KENNESAW STATE UNIVERSITY
GRADUATE COURSE PROPOSAL OR REVISION,
Cover Sheet (10/02/2002)
Course Number/Program Name MUSI 6310 Music of the Baroque Era
Department School of Music
Degree Title (if applicable) Master of Music
Proposed Effective Date Fall 2012
Check one or more of the following and complete the appropriate sections:
x
New Course Proposal
Course Title Change
Course Number Change
Course Credit Change
Course Prerequisite Change
Course Description Change
Sections to be Completed
II, III, IV, V, VII
I, II, III
I, II, III
I, II, III
I, II, III
I, II, III
Notes:
If proposed changes to an existing course are substantial (credit hours, title, and description), a
new course with a new number should be proposed.
A new Course Proposal (Sections II, III, IV, V, VII) is required for each new course proposed as
part of a new program. Current catalog information (Section I) is required for each
existing course incorporated into the program.
Minor changes to a course can use the simplified E-Z Course Change Form.
Submitted by:
Faculty Member
Approved
Not Approved
Approved
Not Approved
Approved
Not Approved
Approved
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Approved
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Approved
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Approved
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Approved
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_____
Date
Department Curriculum Committee Date
Department Chair
Date
College Curriculum Committee
Date
College Dean
Date
GPCC Chair
Date
Dean, Graduate College
Date
Vice President for Academic Affairs Date
President
Date
KENNESAW STATE UNIVERSITY
GRADUATE COURSE/CONCENTRATION/PROGRAM CHANGE
I.
Current Information (Fill in for changes)
Page Number in Current Catalog
___
Course Prefix and Number
___
Course Title
___
Class Hours
____Laboratory Hours_______Credit Hours________
Prerequisites
___
Description (or Current Degree Requirements)
II.
Proposed Information (Fill in for changes and new courses)
Course Prefix and Number ___MUSI 6310____________________________
Course Title ____Music of the Baroque Era____
______
Class Hours
3 ____Laboratory Hours_____0__CreditHours____3____
Prerequisites Passing grade on the graduate music history entrance exam and
admission to graduate study in music
Description (or Proposed Degree Requirements)
In this course students will study the genres, forms and styles of the Baroque period, ca. 16001750. Beginning with an introduction to the Baroque aesthetic, this class will cover secular vocal
music (madrigal, cantata, and opera), sacred vocal music (mass, oratorio, and cantata) and
instrumental music (keyboard genres, sonata, and concerto), and will conclude with a preview of
the galant style. Within each category or genre, attention will be given to historical context, style,
performance practice, drama, staging and text. Materials for study will be drawn from scores,
recordings, and primary and secondary source materials. Students are expected to complete all
reading and listening assignments, and to participate in daily class discussions. Understanding of
the material will be determined based on class discussions, analysis projects, listening quizzes,
research and writing assignments, a midterm and a final exam.
III.
Justification
The Baroque Period provided the foundation of Western Music’s Common Practice era. The
terminology, instruments, genres, and theory of our current practice were all formulated during
this 150 year period. Therefore, a study of the vast styles and repertory of this era will provide a
better understanding of its influence as well as our current musical culture.
IV.
Additional Information (for New Courses only)
Instructor: Dr. Edward Eanes
Text: David Schulenberg, Music of the Baroque (2nd ed) (Oxford University
Press, 2008)
Prerequisites: Successful completion of the music history entrance exam and
admission to graduate study in music
Objectives:
• Demonstrate a basic knowledge of significant composers and works related to Western
European Art Music 1600-1750.
• Apply understanding of stylistic trends from decades and regions through aural recognition and
analysis of representative works.
• Identify the various genres of music and trace their development through the major historical
periods.
• Understand and describe the development of modern orchestral instruments from this era.
• Analyze how representative works were shaped by broad political, cultural, and economic
trends and by the societal values.
Instructional Method
Lectures, Class Discussion, In-Class analysis projects (both group individual), and
peer review of writing assignments.
Method of Evaluation
Listening Quizzes, Score identification, Written Exams, Other Assignments
V.
Resources and Funding Required (New Courses only)
Resource
Faculty
Other Personnel
Equipment
Supplies
Travel
New Books
New Journals
Other (Specify)
TOTAL
Amount
$250
$250
Funding Required Beyond
Normal Departmental Growth $250
VI. COURSE MASTER FORM
This form will be completed by the requesting department and will be sent to the Office of the
Registrar once the course has been approved by the Office of the President.
The form is required for all new courses.
DISCIPLINE
COURSE NUMBER
COURSE TITLE FOR LABEL
(Note: Limit 30 spaces)
CLASS-LAB-CREDIT HOURS
Approval, Effective Term
Grades Allowed (Regular or S/U)
If course used to satisfy CPC, what areas?
Learning Support Programs courses which are
required as prerequisites
MUSIC
MUSI 6310
Music of the Baroque Era
3-0-3
Fall 2012
Regular
n/a
none
APPROVED:
________________________________________________
Vice President for Academic Affairs or Designee __
VII Attach Syllabus
Kennesaw State University Music 6310 Music of the Baroque Era
Wilson Building 103
Dr. Edward Eanes Phone: 770-499-3302
Email: eeanes@kennesaw.edu
Office: Wilson Annex 2150
Office Hours: By appointment
Required Text: David Schulenberg, Music of the Baroque (2nd ed) (Oxford University
Press, 2008)
Prerequisite: Successful completion of the Music History Entrance Exam
Description: In this course students will study the genres, forms and styles of the Baroque period,
ca. 1600-1750. Beginning with an introduction to the Baroque aesthetic, this class will cover
secular vocal music (madrigal, cantata, and opera), sacred vocal music (mass, oratorio, and
cantata) and instrumental music (keyboard genres, sonata, and concerto). Within each category
or genre, attention will be given to historical context, style, performance practice, drama, staging
and text. Materials for study will be drawn from scores, recordings, and primary and secondary
source materials. Students are expected to complete all reading and listening assignments, and to
participate in daily class discussions. Understanding of the material will be determined based on
class discussions, in-class analysis projects, listening quizzes, writing assignments, a midterm
and a final exam.
Justification: The Baroque Period provided the foundation of Western Music’s Common Practice
era. The terminology, instruments, genres, and theory of our current practice were all formulated
during this 150 year period. Therefore, a study of the vast styles and repertory of this era will
provide a better understanding of its influence as well as our current musical culture.
Goals and Objectives:
•
•
•
•
•
Demonstrate a basic knowledge of significant composers and works related to Western
European Art Music 1600-1750.
Apply understanding of stylistic trends from decades and regions through aural recognition
and analysis of representative works.
Identify the various genres of music and trace their development through the major
historical periods.
Understand and describe the development of modern orchestral instruments from this era.
Analyze how representative works were shaped by broad political, cultural, and economic
trends and by the societal values.
Course Evaluation:
Listening Quizzes
20%
Writing Assignments
15%
Midterm Exam
25%
Final Exam
30%
Attendance and Participation
10%
Grading Scale:
Standard 10 point grading scale: A = 90-100, B =80-89, C = 70-79, etc.
Academic Integrity:
Every KSU student is responsible for upholding the provisions of the Student Code of Conduct,
as published in the Undergraduate Catalog. Section II, pp.274-275.
Schedule of Classes
(subject to change)
Week 1
Monday: Introduction to "Baroque"
Reading: Syllabus
Wednesday: The Late Renaissance--Palestrina and Lassus
Reading: Schulenberg, 15-32
Listening: Dum complerenturLassus, "Timor et tremor" (S. 2)
Friday: The Madrigal at Ferrara--De Rore, Luzzaschi, Vicentino and Gesualdo
Reading: Schulenberg, 32-35, 48-51
Listening: Luzzaschi, "Cor mio, deh non languire"
Secular Vocal Music: Madrigal, Cantata and Opera
Week 2
Monday: Monteverdi and the seconda prattica
Reading: Schulenberg, 35-39; Strunk/Murata, pp. 526-544
Listening: Monteverdi, Bk. 4, "Luci serene" (S. 4)
Wednesday: The Florentine Camerata and the Legacy of Humanism
Reading: Schulenberg, 51-58
Listening: Cavalieri, "Dalle pi� alte sfere" and "Godi turba mortal"; Caccini,
"Sfogava con le stelle" (S. 5)
Friday: Peri's Euridice and the Recitative Style
Reading: Kelley Harness, "Le tre Euridici: Characterization and Allegory in the
Euridice of Peri and Caccini", Journal of Seventeenth-Century Music 9(1). Online
article. Click here for a list of the earliest operas.
Listening: Excerpts from Peri's Euridice TBA
Week 3
Monday: Claudio Monteverdi's Orfeo; Quiz #1
Reading: Schulenberg, 59-73
Listening: Excerpts from Monteverdi's Orfeo--"Prologue"; Act II (S. 6); Act III,
"Possente spirto"
Wednesday: Monteverdi's Madrigals, Book 8
Reading: Schulenberg, 73-79
Listening: Monteverdi, Lamento d'Arianna; Lamento della ninfa; Monteverdi,
Combattimento di Tancredi e Clorinda (S. 7)
Friday: Monteverdi's L'incoronazione di Poppea
Reading: Schulenberg, 79-82
Listening: Monteverdi's Poppea Act I, sc. 1-5; Act I, sc. 9; Act II, sc. 3
Week 4
Monday: Cavalli�s Giasone
Reading: Schulenberg, 82-87
Listening: Cavalli, Giasone, Act I, sc. 14; Act III, sc. 21 (S. 8);
Wednesday: The French Style--Air de cour, ballet de cour, and musique mesur�e
Reading: Schulenberg, 88-98
Listening: Pierre Gu�dron, "Vous que le bonheur rappelle"
Friday: Lully's Armide
Reading: Schulenberg, 98-109
Listening: Lully's Armide, (S. 9); also: Act II, sc, 5; Act III, sc. 2-3
Week 5
Monday: Barbara Strozzi; Quiz #2
Reading: Schulenberg, 110-115
Listening: Ardo in tacito foco (S. 10)
Wednesday: Alessandro Scarlatti and the Later Cantata
Reading: Schulenberg, 115-126
Listening: A. Scarlatti, Correa nel seno amato (S. 11)
Friday: Henry Purcell and English Vocal Music; Writing Assignment #1
Reading: Schulenberg, 126-130
Listening: "From Rosy Bowers" (S. 12)
Optional Listening: "The Plaint (O let me weep)" from The Fairy Queen (disc 2, track
15); "Charon the Peaceful Shade" from Dioclesian (disc 1, track 18)
Week 6
Monday: Topics in Late Baroque Opera
Reading: Schulenberg, 157-165
Wednesday: George Frideric Handel
Reading: Schulenberg, 165-173
Listening: Handel's Orlando (S. 18), Act I, sc. 7-10
Friday: Jean-Philippe Rameau
Reading: Schulenberg, 173-180
Repertoire: Rameau's Les Indes Galantes (S. 19), Fourth entr�e, sc. 4-5 in
Schulenberg anthology; sc. 6 selections can be heard on CD.
Week 7
Sacred Vocal Music: Mass, Oratorio and Cantata
Monday: Stile antico and stile moderno (Monteverdi's Vespers of 1610); Quiz #3
Reading: Schulenberg, 131
Listening: Monteverdi's Mass and Vespers of 1610 ("Deus in adiutorium meum
intende", "Duo Seraphim", and "Sonata sopra Sancta Maria")
Wednesday: Sacred Music in Venice--G. Gabrieli
Reading: Schulenberg, 132-140
Listening: G. Gabrieli, selections from Sacrae symphoniae: "Ego sum qui sum", In
ecclesiis (S. 13), "Canzon septimi toni", "Sonata pian' e forte"
Friday: Exam Review
Week 8
Monday: Midterm Exam
Wednesday: Sacred Music in Germany--Heinrich Sch�tz
Reading: Schulenberg, 140-148
Listening: Heinrich Sch�tz, SWV 356 "Es steh Gott auf"; Monteverdi "Armato il
cor" and "Zefiro torna"; Schutz, SWV 361 "Herr, neige deine Himmel" (S. 14); SWV
415 "Saul, Saul, was verfolgst du mich" (S. 15)
Friday: Seventeenth-century Oratorio
Reading: Schulenberg, 148-151
Listening: Carissimi, Jephte (S. 16)
Week 9
Monday: Marc-Antoine Charpentier;
Reading: Schulenberg, 151-156
Listening: Charpentier, H. 414 In Nativitatem Domini (S. 17)
Wednesday: Lutheran Church Music; Bach and the Cantata
Reading: Schulenberg, 181-199
Listening: BWV 127 Herr Jesu Christ, wahr' Mensch und Gott (S. 20)
Friday: J.S. Bach's Mass in B Minor
Reading: John Butt, Bach: Mass in B Minor (Cambridge, 1991); pp. 1-6, 14-19, 20-24,
50-57, 94-95.
Listening: Mass in B Minor, Symbolum Nicenum
Week 10
Monday: J.S. Bach's St. John Passion
Reading: Chafe, "The St. John Passion: theology and musical structure," in Bach
Studies, ed. Don O. Frankin, pp. 75-112.
Listening: St. John Passion, excerpts:
"Herr, unser Herrscher" CD 1, track 1; "Von den Strikken" CD 1, track 7; "Erw�ge"
CD 1, track 20; "In meines Herzens Grunde" CD 2, track 6; "Est ist vollbracht" CD 2,
track 10; "Mein teurer Heiland" CD 2, track 12; "Durch dein Gef�ngnis CD 2, track
22
Handout: Formal Analysis of "Herr, unser Herrscher"
Week 11
Monday: Handel and the English Oratorio; Writing Assignment #2
Reading: Schulenberg, 200-208
Listening: Jephtha (S. 21)
Instrumental Music: Keyboard Genres, Sonata and Concerto
Wednesday: Baroque Keyboard Music in Italy
Reading: Schulenberg, 209-222
Background Listening: Frescobaldi, Partite sopra l'Aria della Romanesca;
Monteverdi, Bk. 7 "Ohim�, dov'� il mio ben?";
Listening Assignment: Toccata IX, Bk. I (S. 22)
Friday: Baroque Keyboard Music in France and Germany--Froberger and Jacquet de la Guerre
Reading: Schulenberg, 222-233
Listening: Froberger, Suite X in A Minor (S. 23); Jacquet de la Guerre, Suite III in A
minor (S. 24)
Week 12
Monday: The North German Organ School; Quiz #4
Reading: Schulenberg, 234-245
Listening: Buxtehude, BuxWV 208 Nun bitten wir den heiligen Geist (S. 25); J.S.
Bach, BWV 385 Nun bitten wir den heiligen Geist (S. 26); Buxtehude, BuxWV 153
"Praeludium in A Minor" (S. 27)
Wednesday: J.S. Bach's Keyboard Music
Reading: Schulenberg, 245-249
Listening: J.S. Bach, Prelude and Fugue in G Well-Tempered Clavier Bk. 1;
Friday: Fran�ois Couperin and Eighteenth-century French Keyboard Music
Reading: Schulenberg, 249-254; S. 29
Listening: F. Couperin, selections from Vingt-uni�me ordre (S. 30)
Week 13
Monday: Rameau and Domenico Scarlatti
Reading: Schulenberg, 255-259
Listening: J.-P. Rameau, selections from Suite in G, Nouvelles suites de clavecin (S.
31); D. Scarlatti, Sonata in A, K. 181 (S. 32); Sonata in A, K. 182 (S. 32) (disc 11,
track 10)
***Thanksgiving Holiday***
Week 14
Monday: The Baroque Sonata;
Reading: Schulenberg, 260-285
Listening: Salamone Rossi, Sonata in dialogo La Viena; Biagio Marini, Sonata per il
violino per sonar con due corde, Op. 8; Marini, La variata, Op. 8 (S. 33); Heinrich
Ignaz Franz Biber, "Mystery" Sonata No. 9 (S. 34)
Wednesday: Corelli, Couperin and the Trio Sonata
Reading: Schulenberg, 285-291
Listening: Corelli, Trio Sonata in D, op. 2, no. 1 (S. 35) (tracks 9-12); Corelli, Sonata
in C, op. 5, no. 3 (S. 36); Couperin, �La Paix du Parnasse,� The Apotheosis of Lully
(track 13)
Friday: Torelli, Corelli and the Concerto Grosso; Writing Assignment #3
Reading: Schulenberg, 292-296
Listening: Corelli, Concerto Grosso in G Minor, op. 6, no. 8 (S. 37) (disc 2, tracks 69); Couperin, �La Paix du Parnasse,� The Apotheosis of Lully (track 13)
Week 15
Monday: Vivaldi and the Solo Concerto
Reading: Schulenberg, 296-301
Listening: Vivaldi, Concerto in E., Op. 3, no. 12, RV 265 (S. 38)
Wednesday: J.S. Bach's Brandenburg Concertos
Reading: Schulenberg, 301-306
Listening: J.S. Bach, Brandenburg Concerto No. 2, BWV 1047;
Friday: Exam Review
***Final Exam***