28015 Course Syllabus and Schedule
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Department of Music University of Alberta Faculty of Arts http://www.music.ualberta.ca
Winter 2015
Dr. Deanna Davis Office: 3-‐41 Old Arts Building and Convocation Hall Course Website: eClass Office Hours: TBD [email protected] http://www.ualberta.ca/~dcdavis/deanna_c._davis,_phd
Music 280 Introduction to the Study of Western Music History Course Syllabus Tuesday, T hursday 2 :00-‐3:20 in T ory 3 -‐65 COURSE DESCRIPTION Introduction to the Study of Western Music History Offers a study of music history and style to 1600 from the perspective of social, cultural, and philosophical contexts, emphasizing the development of listening, score readings, research, critical thinking, and communication skills. This course begins to develop essential skills that will be used in subsequent music history courses in which students come to distinguish carefully between musical styles and develop close listening and score-‐reading skills, while connecting aspects of musical style to larger-‐scale historical aesthetic and social contexts. Paper assignments will require close reading of musical scores and texts, and exams will emphasize written expression, so that students may broaden their abilities to look critically at musical works and broader musical ideas in preparation for scholarly work, teaching, and performances. PREREQUISITE: Music 155 or, for students not in a BMus program, consent of the department. Not available to students with credit in MUSIC 281. GUIDING QUESTIONS • What are the primary genres of this period, and what does this music sound like? • How does this music situate with its historical, social, political, intellectual and cultural context? • To whom was this music important? • Why was it important to them? • How does it work musically? COURSE OUTCOMES • Identify the central genres of the period and the musical structures associated with each. • Explain how the musical structures studied in class operate. • Identify representative composers (where applicable) of the period and the genres with which they are associated. • Recognize and describe musical works studied in class and the associated genre and structure; identify the title of the piece and the composer (where applicable). • Use knowledge gained in course to differentiate genres, and musical structures when played unfamiliar musical examples or presented with unfamiliar scores. • Summarize key social, political, intellectual, and cultural trends of this period, and explain how these social energies affected musical production and consumption. • Communicate critical verbal and written responses to primary source and other readings. • Execute library research using relevant music databases and print resources. • Use scholarly literature to write research proposal and short paper.
REQUIRED NOTE “Policy about course outlines can be found in Section 23.4(2) of the University Calendar.” REQUIRED TEXTS Burkholder, J. Peter and Claude V. Palisca. Norton Anthology of Western Music. 7th Edition. Volume 1: Ancient to the Baroque. New York: Norton, 2014. [NAWM] Please bring this anthology to each class. Burkholder, J. Peter and Claude V. Palisca. Norton Recorded Anthology of Western Music. Volume 1: Ancient to Baroque. New York: Norton, 2014 Seaton, Douglass. Ideas and Styles in the Western Musical Tradition. 3rd Edition. Oxford: Oxford University Press, 2010. NB: • Students wish to use the 6th edition if they wish; however, please be aware that: 1) there are some works that are not included in it (you will still be responsible for these pieces, and 2) the 7th edition will be used for subsequent courses. • The Seaton text will also be used in Music 283 and 284. NAWM 1 is also used in music 283. ON RESERVE (RUTHERFORD LIBRARY—RESERVE ROOM) Burkholder, J. Peter and Claude V. Palisca, Norton Anthology of Western Music, Sixth edition. New York: Norton, 2010. Vol. 1: Ancient to Baroque. MT 91 N67 2010 v.1 Burkholder, J. Peter and Claude V. Palisca, Norton Recorded Anthology of Western Music, Sixth edition. New York: Norton, 2010. Vol. 1: Ancient to Baroque. MT 91 N67 2010 v.1 discs Seaton, Douglass. Ideas and Styles in the Western Musical Tradition. 3rd Edition. Oxford: Oxford University Press, 2010. ML 160 S442 2010 Taruskin, Richard. The Oxford history of western music. Volume 1. New York: Oxford University Press, 2005. ML 160 T18 2005 v.1 (Volume 1 covers the earliest notations to the sixteenth century. This is a wonderful resource on early music. Consider using for your writing assignment. ) Weiss, Piero and Richard Taruskin, eds. Music in the Western World: A History in Documents. Second Edition. Belmont, California: Thompson/Schirmer, 2008. ML 160 M98 2008 [MWW] E-‐CLASS This syllabus and supplementary materials for the course are available on eClass. To access the site go to eClass https://eclass.srv.ualberta.ca and enter your CCID and password. Please check eClass regularly for resources and course announcements. All assignments (unless otherwise noted) should be submitted to eClass. GRADING DISTRIBUTION Students will be tested on factual retention, and the ability to synthesize lecture materials, assigned readings, and listening development. Assessment will be based upon the following: 10% Professionalism 15% Reading Journal [See class schedule for due dates] Writing Assignment: Research Proposal (February 12 by 11:55 p.m.) [Professionalism Grade] Writing Assignment: Draft Due for Editor (March 12) [Professionalism Grade] PAGE 2 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
25% 20% 30%
Writing Assignment: Edited Paper Draft (March 19) [Professionalism Grade] Writing Assignment: Complete Draft (April 9 by 11:55 p.m.) Midterm (Thursday, February 26) Final Exam (Tuesday, April 21, 2:00 p.m.) [See exam notes below] As with all university work, the quality of expression will be considered in the evaluation of written work. GRADING SCALE All marks will be recorded as a percentage. The weighted average of all grades will result in a final percentage mark, which is then converted into your final letter grade. Percentage scores, NOT a standard distribution, will determine grades. Evaluation will be completed and expressed in raw marks throughout the course. Grades (A, B, C, D) will be assigned only to the final distribution of marks for the course. As for all university work, quality of expression will be a factor in evaluation. The grading scale given below has been determined by the Department of Music and is used in all music history courses.
FINAL GRADES ARE NOT ADJUSTED (E.G.: 89.5 = B+) For further information about evaluation procedures and the grade system, please see section 23.4 in the University Calendar. GRADING DISTRIBUTION DETAILS PROFESSIONALISM Professionalism will be based on the demonstration of conduct appropriate to professional activity in music (or other fields), including consistent attendance; punctuality; attentive, prepared, and constructive participation in class; and a high level of care in preparation of written work. Professionalism Rubric: Attentive, prepared, and constructive participation in class discussion and group work /2 Attendance and punctuality (Advanced communication with instructor for absences) /3 Written Assignment Research Proposal /2 Editor’s work on written assignment/3** Total: /10 EDITOR’S WORK** In completing the written assignment, each student will work with an editing partner. The instructor will assign partners. Each pair of students will exchange drafts of the written assignment and will offer each other editorial commentary. Drafts should be completed as if the student is submitting it for evaluation (e.g. meets word length, complete citations and bibliography). Students are encouraged to arrange a short meeting to discuss the papers and the editorial comments. Students will be asked to submit copies of the edited drafts and commentary to the instructor. At the end of the course, each student will make a statement about experience in the writing and editing process, including PAGE 3 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
successes and challenges (the statement will remain confidential). Students’ editorial work will be evaluated on an individual basis and will contribute to their professionalism grade. The grade awarded will be based on qualities that denote professionalism, including timely submission of paper draft and editorial commentary, together with the quality of the collaborative efforts. READING JOURNAL PORTFOLIO Over the course of the semester students will develop a Reading Journal Portfolio. Guided by assigned questions, students will be required to critically reflect on primary source and other readings. Entries will vary in length and will be brief (1-‐2 pages). All Reading Journal Assignment’s (RJA) are due by midnight on the date due. All entries should be submitted through eClass. Extra Credit RJA: There are four reading journal assignments. Assignment one is for extra credit. Students who complete RJA 1 will receive up to 3 bonus marks on their total score in this category. WRITTEN ASSIGNMENT Students will be asked to carry out library research and to produce a short written assignment (5 pages). You will have the opportunity to select from two options. [Assignment details will be presented under a separate cover.] Option 1: Create concise, but well-‐researched and well-‐written program notes for a hypothetical concert or CD. The completed assignment will consist of: a brief written introduction; five to eight selections of music with program notes on each example; and a brief written conclusion. Option 2: Write a “traditional” paper on a composer/piece/topic related to the course content. (The instructor must approve paper topics.) WRITING EVALUATION All of your writing in this course will be evaluated similarly. The development of your thinking, illustrated in the engagement you demonstrate with the subject matter, can only be assessed through the effectiveness and elegance of your prose. Depth and quality of writing is key to your success in this course. Effective writing is reveals clarity of thought, control over content, an understanding of grammar, fluency of style, a distinct voice, and an understanding of your audience. These goals require that you, as a developing writer, work to increase your competence in the conventions of academic writing. The nature of this writing not only requires careful thought, but also a process of careful revision. Attached is a rubric identifying characteristics of ALL good writing. It is included to help you identify aspects of good writing. Please use this rubric as an aid in your self-‐evaluation/editing of your writing. The principles outlined in this rubric will be applied to the writing assignment. An assignment specific rubric detailing the weighting of each category will be posted for the Writing Assignment. Students are especially encouraged to deploy the various student support services (see below) offered on campus so to produce a polished and effective Writing Assignment. EXAMINATIONS Examinations will emphasize listening/score reading development; factual retention; and, the ability to synthesize lecture materials, assigned readings, and class discussion. Written expression and critical thinking is in an important factor in the evaluation of short answer and essay questions. EXAM FORMAT Exams will be comprised the following elements: Part I: Required Listening Part II: New Musical Examples (“Mystery Music”)
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You will be given several unfamiliar musical examples, about which you will be asked to apply the concepts and terms studied in class. These examples will include listening only, listening with a score, and score reading. Part III: Terms, Social and Cultural Context (Multiple Choice) Part IV: Short Answer Part V: Prepared Essay (Final Exam ONLY) NB: Listening requirements for the Final Exam will NOT be cumulative. The written portion of the exam (short answer and essay) may require students to draw on material presented throughout the semester. Process for Listening section: A series of short excerpts (each ca. 60-‐90 seconds long) will be played twice. Students should NOT count on pieces being played from the beginning of the work. • With each excerpt you will be expected to identify the composer (where applicable), complete title of the composition, specific movement (where applicable), genre/type of composition. • You will be responsible for other relevant information about the composition, including such features as instrumentation/voicing, texture, text setting, formal structure, occasion for which the piece was composed, language of text, subject of text, and specific compositional techniques used. (Please note that not all of this information pertains to every composition studied. Moreover, we will emphasize certain features over others in some compositions. Use your lecture notes and the NAWM commentary as your guide.) SUPPORT SERVICES FOR STUDENTS The following resources are available on campus, which can support your research and writing, as well as assist you with strategies for exam preparation. The Student Success Centre (Learning Resources) (2nd Floor SUB) offers a variety of workshops in learning effective study and exam strategies for university. There are sessions available both in person and on-‐line for a modest fee. The Centre for Writers (1-‐42 Assinboia Hall) offers free one-‐on-‐one writing coaching to any student or staff member. Students can request consultation for a writing project at any stage of development. Appointments with the Centre for Writers fill up quickly. If you are interested in accessing this service, please make an appointment well before the due date for the written assignment. Peer Support Centre: If you are feeling stressed or overwhelmed, you are not alone. The highly trained student volunteers are ready to help. The Rutherford Library has many resources to help students with all aspects of their research and writing. Please visit the service desk for research assistance with your writing assignment. Students may also book a private consultation with the Music Librarian, Sean Luyk. For information on where to find music of all genres, videos, scores, books, and articles, see also the Music LibGuide Music librarian, Sean Luyk also has drop in hours in the Fine Arts Building!! Drop by to visit with him about your writing assignment (or make an appointment). Fine Arts Building (FAB 3-‐51) at 10:00 AM -‐ 11:00 AM on Wednesdays COURSE POLICIES COURSE EXPECTATIONS Students are expected to attend lectures and finish the assigned readings prior to the class in which they are to be discussed. Students are expected to come to class prepared to discuss the readings. Students are expected to complete the written assignments by the given due date. Failure to do so will result in a zero on the said assignment. PAGE 5 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
ASSIGNED LISTENING AND READING FOCUSED LISTENING IS A CENTRAL FEATURE OF THIS COURSE. Most of the course is devoted to this activity and to developing your ability to understand and communicate what you hear. The implications of focused and critical listening are far-‐reaching in your lives, and the following concepts are important: CRITICAL LISTENING involves evaluating what we hear and making thoughtful judgments about it. Critical listening involves making connections between elements, including the historical period, social and political context, generic conventions, and the context of musical consumption and production. These judgments can only be made through consistent and focused listening through which one develops this skill. REGULAR AND FOCUSED listening outside of class is essential. If you come to class without having listened to the assigned materials, you may find class activities and subsequent testing quite challenging. Real listening takes time, and many of the examples will take several dedicated ‘hearings’ to absorb. This course is not suited to ‘cramming’ techniques. ASSIGNED READINGS support in class activities and listening development, and will significantly contribute to your understanding of class sessions. Students are expected to attend lectures and finish the assigned readings prior to the class in which they are to be discussed. Please come to class having already completed this work. Questions to consider (posted in eClass at the end of each preceding week) will assist you in preparing for class sessions. CONTACTING THE INSTRUCTOR The best way to contact me is through email, or by attending office hours. All emails should contain “Music 280” in the subject heading and be sent from your ualberta email account to ensure that I receive the message. General questions of interest should be posted to the eClass News forum. Email traffic is heaviest in the week prior to an examination or assignment due date. Emails will be responded to within 24 hours. Please to not wait until the last minute to send time sensitive questions. Email is not a substitute for class attendance and careful note taking. ELECTRONIC DEVICES Electronic devices (laptops and tablets) are permitted for legitimate classroom purposes, such as taking notes, downloading course information from eClass, or working on an in-‐class exercise. Screens can be very distracting to your fellow student. Please use your devices respectfully and refrain from browsing the web or using social media during lectures. Email, instant messaging, surfing the Internet, reading the news, watching movies/TV, or playing games are not considered legitimate classroom purposes; such inappropriate laptop use is distracting to those seated around you and is unprofessional (Mazzie, 2008). USE OF VIDEO AND AUDIO DEVICES TO RECORD LECTURES Audio or video recording of lectures, labs, seminars or any other teaching environment by students is allowed only with the prior written consent of the instructor or as a part of an approved accommodation plan. Recorded material is to be used solely for personal study, and is not to be used or distributed for any other purpose without prior written consent from the instructor. CLASS FORMAT AND COURSE ETIQUETTE Classes will combine a lecture-‐style format, group work, and discussion. This model can only be successful if you arrive at each class prepared. Please ensure that you have completed the readings and listened to the recordings assigned to each day in advance of the class. Class time will also be occupied with listening to music, and it is not intended as “background” noise. Please be considerate of your colleagues: do not talk, or make unnecessary noise while we are listening. And, please silence your cell phones and MP3 players before coming to class. Please also respect proper classroom etiquette: do not talk while others are speaking. PAGE 6 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
Class sessions are not an opportunity to do homework from other courses or to chat with peers about matters unrelated to the course. Your attention during class should be focused on course material and our investigation of it. Please refrain from activities that do not work towards this goal. ATTENDANCE Students who choose not to attend lectures must assume whatever risks are involved (see calendar §§23.3 and 23.5.6). Attendance will be taken for all classes, and will be considered in your professionalism grade. Regular attendance is essential to your success in this course. Lecture material will be covered on the exams and will augment and supplement the assigned readings. As well, important announcements regarding course content, the writing assignment, and the examinations will be made in class. While PowerPoint slides will be posted in eClass for your review, they do not contain all the material covered during lectures, nor to they summarize the discussion therein. It the student’s responsibility to supplement the PowerPoint slides with careful note taking. PowerPoint slides will be posted as PDFs. If you wish to make notes on the slides, please use an application that allows this (Adobe Reader, Notability, or CourseNotes). If you miss a class, it is your responsibility to get the notes from a fellow student. Instructor notes will not be distributed to students. You are responsible for learning the material presented class regardless of your attendance. ACCESSING ECLASS Important class announcements, copies of PowerPoint slides, and supplemental material will be available on eClass. Students will also use eClass to submit their written assignments. It is your responsibility to ensure that you can access eClass for this course. Please contact me within the first week of class should you not be able to access the eClass website. It is in your best interest to submit the various components of the writing assignment in advance of the deadline. Extensions due to technical difficulties with eClass will not be granted. MISSED ASSIGNMENTS AND EXAMS “Approval for an excused absence from term work (e.g. classes, labs, quizzes, term papers, reports or term examinations) is at the discretion of the instructor” (see Calendar §23.3.1). The instructor must be notified within two business days of a missed quiz, assignment, or exam. In cases of illness, students must present a Medical Declaration Form for Students. If the student has missed an assignment or an exam for reasons other than illness, appropriate documentation may be requested (e.g. police report, a Court Attendance form for jury duty; death certificate for bereavement). In other cases, including domestic affliction or religious conviction, adequate documentation must be presented to the instructor. In cases where a student becomes incapacitated because of illness or receives word of domestic affliction during the course of an exam, he or she should report at once to the examination proctor, hand in the unfinished paper, and request that it be cancelled (see Calendar §23.5.1). In such cases, if a student is to sit a deferred exam, he or she must follow university regulations, including providing appropriate documentation, to the his or her own faculty office within two days of the original exam date. “A deferred examination will not be approved if a student (a) has not been in regular attendance where attendance and/or participation are required, and/or, (b) excluding the final exam, has completed less than half of the assigned work” (see Calendar §23.3.2). Students who receive a failing grade in the course who have completed less than half of the assigned work will receive a grade of “Fail-‐1,” indicating that the “grade includes a “0” for the final examination missed, or for term work missed or for both” (see Calendar §23.4.5). For more information, please consult the Office of the Registrar’s webpage: Examinations Regulations and Information—What to do if you are sick. PAGE 7 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
In this course: Missed term work will result in a zero. Late assignments will not be accepted, except under the conditions outlined in “Policy for Late Assignments,” and will result in a grade of zero. “Make up assignments” or “extra credit” assignments (except those outlined in the syllabus) will not be entertained. FINAL EXAMINATION The approximate date for the final examination for Music 283 will be Tuesday, April 21 at 2:00 p.m. This date and time is subject to change. The exam schedule will be finalized by the Registrar’s Office in mid-‐November. It is the student’s responsibility to verify the exam date and time in BearTracks. Do not make travel plans before the end of the exam period; exams will not be rescheduled to accommodate vacation plans. Date of Deferral Examination: May 7 (9:00-‐12:00) POLICY FOR LATE ASSIGNMENTS Late assignments will not be accepted except in cases where the student can illustrate that, due to illness or matters outside of their influence, they could not (having given themselves adequate opportunity) accomplish the assignment according to the due date. In these rare cases students will be granted to opportunity to explain, in person the cause of lateness and petition the instructor for a deferral. Students must contact the instructor within two business days of the original due date to arrange an appointment to discuss their petition for a deferral. In such cases, students may be asked to provide documentation supporting their petition for a deferral (please see “Missed Assignments and Exams” above). No assignments, nor explanations, will be entertained or accepted via email. A penalty of one letter grade per day may be applied to late submissions. STUDENTS WITH SPECIAL NEEDS Students registered with Specialized Support and Disability Services (SSDS) who will be using accommodations in the classroom, or who will be writing exams through SSDS, are required to provide a “Letter of Introduction” to the course instructor during the first week of classes. If you are not already registered with Specialized Support & Disability Services, and require special accommodations, contact their office immediately (2-‐800 SUB; Email [email protected]; Email; phone 780-‐492-‐3381; WEB www.ssds.ualberta.ca). REGISTRATION STATUS It is the student’s responsibility to confirm that they are registered in the course. Students attending the course who are not properly registered for it will not receive credit for the work completed. Should you wish to withdraw from the class, it is your responsibility to ensure that you have formally withdrawn before the deadline. Failure to properly withdrawal from the course may result in your grade being assigned based on partial or no coursework. PLAGIARISM, CHEATING, MISREPRESENTATION OF FACTS AND PARTICIPATION IN AN OFFENCE All students Office of Student and Judicial Affairs website (http://www.osja.ualberta.ca) regarding the definitions of plagiarism and its consequences when detected. Students involved in language courses and translation courses should be aware that on-‐line “translation engines” produce very dubious and unreliable “translations.” Students in language courses should be aware that, while seeking the advice of native or expert speakers is often helpful, excessive editorial and creative help in assignments is considered a form of “cheating” that violates the code of student conduct with dire consequences. An instructor or coordinator who is convinced that a student has handed in work that he or she could not possibly reproduce without outside assistance is obliged, out of consideration of fairness to other students, to report the case to the Associate Dean of the Faculty. Before unpleasantness occurs consult http://www.osja.ualberta.ca; also discuss this matter with any tutor(s) and with your instructor. MEDIA ARCHIVES AND DEPARTMENTAL BROADCASTING OF AUDIO-‐VISUAL MATERIAL Audio or video recordings of performances, lectures, seminars, or any other academic or research environment activities are carried out by the Department of Music for archival purposes. These archives may be collected and housed in the Music Library. Recorded material is to be used solely for non-‐profit, educational, research, and community outreach purposes, and is not to be used or distributed for any other purpose without obtaining the PAGE 8 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
express permission from all parties involved. Please be advised that your solo or group performance may be featured on the University of Alberta's department of music website and/or social media platform(s). If you object to this use of audio and/or video material in which you will be included, please advise your instructor or the department of music in writing prior to participating in any performance, lecture, seminar or public event held by the department of music. FACULTY OF ARTS LEARNING ENVIRONMENT POLICY The department of music is committed to ensuring that all students, faculty and staff are able to work and study in an environment that is safe and free from discrimination and harassment. It does not tolerate behavior that undermines that environment. The department urges anyone who feels that this policy is being violated to: · Discuss the matter with the person whose behavior is causing concern; or · If that discussion is unsatisfactory, or there is a concern that direct discussion with the individual is inappropriate or threatening, discuss it with the Chair of the Department. The Faculty of Arts takes as its starting point the university’s definition of harassment and discrimination (GFC Policy Manual, section 44.5) DISCRIMINATION: Is any act or omission based on race, religious beliefs, color, gender, physical disability, mental disability, marital status, age, ancestry, place of origin, family status, source of income, sexual orientation or political belief when that act or omission results in loss of or limit on opportunities to work or to fully participate in campus life or which offends the dignity of the person. HARASSMENT: Is conduct or comments, which are intimidating, threatening, demeaning, or abusive and may be accompanied by direct or implied threats to grade(s), status, or job. Harassment can occur between people of differing authority or between people of similar authority. Harassment may be directed at an individual or at a group. Harassment has the impact of creating a work or study environment that is hostile and limits individuals in their pursuit of education, research, or work goals. BULLYING: Includes acts or verbal comments that could "mentally" hurt or isolate a person in the workplace. Sometimes bullying can involve negative physical contact as well. Bullying usually involves repeated incidents or a pattern of behavior that is intended to intimidate, offend, degrade or humiliate a particular person or group of people. It has also been described as the assertion of power through aggression. (Source: www.ccohs.ca). For additional advice or assistance regarding this policy you may contact the student ombudservice. Information about the University of Alberta Discrimination and Harassment Policy and Procedures can be found in the GFC Policy Manual, section 44.
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Grading Rubric for Essays (Adapted from: Daniel Paul O'Donnell, PhD http://people.uleth.ca/~daniel.odonnell/Academic-‐Policies/grading-‐ rubric-‐for-‐essays)
Supporting Literature
Mastery of the Subject
A+ A A-‐
B+ B B-‐
C+ C C-‐
D+ D
F
Paper: -‐Recognizes and confronts (where appropriate) possible counter-‐ arguments. -‐Maintains a clear distinction between demonstrable assertions and necessary but un-‐ demonstrable assumptions. -‐Reports facts accurately and in a fashion appropriate to their original context. Demonstrates skillful use of high-‐ quality, credible, relevant sources to develop ideas that are appropriate for the discipline and genre of the writing Paper: -‐Goes far beyond description, using evidence analytically Integrates its evidence flawlessly into the argument. -‐Matches its argument and evidence perfectly: finds ample evidence necessary to demonstrate its thesis; matches its thesis exactly to the limits of the available evidence. -‐Has exactly the right mix of secondary and primary sources: handles secondary sources critically when required; relies on them for support or background information when appropriate.
Paper: -‐Demonstrates sound knowledge of primary and (where appropriate) secondary material. -‐Reports facts accurately and in a fashion appropriate to their original context. -‐Recognizes and does not attempt to hide possible counter-‐ arguments or disguise unproven or un-‐ demonstrable assumptions as facts. . Demonstrates consistent use of credible, relevant sources to support ideas that are situated within the discipline and genre of the writing.
Paper: -‐Demonstrates basic knowledge of primary and assigned secondary material. -‐Reports facts more-‐ or-‐less accurately and in a fashion appropriate to their original context. -‐Does not attempt to hide or ignore obvious counter-‐arguments or to disguise unproven or un-‐demonstrable assumptions as facts. Demonstrates an attempt to use credible and/or relevant sources to support ideas that are appropriate for the discipline and genre of the writing.
Paper: -‐Is sometimes inaccurate either in fact or context. -‐Fails to recognize or occasionally appears to skirt around obvious counter-‐ arguments; sometimes appears to mistake unproven or un-‐ demonstrable assumptions for facts.
Paper: -‐Shows basic unfamiliarity with one or more sources of evidence used in argument. -‐Have serious or frequent inaccuracies in fact or context. -‐Fails to recognize and/or often skirts around obvious counter-‐ arguments; assertion often mistaken for evidence. -‐Ignores even the most basic primary or secondary sources Fails to use sources to support ideas in the writing.
Paper: -‐Is able to use evidence analytically to support argument. -‐Has an appropriate mix of secondary and primary sources.
Paper: -‐Usually presents evidence analytically, rather than descriptively (i.e. argues position instead of supplying plot summary). -‐Usually uses evidence appropriate to subject but may not always be well integrated into argument. -‐Usually uses adequate evidence for argument being made; some points may be poorly or insufficiently supported.
-‐Works evidence into the argument with little or no trouble
Demonstrates an attempt to use sources to support ideas in the writing. Paper: -‐Restricts self to extremely limited range of evidence. -‐Overlooks obviously superior evidence in favor of easily accessible material or examples from the textbook or class discussion. -‐Makes insufficient or too limited use of necessary secondary sources. -‐Is usually presented descriptively rather than analytically (i.e. engages in plot summary rather than argument). -‐Usually presents evidence but often inappropriate or poorly sourced. -‐Fails to include other obvious evidence of incomplete preparation or reading.
Evidence: -‐Is non-‐ existent, incoherently presented, completely inappropriate, or extremely poorly chosen? -‐Fails to include other obvious evidence of extremely poor or non-‐ existent research.
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Quality of Writing
Paper: -‐Is clear and, within the limitations of its subject matter, interesting and easy to follow. -‐Matches styles and diction to the subject matter and argument. -‐Is well structured and appropriately and thoroughly documented
Paper: -‐Is mostly clear and, within the limitations of its subject matter, interesting and easy to follow. -‐Usually matches styles and diction to the subject matter and argument. -‐Is mostly well structured and appropriately documented.
Paper: -‐Mostly observes the norms of University-‐ level writing: few serious errors in essay, paragraph, or sentence structure; uses appropriate diction. -‐Documentation is mostly present and reasonably complete****
Paper: -‐Requires improvement: frequent errors in basics of essay, paragraph, and sentence structure; inappropriate—too formal, too informal, or poorly chosen— diction. -‐Documentation is often missing or incomplete
Paper: -‐Is far below University-‐level standards: constant errors in the basics of essay, paragraph, and sentence structure; completely inappropriate—too formal, too informal, or poorly chosen— diction. -‐Documentation is missing or extremely incomplete
****(Warning: Failure to document correctly risks plagiarism. Please consult the student resources in eClass for assistance).
PAGE 11 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
Department of Music University of Alberta Faculty of Arts http://www.music.ualberta.ca
Winter 2015
Music 280 Introduction to the Study of Western Music History Class Schedule Tuesday, T hursday 2 :00-‐3:20 in T ory 3 -‐65
SCHEDULE OF TOPIC AREAS AND ASSIGNED READINGS SUBJECT TO MINOR REVISIONS MAJOR DUE DATES ARE FIXED
PART I: THE ANCIENT AND MEDIEVAL WORLDS T Jan6: Course Introduction TH Jan8: Writing Project Introduction & Ancient Greek Culture Reading: Writing Project (eClass) T Jan 13: Chant Basics RJA No. 1 Due (Plato vs. Aristotle) TH Jan 15: Chant Notation and The Mass—Proper and Ordinary (Part I) Reading: Reading: Seaton pp. 21-33 & NAWM p. 8 Listening: NAWM 3a-k: Mass for Christmas Day, Gregorian chant mass NAWM 4a-b: Chants from Vespers for Christmas Day, Gregorian chant office T Jan 20: Shaping Lives with Music/ Theory and Practice Reading: Seaton pp. 33-45 Web Materials on Monastic Life (eClass) Mode 8 Tracts (eClass) Listening: NAWM 3a-k: Mass for Christmas Day, Gregorian chant mass NAWM 4a-b: Chants from Vespers for Christmas Day, Gregorian chant office TH Jan 22: Research Skills and Resources Led by Music Librarian, Sean Luyk Location: TBA Attendance will be taken during this session. Your attendance and completion of the library “quiz” will count towards your professionalism grade.
T Jan 27: Theory and Elaboration RJA No. 2 Due (The Transmission of the Classical Legacy—Boethius, Shakespeare) Listening: NAWM 5: Wipo of Burgundy (ascribed) Victimae paschali laudes, sequence NAWM 6: Tropes on Puer natus: Quem queritis in presepe and melisma NAWM 7: Hildegard von Bingen: Ordo virtutum, sacred music drama: Chorus, In principio omnes TH Jan 29: Polyphony—The Basics (Part I) Reading: Seaton pp. 62-81 Listening: NAWM 14a-c: Organa from Musica enchiriadis NAWM 15: Alleluia Justus ut palma, free organum, from Ad organum faciendum NAWM 16: Jubilemus, exultemus, versus in Aquitanian polyphony NAWM 17: Léonin, Viderunt omnes, organum duplum NAWM 18: Clausulae on Dominus from Viderunt omnes NAWM 19: Pérotin, Viderunt omnes, organum quadrumplum T Feb 3: Polyphony—The Basics Part II Reading: Seaton pp. 45-55 Listening: NAWM 20: Ave virgo virginum, conductus NAWM 21a-c: Motets on Tenor Dominus NAWM 22: Adam de la Halle, De ma dame vient/Dieus, comment porroie/ Omnes, motet TH Feb 5: Art: Innovation, Progress and Music History (Part I: Ars Nova) RJA No. 3 Due (The Forms and Practices of Music, c. 1300) Reading: Seaton pp. 62-81, 82-96 Listening: NAWM 25 [NAWM 6th, 24]: Philippe de Vitry, In arboris/Tuba sacre fidei/Virgo sum, motet NAWM 26 [NAWM 6th, 25]: Guillaume de Machaut, La Messe de Nostre Dame, Mass, Kyrie NAWM 27 [NAWM 6th, 26]: Guillaume de Machaut, Foy porter, virelai NAWM 28 [NAWM 6th, 27]: Guillaume de Machaut, Rose, liz, printemps, verdure, rondeau T Feb 10: Art—Innovation, Progress and Music History (Part II: Ars Subtilior) Reading: Seaton pp. 82-96 Listening: NAWM 29 [NAWM 6th, 28]: Philippus de Caserta, En remirant vo douce pourtraiture, ballade NAWM 30 [NAWM 6th, 29]: Jacopo da Bologna: Non al suo amante, madrigal NAWM 31 [NAWM 6th, NA]: Francesco Landini, Così pensoso, caccia NAWM 32 [NAWM 6th, 30]: Francesco Landini, Non avrà ma’ pietà, ballata
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PART II: THE RENAISSANCE TH Feb 12: Writing Basics /The 15th Century and the Sound of Sweetness (Part I) No Reading/Listening T Feb 17: Reading week: no classes TH Feb 19: Reading week: no classes T Feb 24: Midterm Review TH Feb 26: Midterm T Mar 3: The 15th Century and the Sound of Sweetness (Part II) Reading: Seaton pp. 96-111 Listening: NAWM 34 [NAWM 6th, 33]: John Dunstable, Quam pulchra es, motet or cantilena NAWM 35 [NAWM 6th, 34]: 34: Binchois, De plus en plus, rondeau NAWM 36 [NAWM 6th, 35]: Guillaume Du Fay, Resvellies vous, ballade NAWM 37 [NAWM 6th, 36]: Guillaume Du Fay, Christe, redemptor omnium, hymn in fauxbourdon style NAWM 38a [NAWM 6th, 37a]: Guillaume Du Fay, Se la face ay pale TH Mar 5: Techniques and Structures: Late Medieval and Renaissance Polyphony Reading: Seaton pp. 87-88, 112-120 Listening: NAWM 26 [NAWM 6th, 25]: Guillaume de Machaut, La Messe de Nostre Dame, mass: Kyrie NAWM 38a [NAWM 6th, 37a]: Guillaume Du Fay, Se la face ay pale NAWM 38b [NAWM 6th, 37b]: Guillaume Du Fay, Missa Se la face ay pale, cantus-firmus mass: Gloria NAWM 40 [NAWM 6th, 39]: Jean de Ockeghem, Missa prolationum, mass: Kyrie T Mar 10: Rhetorical Music (Part I) Reading: Seaton pp. 99-120 (review) Listening: NAWM 39 [NAWM 6th, 38]: Antoine Busnoys, Je ne puis vivre, virelai NAWM 41 [NAWM 6th, 40]: Henricus Isaac, Innsbruck, ich muss dich lassen, Lied NAWM 42 [NAWM 6th, NA]: Josquin de Prez, Faulte d’argent, chanson NAWM 43 [NAWM 6th, 43]: Josquin de Prez [?], Mille regretz, chanson NAWM 44 [NAWM 6th, 41]: Ave Maria…virgo serena, motet NAWM 45 [NAWM 6th, 42a-b]: Josquin de Prez, Missa Pange lingua, paraphrase mass Excerpts: Kyrie and Credo TH Mar 12: Rhetorical Music (Part II) Writing Assignment Draft Due for Editor Review Reading: Seaton pp. 99-120 (review) PAGE 14 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
Listening: NAWM 39 [NAWM 6th, 38]: Antoine Busnoys, Je ne puis vivre, virelai NAWM 41 [NAWM 6th, 40]: Henricus Isaac, Innsbruck, ich muss dich lassen, Lied NAWM 42 [NAWM 6th, NA]: Josquin de Prez, Faulte d’argent, chanson NAWM 43 [NAWM 6th, 43]: Josquin de Prez [?], Mille regretz, chanson NAWM 44 [NAWM 6th, 41]: Ave Maria…virgo serena, motet NAWM 45 [NAWM 6th, 42a-b]: Josquin de Prez, Missa Pange lingua, paraphrase mass Excerpts: Kyrie and Credo T Mar 17: Inventing the Composer/ Secular Music and Text (Part I) Reading: Seaton pp. 120-131 Listening: NAWM 54[NAWM 6th, 50]: Juan del Encina, Oy comamos y bebamos, villancico NAWM 55 [NAWM 6th, NA] 51: Marco Cara: Ma un muta per effecto, frottola TH Mar 19: Secular Music and Text (Part II) Writing Assignment Edited Draft Due (Please bring 2 copies of the edits to class) Reading: Seaton pp. 120-131 Listening: NAWM 56 [NAWM 6th, 52]: Jacques Arcadelt, Il bianco e dolce cigno, madrigal NAWM 57 [NAWM 6th, 53]: Cipriano de Rore: De le belle contrade d’oriente, madrigal NAWM 60 [NAWM 6th, 56]: Claudin de Sermisy, Tant que vivray, chanson NAWM 61 [NAWM 6th, 57]: Orlande de Lassus, La nuict froide et sombre, chanson T Mar 24: The Rise Instrumental Music RJA No. 4 Due (Luther and Music vs. The Swiss Reformers) Reading: Seaton pp. 55-59, 132-41 Listening: NAWM 66a-c [NAWM 6th, 62 a-c]: Tielman Susato, Dance from Danserye NAWM 68a-b [NAWM 6th, 63a-b]: Luis de Naváez, From Los seys libros del Delphin, Intabulation and variations for vihuela NAWM 69 [NAWM 6th, NA]: William Byrd, John come kiss me now, variations NAWM 70 [NAWM 6th, 65]: Giovanni Gabrieli, Canzon septimi toni a 8, ensemble canzona from Sacrae symphoniae TH Mar 26: Religion, Conflict, and Music Reading: Seaton pp. 142-148 Listening: NAWM 46a-d [NAWM 6th, 44a-d: Martin Luther: Nun komm, der Heiden Heiland and Ein feste Burg, chorales NAWM 47a-b [NAWM 6th, 45a-b]: Loys Bourgeois, Psalm 134, (Or sus, serviteurs du Seigneur), metrical psalm T Mar 31: Religion, Conflict and Music Part II Reading: Seaton pp. 148-51 Listening: NAWM 48 [NAWM 6th, NA]: Thomas Tallis, If ye love me, anthem NAWM 49 [NAWM 6th, 46]: William Byrd, Sing joyfully unto God, full anthem PAGE 15 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
NAWM 51a-b [NAWM 6th, 47a-b]: Giovanni Pierluigi da Palestrina, Pope Marcellus Mass, mass Excerpts: Credo & Agnus Dei NAWM 52a-b [NAWM 6th, 48a-b]: Tomás Luis de Victoria, O magnum mysterium NAWM 53 [NAWM 6th, 49]: Orlande de Lassus, Cum essem parvulus, motet TH Apr 2: The Late 16th Century (Part I) Reading: Seaton pp. 153-162 Listening: NAWM 58 [NAWM 6th, 54]: Luca Marenzio, Solo e pensoso, madrigal NAWM 59 [NAWM 6th, 55]: Carlo Gesualdo, “Io parto” e non più dissi, madrigal NAWM 62 [NAWM 6th, 58]: Claude Le Jeune, Revecy venir du printans, chanson T Apr 7: The Late 16th Century (Part II) Reading: Seaton pp. 153-162 Listening: NAWM 63 [NAWM 6th, 59]: Thomas Morley, My bonny lass she smileth, ballet NAWM 64 [NAWM 6th, 60]: Thomas Weelkes, As Vest was, madrigal NAWM 65 [NAWM 6th, 61]: John Dowland, Flow, my tears, air or lute song TH Apr 9: Exam Preparation Writing Assignment: Completed Written Assignment Due (Worth 25%)
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Winter 2015
Dr. Deanna Davis Office: 3-‐41 Old Arts Building and Convocation Hall Course Website: eClass Office Hours: TBD [email protected] http://www.ualberta.ca/~dcdavis/deanna_c._davis,_phd
Music 280 Introduction to the Study of Western Music History Course Syllabus Tuesday, T hursday 2 :00-‐3:20 in T ory 3 -‐65 COURSE DESCRIPTION Introduction to the Study of Western Music History Offers a study of music history and style to 1600 from the perspective of social, cultural, and philosophical contexts, emphasizing the development of listening, score readings, research, critical thinking, and communication skills. This course begins to develop essential skills that will be used in subsequent music history courses in which students come to distinguish carefully between musical styles and develop close listening and score-‐reading skills, while connecting aspects of musical style to larger-‐scale historical aesthetic and social contexts. Paper assignments will require close reading of musical scores and texts, and exams will emphasize written expression, so that students may broaden their abilities to look critically at musical works and broader musical ideas in preparation for scholarly work, teaching, and performances. PREREQUISITE: Music 155 or, for students not in a BMus program, consent of the department. Not available to students with credit in MUSIC 281. GUIDING QUESTIONS • What are the primary genres of this period, and what does this music sound like? • How does this music situate with its historical, social, political, intellectual and cultural context? • To whom was this music important? • Why was it important to them? • How does it work musically? COURSE OUTCOMES • Identify the central genres of the period and the musical structures associated with each. • Explain how the musical structures studied in class operate. • Identify representative composers (where applicable) of the period and the genres with which they are associated. • Recognize and describe musical works studied in class and the associated genre and structure; identify the title of the piece and the composer (where applicable). • Use knowledge gained in course to differentiate genres, and musical structures when played unfamiliar musical examples or presented with unfamiliar scores. • Summarize key social, political, intellectual, and cultural trends of this period, and explain how these social energies affected musical production and consumption. • Communicate critical verbal and written responses to primary source and other readings. • Execute library research using relevant music databases and print resources. • Use scholarly literature to write research proposal and short paper.
REQUIRED NOTE “Policy about course outlines can be found in Section 23.4(2) of the University Calendar.” REQUIRED TEXTS Burkholder, J. Peter and Claude V. Palisca. Norton Anthology of Western Music. 7th Edition. Volume 1: Ancient to the Baroque. New York: Norton, 2014. [NAWM] Please bring this anthology to each class. Burkholder, J. Peter and Claude V. Palisca. Norton Recorded Anthology of Western Music. Volume 1: Ancient to Baroque. New York: Norton, 2014 Seaton, Douglass. Ideas and Styles in the Western Musical Tradition. 3rd Edition. Oxford: Oxford University Press, 2010. NB: • Students wish to use the 6th edition if they wish; however, please be aware that: 1) there are some works that are not included in it (you will still be responsible for these pieces, and 2) the 7th edition will be used for subsequent courses. • The Seaton text will also be used in Music 283 and 284. NAWM 1 is also used in music 283. ON RESERVE (RUTHERFORD LIBRARY—RESERVE ROOM) Burkholder, J. Peter and Claude V. Palisca, Norton Anthology of Western Music, Sixth edition. New York: Norton, 2010. Vol. 1: Ancient to Baroque. MT 91 N67 2010 v.1 Burkholder, J. Peter and Claude V. Palisca, Norton Recorded Anthology of Western Music, Sixth edition. New York: Norton, 2010. Vol. 1: Ancient to Baroque. MT 91 N67 2010 v.1 discs Seaton, Douglass. Ideas and Styles in the Western Musical Tradition. 3rd Edition. Oxford: Oxford University Press, 2010. ML 160 S442 2010 Taruskin, Richard. The Oxford history of western music. Volume 1. New York: Oxford University Press, 2005. ML 160 T18 2005 v.1 (Volume 1 covers the earliest notations to the sixteenth century. This is a wonderful resource on early music. Consider using for your writing assignment. ) Weiss, Piero and Richard Taruskin, eds. Music in the Western World: A History in Documents. Second Edition. Belmont, California: Thompson/Schirmer, 2008. ML 160 M98 2008 [MWW] E-‐CLASS This syllabus and supplementary materials for the course are available on eClass. To access the site go to eClass https://eclass.srv.ualberta.ca and enter your CCID and password. Please check eClass regularly for resources and course announcements. All assignments (unless otherwise noted) should be submitted to eClass. GRADING DISTRIBUTION Students will be tested on factual retention, and the ability to synthesize lecture materials, assigned readings, and listening development. Assessment will be based upon the following: 10% Professionalism 15% Reading Journal [See class schedule for due dates] Writing Assignment: Research Proposal (February 12 by 11:55 p.m.) [Professionalism Grade] Writing Assignment: Draft Due for Editor (March 12) [Professionalism Grade] PAGE 2 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
25% 20% 30%
Writing Assignment: Edited Paper Draft (March 19) [Professionalism Grade] Writing Assignment: Complete Draft (April 9 by 11:55 p.m.) Midterm (Thursday, February 26) Final Exam (Tuesday, April 21, 2:00 p.m.) [See exam notes below] As with all university work, the quality of expression will be considered in the evaluation of written work. GRADING SCALE All marks will be recorded as a percentage. The weighted average of all grades will result in a final percentage mark, which is then converted into your final letter grade. Percentage scores, NOT a standard distribution, will determine grades. Evaluation will be completed and expressed in raw marks throughout the course. Grades (A, B, C, D) will be assigned only to the final distribution of marks for the course. As for all university work, quality of expression will be a factor in evaluation. The grading scale given below has been determined by the Department of Music and is used in all music history courses.
FINAL GRADES ARE NOT ADJUSTED (E.G.: 89.5 = B+) For further information about evaluation procedures and the grade system, please see section 23.4 in the University Calendar. GRADING DISTRIBUTION DETAILS PROFESSIONALISM Professionalism will be based on the demonstration of conduct appropriate to professional activity in music (or other fields), including consistent attendance; punctuality; attentive, prepared, and constructive participation in class; and a high level of care in preparation of written work. Professionalism Rubric: Attentive, prepared, and constructive participation in class discussion and group work /2 Attendance and punctuality (Advanced communication with instructor for absences) /3 Written Assignment Research Proposal /2 Editor’s work on written assignment/3** Total: /10 EDITOR’S WORK** In completing the written assignment, each student will work with an editing partner. The instructor will assign partners. Each pair of students will exchange drafts of the written assignment and will offer each other editorial commentary. Drafts should be completed as if the student is submitting it for evaluation (e.g. meets word length, complete citations and bibliography). Students are encouraged to arrange a short meeting to discuss the papers and the editorial comments. Students will be asked to submit copies of the edited drafts and commentary to the instructor. At the end of the course, each student will make a statement about experience in the writing and editing process, including PAGE 3 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
successes and challenges (the statement will remain confidential). Students’ editorial work will be evaluated on an individual basis and will contribute to their professionalism grade. The grade awarded will be based on qualities that denote professionalism, including timely submission of paper draft and editorial commentary, together with the quality of the collaborative efforts. READING JOURNAL PORTFOLIO Over the course of the semester students will develop a Reading Journal Portfolio. Guided by assigned questions, students will be required to critically reflect on primary source and other readings. Entries will vary in length and will be brief (1-‐2 pages). All Reading Journal Assignment’s (RJA) are due by midnight on the date due. All entries should be submitted through eClass. Extra Credit RJA: There are four reading journal assignments. Assignment one is for extra credit. Students who complete RJA 1 will receive up to 3 bonus marks on their total score in this category. WRITTEN ASSIGNMENT Students will be asked to carry out library research and to produce a short written assignment (5 pages). You will have the opportunity to select from two options. [Assignment details will be presented under a separate cover.] Option 1: Create concise, but well-‐researched and well-‐written program notes for a hypothetical concert or CD. The completed assignment will consist of: a brief written introduction; five to eight selections of music with program notes on each example; and a brief written conclusion. Option 2: Write a “traditional” paper on a composer/piece/topic related to the course content. (The instructor must approve paper topics.) WRITING EVALUATION All of your writing in this course will be evaluated similarly. The development of your thinking, illustrated in the engagement you demonstrate with the subject matter, can only be assessed through the effectiveness and elegance of your prose. Depth and quality of writing is key to your success in this course. Effective writing is reveals clarity of thought, control over content, an understanding of grammar, fluency of style, a distinct voice, and an understanding of your audience. These goals require that you, as a developing writer, work to increase your competence in the conventions of academic writing. The nature of this writing not only requires careful thought, but also a process of careful revision. Attached is a rubric identifying characteristics of ALL good writing. It is included to help you identify aspects of good writing. Please use this rubric as an aid in your self-‐evaluation/editing of your writing. The principles outlined in this rubric will be applied to the writing assignment. An assignment specific rubric detailing the weighting of each category will be posted for the Writing Assignment. Students are especially encouraged to deploy the various student support services (see below) offered on campus so to produce a polished and effective Writing Assignment. EXAMINATIONS Examinations will emphasize listening/score reading development; factual retention; and, the ability to synthesize lecture materials, assigned readings, and class discussion. Written expression and critical thinking is in an important factor in the evaluation of short answer and essay questions. EXAM FORMAT Exams will be comprised the following elements: Part I: Required Listening Part II: New Musical Examples (“Mystery Music”)
PAGE 4 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
You will be given several unfamiliar musical examples, about which you will be asked to apply the concepts and terms studied in class. These examples will include listening only, listening with a score, and score reading. Part III: Terms, Social and Cultural Context (Multiple Choice) Part IV: Short Answer Part V: Prepared Essay (Final Exam ONLY) NB: Listening requirements for the Final Exam will NOT be cumulative. The written portion of the exam (short answer and essay) may require students to draw on material presented throughout the semester. Process for Listening section: A series of short excerpts (each ca. 60-‐90 seconds long) will be played twice. Students should NOT count on pieces being played from the beginning of the work. • With each excerpt you will be expected to identify the composer (where applicable), complete title of the composition, specific movement (where applicable), genre/type of composition. • You will be responsible for other relevant information about the composition, including such features as instrumentation/voicing, texture, text setting, formal structure, occasion for which the piece was composed, language of text, subject of text, and specific compositional techniques used. (Please note that not all of this information pertains to every composition studied. Moreover, we will emphasize certain features over others in some compositions. Use your lecture notes and the NAWM commentary as your guide.) SUPPORT SERVICES FOR STUDENTS The following resources are available on campus, which can support your research and writing, as well as assist you with strategies for exam preparation. The Student Success Centre (Learning Resources) (2nd Floor SUB) offers a variety of workshops in learning effective study and exam strategies for university. There are sessions available both in person and on-‐line for a modest fee. The Centre for Writers (1-‐42 Assinboia Hall) offers free one-‐on-‐one writing coaching to any student or staff member. Students can request consultation for a writing project at any stage of development. Appointments with the Centre for Writers fill up quickly. If you are interested in accessing this service, please make an appointment well before the due date for the written assignment. Peer Support Centre: If you are feeling stressed or overwhelmed, you are not alone. The highly trained student volunteers are ready to help. The Rutherford Library has many resources to help students with all aspects of their research and writing. Please visit the service desk for research assistance with your writing assignment. Students may also book a private consultation with the Music Librarian, Sean Luyk. For information on where to find music of all genres, videos, scores, books, and articles, see also the Music LibGuide Music librarian, Sean Luyk also has drop in hours in the Fine Arts Building!! Drop by to visit with him about your writing assignment (or make an appointment). Fine Arts Building (FAB 3-‐51) at 10:00 AM -‐ 11:00 AM on Wednesdays COURSE POLICIES COURSE EXPECTATIONS Students are expected to attend lectures and finish the assigned readings prior to the class in which they are to be discussed. Students are expected to come to class prepared to discuss the readings. Students are expected to complete the written assignments by the given due date. Failure to do so will result in a zero on the said assignment. PAGE 5 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
ASSIGNED LISTENING AND READING FOCUSED LISTENING IS A CENTRAL FEATURE OF THIS COURSE. Most of the course is devoted to this activity and to developing your ability to understand and communicate what you hear. The implications of focused and critical listening are far-‐reaching in your lives, and the following concepts are important: CRITICAL LISTENING involves evaluating what we hear and making thoughtful judgments about it. Critical listening involves making connections between elements, including the historical period, social and political context, generic conventions, and the context of musical consumption and production. These judgments can only be made through consistent and focused listening through which one develops this skill. REGULAR AND FOCUSED listening outside of class is essential. If you come to class without having listened to the assigned materials, you may find class activities and subsequent testing quite challenging. Real listening takes time, and many of the examples will take several dedicated ‘hearings’ to absorb. This course is not suited to ‘cramming’ techniques. ASSIGNED READINGS support in class activities and listening development, and will significantly contribute to your understanding of class sessions. Students are expected to attend lectures and finish the assigned readings prior to the class in which they are to be discussed. Please come to class having already completed this work. Questions to consider (posted in eClass at the end of each preceding week) will assist you in preparing for class sessions. CONTACTING THE INSTRUCTOR The best way to contact me is through email, or by attending office hours. All emails should contain “Music 280” in the subject heading and be sent from your ualberta email account to ensure that I receive the message. General questions of interest should be posted to the eClass News forum. Email traffic is heaviest in the week prior to an examination or assignment due date. Emails will be responded to within 24 hours. Please to not wait until the last minute to send time sensitive questions. Email is not a substitute for class attendance and careful note taking. ELECTRONIC DEVICES Electronic devices (laptops and tablets) are permitted for legitimate classroom purposes, such as taking notes, downloading course information from eClass, or working on an in-‐class exercise. Screens can be very distracting to your fellow student. Please use your devices respectfully and refrain from browsing the web or using social media during lectures. Email, instant messaging, surfing the Internet, reading the news, watching movies/TV, or playing games are not considered legitimate classroom purposes; such inappropriate laptop use is distracting to those seated around you and is unprofessional (Mazzie, 2008). USE OF VIDEO AND AUDIO DEVICES TO RECORD LECTURES Audio or video recording of lectures, labs, seminars or any other teaching environment by students is allowed only with the prior written consent of the instructor or as a part of an approved accommodation plan. Recorded material is to be used solely for personal study, and is not to be used or distributed for any other purpose without prior written consent from the instructor. CLASS FORMAT AND COURSE ETIQUETTE Classes will combine a lecture-‐style format, group work, and discussion. This model can only be successful if you arrive at each class prepared. Please ensure that you have completed the readings and listened to the recordings assigned to each day in advance of the class. Class time will also be occupied with listening to music, and it is not intended as “background” noise. Please be considerate of your colleagues: do not talk, or make unnecessary noise while we are listening. And, please silence your cell phones and MP3 players before coming to class. Please also respect proper classroom etiquette: do not talk while others are speaking. PAGE 6 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
Class sessions are not an opportunity to do homework from other courses or to chat with peers about matters unrelated to the course. Your attention during class should be focused on course material and our investigation of it. Please refrain from activities that do not work towards this goal. ATTENDANCE Students who choose not to attend lectures must assume whatever risks are involved (see calendar §§23.3 and 23.5.6). Attendance will be taken for all classes, and will be considered in your professionalism grade. Regular attendance is essential to your success in this course. Lecture material will be covered on the exams and will augment and supplement the assigned readings. As well, important announcements regarding course content, the writing assignment, and the examinations will be made in class. While PowerPoint slides will be posted in eClass for your review, they do not contain all the material covered during lectures, nor to they summarize the discussion therein. It the student’s responsibility to supplement the PowerPoint slides with careful note taking. PowerPoint slides will be posted as PDFs. If you wish to make notes on the slides, please use an application that allows this (Adobe Reader, Notability, or CourseNotes). If you miss a class, it is your responsibility to get the notes from a fellow student. Instructor notes will not be distributed to students. You are responsible for learning the material presented class regardless of your attendance. ACCESSING ECLASS Important class announcements, copies of PowerPoint slides, and supplemental material will be available on eClass. Students will also use eClass to submit their written assignments. It is your responsibility to ensure that you can access eClass for this course. Please contact me within the first week of class should you not be able to access the eClass website. It is in your best interest to submit the various components of the writing assignment in advance of the deadline. Extensions due to technical difficulties with eClass will not be granted. MISSED ASSIGNMENTS AND EXAMS “Approval for an excused absence from term work (e.g. classes, labs, quizzes, term papers, reports or term examinations) is at the discretion of the instructor” (see Calendar §23.3.1). The instructor must be notified within two business days of a missed quiz, assignment, or exam. In cases of illness, students must present a Medical Declaration Form for Students. If the student has missed an assignment or an exam for reasons other than illness, appropriate documentation may be requested (e.g. police report, a Court Attendance form for jury duty; death certificate for bereavement). In other cases, including domestic affliction or religious conviction, adequate documentation must be presented to the instructor. In cases where a student becomes incapacitated because of illness or receives word of domestic affliction during the course of an exam, he or she should report at once to the examination proctor, hand in the unfinished paper, and request that it be cancelled (see Calendar §23.5.1). In such cases, if a student is to sit a deferred exam, he or she must follow university regulations, including providing appropriate documentation, to the his or her own faculty office within two days of the original exam date. “A deferred examination will not be approved if a student (a) has not been in regular attendance where attendance and/or participation are required, and/or, (b) excluding the final exam, has completed less than half of the assigned work” (see Calendar §23.3.2). Students who receive a failing grade in the course who have completed less than half of the assigned work will receive a grade of “Fail-‐1,” indicating that the “grade includes a “0” for the final examination missed, or for term work missed or for both” (see Calendar §23.4.5). For more information, please consult the Office of the Registrar’s webpage: Examinations Regulations and Information—What to do if you are sick. PAGE 7 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
In this course: Missed term work will result in a zero. Late assignments will not be accepted, except under the conditions outlined in “Policy for Late Assignments,” and will result in a grade of zero. “Make up assignments” or “extra credit” assignments (except those outlined in the syllabus) will not be entertained. FINAL EXAMINATION The approximate date for the final examination for Music 283 will be Tuesday, April 21 at 2:00 p.m. This date and time is subject to change. The exam schedule will be finalized by the Registrar’s Office in mid-‐November. It is the student’s responsibility to verify the exam date and time in BearTracks. Do not make travel plans before the end of the exam period; exams will not be rescheduled to accommodate vacation plans. Date of Deferral Examination: May 7 (9:00-‐12:00) POLICY FOR LATE ASSIGNMENTS Late assignments will not be accepted except in cases where the student can illustrate that, due to illness or matters outside of their influence, they could not (having given themselves adequate opportunity) accomplish the assignment according to the due date. In these rare cases students will be granted to opportunity to explain, in person the cause of lateness and petition the instructor for a deferral. Students must contact the instructor within two business days of the original due date to arrange an appointment to discuss their petition for a deferral. In such cases, students may be asked to provide documentation supporting their petition for a deferral (please see “Missed Assignments and Exams” above). No assignments, nor explanations, will be entertained or accepted via email. A penalty of one letter grade per day may be applied to late submissions. STUDENTS WITH SPECIAL NEEDS Students registered with Specialized Support and Disability Services (SSDS) who will be using accommodations in the classroom, or who will be writing exams through SSDS, are required to provide a “Letter of Introduction” to the course instructor during the first week of classes. If you are not already registered with Specialized Support & Disability Services, and require special accommodations, contact their office immediately (2-‐800 SUB; Email [email protected]; Email; phone 780-‐492-‐3381; WEB www.ssds.ualberta.ca). REGISTRATION STATUS It is the student’s responsibility to confirm that they are registered in the course. Students attending the course who are not properly registered for it will not receive credit for the work completed. Should you wish to withdraw from the class, it is your responsibility to ensure that you have formally withdrawn before the deadline. Failure to properly withdrawal from the course may result in your grade being assigned based on partial or no coursework. PLAGIARISM, CHEATING, MISREPRESENTATION OF FACTS AND PARTICIPATION IN AN OFFENCE All students Office of Student and Judicial Affairs website (http://www.osja.ualberta.ca) regarding the definitions of plagiarism and its consequences when detected. Students involved in language courses and translation courses should be aware that on-‐line “translation engines” produce very dubious and unreliable “translations.” Students in language courses should be aware that, while seeking the advice of native or expert speakers is often helpful, excessive editorial and creative help in assignments is considered a form of “cheating” that violates the code of student conduct with dire consequences. An instructor or coordinator who is convinced that a student has handed in work that he or she could not possibly reproduce without outside assistance is obliged, out of consideration of fairness to other students, to report the case to the Associate Dean of the Faculty. Before unpleasantness occurs consult http://www.osja.ualberta.ca; also discuss this matter with any tutor(s) and with your instructor. MEDIA ARCHIVES AND DEPARTMENTAL BROADCASTING OF AUDIO-‐VISUAL MATERIAL Audio or video recordings of performances, lectures, seminars, or any other academic or research environment activities are carried out by the Department of Music for archival purposes. These archives may be collected and housed in the Music Library. Recorded material is to be used solely for non-‐profit, educational, research, and community outreach purposes, and is not to be used or distributed for any other purpose without obtaining the PAGE 8 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
express permission from all parties involved. Please be advised that your solo or group performance may be featured on the University of Alberta's department of music website and/or social media platform(s). If you object to this use of audio and/or video material in which you will be included, please advise your instructor or the department of music in writing prior to participating in any performance, lecture, seminar or public event held by the department of music. FACULTY OF ARTS LEARNING ENVIRONMENT POLICY The department of music is committed to ensuring that all students, faculty and staff are able to work and study in an environment that is safe and free from discrimination and harassment. It does not tolerate behavior that undermines that environment. The department urges anyone who feels that this policy is being violated to: · Discuss the matter with the person whose behavior is causing concern; or · If that discussion is unsatisfactory, or there is a concern that direct discussion with the individual is inappropriate or threatening, discuss it with the Chair of the Department. The Faculty of Arts takes as its starting point the university’s definition of harassment and discrimination (GFC Policy Manual, section 44.5) DISCRIMINATION: Is any act or omission based on race, religious beliefs, color, gender, physical disability, mental disability, marital status, age, ancestry, place of origin, family status, source of income, sexual orientation or political belief when that act or omission results in loss of or limit on opportunities to work or to fully participate in campus life or which offends the dignity of the person. HARASSMENT: Is conduct or comments, which are intimidating, threatening, demeaning, or abusive and may be accompanied by direct or implied threats to grade(s), status, or job. Harassment can occur between people of differing authority or between people of similar authority. Harassment may be directed at an individual or at a group. Harassment has the impact of creating a work or study environment that is hostile and limits individuals in their pursuit of education, research, or work goals. BULLYING: Includes acts or verbal comments that could "mentally" hurt or isolate a person in the workplace. Sometimes bullying can involve negative physical contact as well. Bullying usually involves repeated incidents or a pattern of behavior that is intended to intimidate, offend, degrade or humiliate a particular person or group of people. It has also been described as the assertion of power through aggression. (Source: www.ccohs.ca). For additional advice or assistance regarding this policy you may contact the student ombudservice. Information about the University of Alberta Discrimination and Harassment Policy and Procedures can be found in the GFC Policy Manual, section 44.
PAGE 9 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
Grading Rubric for Essays (Adapted from: Daniel Paul O'Donnell, PhD http://people.uleth.ca/~daniel.odonnell/Academic-‐Policies/grading-‐ rubric-‐for-‐essays)
Supporting Literature
Mastery of the Subject
A+ A A-‐
B+ B B-‐
C+ C C-‐
D+ D
F
Paper: -‐Recognizes and confronts (where appropriate) possible counter-‐ arguments. -‐Maintains a clear distinction between demonstrable assertions and necessary but un-‐ demonstrable assumptions. -‐Reports facts accurately and in a fashion appropriate to their original context. Demonstrates skillful use of high-‐ quality, credible, relevant sources to develop ideas that are appropriate for the discipline and genre of the writing Paper: -‐Goes far beyond description, using evidence analytically Integrates its evidence flawlessly into the argument. -‐Matches its argument and evidence perfectly: finds ample evidence necessary to demonstrate its thesis; matches its thesis exactly to the limits of the available evidence. -‐Has exactly the right mix of secondary and primary sources: handles secondary sources critically when required; relies on them for support or background information when appropriate.
Paper: -‐Demonstrates sound knowledge of primary and (where appropriate) secondary material. -‐Reports facts accurately and in a fashion appropriate to their original context. -‐Recognizes and does not attempt to hide possible counter-‐ arguments or disguise unproven or un-‐ demonstrable assumptions as facts. . Demonstrates consistent use of credible, relevant sources to support ideas that are situated within the discipline and genre of the writing.
Paper: -‐Demonstrates basic knowledge of primary and assigned secondary material. -‐Reports facts more-‐ or-‐less accurately and in a fashion appropriate to their original context. -‐Does not attempt to hide or ignore obvious counter-‐arguments or to disguise unproven or un-‐demonstrable assumptions as facts. Demonstrates an attempt to use credible and/or relevant sources to support ideas that are appropriate for the discipline and genre of the writing.
Paper: -‐Is sometimes inaccurate either in fact or context. -‐Fails to recognize or occasionally appears to skirt around obvious counter-‐ arguments; sometimes appears to mistake unproven or un-‐ demonstrable assumptions for facts.
Paper: -‐Shows basic unfamiliarity with one or more sources of evidence used in argument. -‐Have serious or frequent inaccuracies in fact or context. -‐Fails to recognize and/or often skirts around obvious counter-‐ arguments; assertion often mistaken for evidence. -‐Ignores even the most basic primary or secondary sources Fails to use sources to support ideas in the writing.
Paper: -‐Is able to use evidence analytically to support argument. -‐Has an appropriate mix of secondary and primary sources.
Paper: -‐Usually presents evidence analytically, rather than descriptively (i.e. argues position instead of supplying plot summary). -‐Usually uses evidence appropriate to subject but may not always be well integrated into argument. -‐Usually uses adequate evidence for argument being made; some points may be poorly or insufficiently supported.
-‐Works evidence into the argument with little or no trouble
Demonstrates an attempt to use sources to support ideas in the writing. Paper: -‐Restricts self to extremely limited range of evidence. -‐Overlooks obviously superior evidence in favor of easily accessible material or examples from the textbook or class discussion. -‐Makes insufficient or too limited use of necessary secondary sources. -‐Is usually presented descriptively rather than analytically (i.e. engages in plot summary rather than argument). -‐Usually presents evidence but often inappropriate or poorly sourced. -‐Fails to include other obvious evidence of incomplete preparation or reading.
Evidence: -‐Is non-‐ existent, incoherently presented, completely inappropriate, or extremely poorly chosen? -‐Fails to include other obvious evidence of extremely poor or non-‐ existent research.
PAGE 10 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
Quality of Writing
Paper: -‐Is clear and, within the limitations of its subject matter, interesting and easy to follow. -‐Matches styles and diction to the subject matter and argument. -‐Is well structured and appropriately and thoroughly documented
Paper: -‐Is mostly clear and, within the limitations of its subject matter, interesting and easy to follow. -‐Usually matches styles and diction to the subject matter and argument. -‐Is mostly well structured and appropriately documented.
Paper: -‐Mostly observes the norms of University-‐ level writing: few serious errors in essay, paragraph, or sentence structure; uses appropriate diction. -‐Documentation is mostly present and reasonably complete****
Paper: -‐Requires improvement: frequent errors in basics of essay, paragraph, and sentence structure; inappropriate—too formal, too informal, or poorly chosen— diction. -‐Documentation is often missing or incomplete
Paper: -‐Is far below University-‐level standards: constant errors in the basics of essay, paragraph, and sentence structure; completely inappropriate—too formal, too informal, or poorly chosen— diction. -‐Documentation is missing or extremely incomplete
****(Warning: Failure to document correctly risks plagiarism. Please consult the student resources in eClass for assistance).
PAGE 11 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
Department of Music University of Alberta Faculty of Arts http://www.music.ualberta.ca
Winter 2015
Music 280 Introduction to the Study of Western Music History Class Schedule Tuesday, T hursday 2 :00-‐3:20 in T ory 3 -‐65
SCHEDULE OF TOPIC AREAS AND ASSIGNED READINGS SUBJECT TO MINOR REVISIONS MAJOR DUE DATES ARE FIXED
PART I: THE ANCIENT AND MEDIEVAL WORLDS T Jan6: Course Introduction TH Jan8: Writing Project Introduction & Ancient Greek Culture Reading: Writing Project (eClass) T Jan 13: Chant Basics RJA No. 1 Due (Plato vs. Aristotle) TH Jan 15: Chant Notation and The Mass—Proper and Ordinary (Part I) Reading: Reading: Seaton pp. 21-33 & NAWM p. 8 Listening: NAWM 3a-k: Mass for Christmas Day, Gregorian chant mass NAWM 4a-b: Chants from Vespers for Christmas Day, Gregorian chant office T Jan 20: Shaping Lives with Music/ Theory and Practice Reading: Seaton pp. 33-45 Web Materials on Monastic Life (eClass) Mode 8 Tracts (eClass) Listening: NAWM 3a-k: Mass for Christmas Day, Gregorian chant mass NAWM 4a-b: Chants from Vespers for Christmas Day, Gregorian chant office TH Jan 22: Research Skills and Resources Led by Music Librarian, Sean Luyk Location: TBA Attendance will be taken during this session. Your attendance and completion of the library “quiz” will count towards your professionalism grade.
T Jan 27: Theory and Elaboration RJA No. 2 Due (The Transmission of the Classical Legacy—Boethius, Shakespeare) Listening: NAWM 5: Wipo of Burgundy (ascribed) Victimae paschali laudes, sequence NAWM 6: Tropes on Puer natus: Quem queritis in presepe and melisma NAWM 7: Hildegard von Bingen: Ordo virtutum, sacred music drama: Chorus, In principio omnes TH Jan 29: Polyphony—The Basics (Part I) Reading: Seaton pp. 62-81 Listening: NAWM 14a-c: Organa from Musica enchiriadis NAWM 15: Alleluia Justus ut palma, free organum, from Ad organum faciendum NAWM 16: Jubilemus, exultemus, versus in Aquitanian polyphony NAWM 17: Léonin, Viderunt omnes, organum duplum NAWM 18: Clausulae on Dominus from Viderunt omnes NAWM 19: Pérotin, Viderunt omnes, organum quadrumplum T Feb 3: Polyphony—The Basics Part II Reading: Seaton pp. 45-55 Listening: NAWM 20: Ave virgo virginum, conductus NAWM 21a-c: Motets on Tenor Dominus NAWM 22: Adam de la Halle, De ma dame vient/Dieus, comment porroie/ Omnes, motet TH Feb 5: Art: Innovation, Progress and Music History (Part I: Ars Nova) RJA No. 3 Due (The Forms and Practices of Music, c. 1300) Reading: Seaton pp. 62-81, 82-96 Listening: NAWM 25 [NAWM 6th, 24]: Philippe de Vitry, In arboris/Tuba sacre fidei/Virgo sum, motet NAWM 26 [NAWM 6th, 25]: Guillaume de Machaut, La Messe de Nostre Dame, Mass, Kyrie NAWM 27 [NAWM 6th, 26]: Guillaume de Machaut, Foy porter, virelai NAWM 28 [NAWM 6th, 27]: Guillaume de Machaut, Rose, liz, printemps, verdure, rondeau T Feb 10: Art—Innovation, Progress and Music History (Part II: Ars Subtilior) Reading: Seaton pp. 82-96 Listening: NAWM 29 [NAWM 6th, 28]: Philippus de Caserta, En remirant vo douce pourtraiture, ballade NAWM 30 [NAWM 6th, 29]: Jacopo da Bologna: Non al suo amante, madrigal NAWM 31 [NAWM 6th, NA]: Francesco Landini, Così pensoso, caccia NAWM 32 [NAWM 6th, 30]: Francesco Landini, Non avrà ma’ pietà, ballata
PAGE 13 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
PART II: THE RENAISSANCE TH Feb 12: Writing Basics /The 15th Century and the Sound of Sweetness (Part I) No Reading/Listening T Feb 17: Reading week: no classes TH Feb 19: Reading week: no classes T Feb 24: Midterm Review TH Feb 26: Midterm T Mar 3: The 15th Century and the Sound of Sweetness (Part II) Reading: Seaton pp. 96-111 Listening: NAWM 34 [NAWM 6th, 33]: John Dunstable, Quam pulchra es, motet or cantilena NAWM 35 [NAWM 6th, 34]: 34: Binchois, De plus en plus, rondeau NAWM 36 [NAWM 6th, 35]: Guillaume Du Fay, Resvellies vous, ballade NAWM 37 [NAWM 6th, 36]: Guillaume Du Fay, Christe, redemptor omnium, hymn in fauxbourdon style NAWM 38a [NAWM 6th, 37a]: Guillaume Du Fay, Se la face ay pale TH Mar 5: Techniques and Structures: Late Medieval and Renaissance Polyphony Reading: Seaton pp. 87-88, 112-120 Listening: NAWM 26 [NAWM 6th, 25]: Guillaume de Machaut, La Messe de Nostre Dame, mass: Kyrie NAWM 38a [NAWM 6th, 37a]: Guillaume Du Fay, Se la face ay pale NAWM 38b [NAWM 6th, 37b]: Guillaume Du Fay, Missa Se la face ay pale, cantus-firmus mass: Gloria NAWM 40 [NAWM 6th, 39]: Jean de Ockeghem, Missa prolationum, mass: Kyrie T Mar 10: Rhetorical Music (Part I) Reading: Seaton pp. 99-120 (review) Listening: NAWM 39 [NAWM 6th, 38]: Antoine Busnoys, Je ne puis vivre, virelai NAWM 41 [NAWM 6th, 40]: Henricus Isaac, Innsbruck, ich muss dich lassen, Lied NAWM 42 [NAWM 6th, NA]: Josquin de Prez, Faulte d’argent, chanson NAWM 43 [NAWM 6th, 43]: Josquin de Prez [?], Mille regretz, chanson NAWM 44 [NAWM 6th, 41]: Ave Maria…virgo serena, motet NAWM 45 [NAWM 6th, 42a-b]: Josquin de Prez, Missa Pange lingua, paraphrase mass Excerpts: Kyrie and Credo TH Mar 12: Rhetorical Music (Part II) Writing Assignment Draft Due for Editor Review Reading: Seaton pp. 99-120 (review) PAGE 14 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
Listening: NAWM 39 [NAWM 6th, 38]: Antoine Busnoys, Je ne puis vivre, virelai NAWM 41 [NAWM 6th, 40]: Henricus Isaac, Innsbruck, ich muss dich lassen, Lied NAWM 42 [NAWM 6th, NA]: Josquin de Prez, Faulte d’argent, chanson NAWM 43 [NAWM 6th, 43]: Josquin de Prez [?], Mille regretz, chanson NAWM 44 [NAWM 6th, 41]: Ave Maria…virgo serena, motet NAWM 45 [NAWM 6th, 42a-b]: Josquin de Prez, Missa Pange lingua, paraphrase mass Excerpts: Kyrie and Credo T Mar 17: Inventing the Composer/ Secular Music and Text (Part I) Reading: Seaton pp. 120-131 Listening: NAWM 54[NAWM 6th, 50]: Juan del Encina, Oy comamos y bebamos, villancico NAWM 55 [NAWM 6th, NA] 51: Marco Cara: Ma un muta per effecto, frottola TH Mar 19: Secular Music and Text (Part II) Writing Assignment Edited Draft Due (Please bring 2 copies of the edits to class) Reading: Seaton pp. 120-131 Listening: NAWM 56 [NAWM 6th, 52]: Jacques Arcadelt, Il bianco e dolce cigno, madrigal NAWM 57 [NAWM 6th, 53]: Cipriano de Rore: De le belle contrade d’oriente, madrigal NAWM 60 [NAWM 6th, 56]: Claudin de Sermisy, Tant que vivray, chanson NAWM 61 [NAWM 6th, 57]: Orlande de Lassus, La nuict froide et sombre, chanson T Mar 24: The Rise Instrumental Music RJA No. 4 Due (Luther and Music vs. The Swiss Reformers) Reading: Seaton pp. 55-59, 132-41 Listening: NAWM 66a-c [NAWM 6th, 62 a-c]: Tielman Susato, Dance from Danserye NAWM 68a-b [NAWM 6th, 63a-b]: Luis de Naváez, From Los seys libros del Delphin, Intabulation and variations for vihuela NAWM 69 [NAWM 6th, NA]: William Byrd, John come kiss me now, variations NAWM 70 [NAWM 6th, 65]: Giovanni Gabrieli, Canzon septimi toni a 8, ensemble canzona from Sacrae symphoniae TH Mar 26: Religion, Conflict, and Music Reading: Seaton pp. 142-148 Listening: NAWM 46a-d [NAWM 6th, 44a-d: Martin Luther: Nun komm, der Heiden Heiland and Ein feste Burg, chorales NAWM 47a-b [NAWM 6th, 45a-b]: Loys Bourgeois, Psalm 134, (Or sus, serviteurs du Seigneur), metrical psalm T Mar 31: Religion, Conflict and Music Part II Reading: Seaton pp. 148-51 Listening: NAWM 48 [NAWM 6th, NA]: Thomas Tallis, If ye love me, anthem NAWM 49 [NAWM 6th, 46]: William Byrd, Sing joyfully unto God, full anthem PAGE 15 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
NAWM 51a-b [NAWM 6th, 47a-b]: Giovanni Pierluigi da Palestrina, Pope Marcellus Mass, mass Excerpts: Credo & Agnus Dei NAWM 52a-b [NAWM 6th, 48a-b]: Tomás Luis de Victoria, O magnum mysterium NAWM 53 [NAWM 6th, 49]: Orlande de Lassus, Cum essem parvulus, motet TH Apr 2: The Late 16th Century (Part I) Reading: Seaton pp. 153-162 Listening: NAWM 58 [NAWM 6th, 54]: Luca Marenzio, Solo e pensoso, madrigal NAWM 59 [NAWM 6th, 55]: Carlo Gesualdo, “Io parto” e non più dissi, madrigal NAWM 62 [NAWM 6th, 58]: Claude Le Jeune, Revecy venir du printans, chanson T Apr 7: The Late 16th Century (Part II) Reading: Seaton pp. 153-162 Listening: NAWM 63 [NAWM 6th, 59]: Thomas Morley, My bonny lass she smileth, ballet NAWM 64 [NAWM 6th, 60]: Thomas Weelkes, As Vest was, madrigal NAWM 65 [NAWM 6th, 61]: John Dowland, Flow, my tears, air or lute song TH Apr 9: Exam Preparation Writing Assignment: Completed Written Assignment Due (Worth 25%)
PAGE 16 | INTRODUCTION TO THE STUDY OF WESTERN MUSIC HISTORY ~ WINTER 2015
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