)
M 2/11 Paraliturgical and secular monophony (1000-1200)
Sequence: Victimae paschali (p. 14)
Troubadour song: Bernart de Ventadorn, Can vei la lauzeta (handout)
WRITTEN ASSIGNMENT #1
W 2/13 Organum (1100-1200)
Organum (Notre-Dame): Leonin, Alleluia Pascha nostrum (p. 22)
M 2/18 No class
W 2/20 Medieval motet (1200-1300)
Motet: Gaudeat devotio/Nostrum (music--p. 23; words--handout)
Motet: En non diu/Quant voi/Eius in oriente (p. 32)
QUIZ #1
M 2/25 Medieval motet and Mass (1300-1400)
Motet: Vitry, Garrit gallus/In nova fert/Neuma (p. 50)
Machaut, Mass: Agnus Dei (p. 54)
WRITTEN ASSIGNMENT #2
W 2/27 Polyphonic secular song (1300-1400)
Ballade: Machaut, De toutes flours (handout)
Madrigal (medieval): Jacopo da Bologna, Fenice fu (p. 58)
M 3/4
EXAMINATION #1
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Unit II: The Renaissance
W 3/6
Renaissance motet (1400-1450)
The Renaissance: Historical overview, Characteristics of musical style (study guide)
Dunstable, Quam pulchra es (p. 66)
M 3/11 Mass (1400-1500)
Dufay, Missa L'homme armé: Agnus Dei (p. 75)
WRITTEN ASSIGNMENT #3
W 3/13 Renaissance motet (ca. 1500)
Josquin, Ave Maria (p. 82)
M 3/18 Italian madrigal (1500-1600)
Rore, Da le belle contrade (p. 102)
QUIZ #2
W 3/20 French chanson and English madrigal (1500-1600)
Janequin, A ce joly moy (p. 115)
Morley, April is in my mistress' face (p. 118)
SPRING BREAK
M 4/1
Mass (1500-1600)
Palestrina, Pope Marcellus Mass: Credo (handout)
WRITTEN ASSIGNMENT #4
W 4/3
Motet (1500-1600)
Lassus, Tristis est anima mea (p. 131)
M 4/8
EXAMINATION #2
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Unit III: The Baroque
W 4/10 Sacred concerto (1600-1650)
The Baroque: Historical overview, Characteristics of musical style (study guide)
Gabrieli, In ecclesiis (p. 145)
Schütz, O quam tu pulchra es (p. 195)
M 4/15 Madrigal and monody (1600-1650)
Monteverdi, Cruda Amarilli (p. 167)
Caccini, Amarilli mia bella (p. 164)
WRITTEN ASSIGNMENT #5
W 4/17 Early Italian opera (1600-1650)
Monteverdi, L'Orfeo: excerpt (handout)
M 4/22 French and English opera (1650-1700)
Lully, Alceste: overture (p. 182)
Purcell, Dido and Aeneas: final scene (p. 184)
QUIZ #3
W 4/24 Suite (1700-1750)
Couperin, 25th Ordre: "La Montflambert," "La Muse victorieuse," "Les ombres
errantes" (p. 221)
M 4/29 Sonata (1700)
Corelli, Sonata, op. 5 no. 1 (p. 225)
WRITTEN ASSIGNMENT #6
W 5/1
Concerto (1700-1750)
Vivaldi, Concerto, op. 3, no. 6 (p. 230)
Bach, "Brandenburg" Concerto no. 5: movement 1 (handout)
M 5/6
Prelude and fugue (1700-1750)
Bach, Prelude and Fugue in C Minor, from The Well-Tempered Clavier I (p. 275)
QUIZ #4
W 5/8
Cantata and chorale prelude(1700-1750)
Bach, Cantata #140 (Wachet auf) (handout)
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Bach, Wachet auf (chorale prelude; handout)
M 5/13 Opera seria and oratorio (1700-1750)
Handel, Giulio Cesare: act III, scene 7 (p. 278)
Handel, Messiah: "Comfort ye," "Every valley," "And the glory of the
unto us a child is born" (p. 284)
Lord," "For
W 12/15 Review
WRITTEN ASSIGNMENT #7
W 5/22 FINAL EXAMINATION, 5:20-7:20 p.m.
Note:
1.
Reading and aural study of the multimedia guides for the genres, composers, and pieces is
included in every assignment. The study guides are mentioned specifically only when a more
general topic is assigned.
2.
Scores of most pieces are in the Stolba anthology. Page numbers of the scores are given after
each piece.