| Unit 1: Introduction, chant, and medieval music |
| 1 |
Introduction
Music in the medieval western church
Cycles of the day and of the year
Form of the mass and of the office
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| 2 |
Preamble: Music in the Greek and Roman world
Mode and chant
Types of chants
Reading modern chant notation
Practice singing the office of sext
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| 3 |
Types of chants (cont.)
Office review
Chant manuscripts and notation
Syllabic, neumatic, and melismatic chants
Hexachords and the Guidonian hand
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| 4 |
Non-Gregorian chant
Modern chant books
Innovation in the chant repertoire (sequences, tropes)
Liturgical drama and the compositions of Hildegard of Bingham
Other chant traditions in the west and elsewhere
The unending tradition of chant
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| Bridge 1: From chant to 1315 |
| 5 |
Secular monophony in the middle ages
Troubadours and trouvères
Court life in the later middle ages
Discussion of previous assignment
Polyphony before the Magnus Liber
Theoretical sources and prehistory
Musica Enchiriadis
Earliest practical sources
Conductus
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| 6 |
Polyphony in Paris (Notre Dame) and in the early 13th century
Anonymous IV
Leonin and Perotin
Organum and Discant
Modal rhythm
Ars antiqua motet: Introduction
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| 7 |
Music in the 13th and early 14th century
Motets become secular
Ars antiqua manuscripts
Instrumental music: Danses reals
Roman de Fauvel
Philippe de Vitry
Isorhythm and hocket
Listening quiz 1
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| Unit 2: Music in the (mainly Italian) fourteenth century |
| 8 |
Guillaume de Machaut and music in France before 1370
Machaut, poet and musician
Formes fixes
Motets and mass
Reims vs. court life
Machaut and the Gesamtausgabe
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| 9 |
Trecento music 1
Discussion and performance of Se per dureça
Principles of Italian notation
Jacopo da Bologna and the madrigal
Francesco and the ballata
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(PDF) |
| 10 |
Trecento music 2: New trends in our knowledge of Italian music
Squarcialupi codex
Other sources
Zachara da Teramo and the Parody mass
Johannes Ciconia and the Motet
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| 11 |
Simplicity and complexity
Keyboard music
Cantus Planus Binatim
Ars Subtilior
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(PDF)
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| Bridge 2: The continental renaissance |
| 12 |
The Renaissance and music 1420-1460
Guillaume Du Fay and his contemporaries
The English sound
Fauxbourdon
Motets and cyclic masses
Ockeghem and the canon
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(PDF) |
| 13 |
Vocal music: Josquin, his contemporaries, and his followers
Patronage
Documents and manuscripts
Josquin and his (or someone else's?) innovations; "Ave Maria"
"The pervasive myth of pervasive imitation"
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| 14 |
Other innovations in continental music, 1460-1550
Palestrina and Lasso
Dance and keyboard music
Instrumental forms
French song
Protestantism and music
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| Unit 3: Elizabethan London |
| 15 |
From Dunstaple to Elizabeth: Tudor England
The Elizabethan Madrigal (Weelkes, Gibbons, etc.) and its Italian predecessors
Music printing
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| 16 |
Chapel Royal
Catholicism and Anglicanism in England (William Byrd)
Music education, instruction, and theory (Thomas Morley)
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| 17 |
Instrumental music and lute song (Doug Freundlich, guest performer/lecturer)
Dowland and lute song
Consort music
Jane Pickering lute book ("Toys;" "Maids in Constrite")
"Can she excuse?"
"Woods so Wild?" (William Byrd setting no. 30)
"Fitzwilliam virginal book"
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| 18 |
Music in society: The cries of London
More secular music in England
More keyboard music
In Nomine music
Listening quiz 2
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| Bridge 3: Missed traditions in the late renaissance |
| 19 |
Chromaticism in the late 16th-century Italian mad-rigal
The dances and writings of Michael Praetorius
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| Topic 4: Music in Venice 1570-1660 |
| 20 |
Maestri di cappella Venice: (Rore), Williaert
(Andrea and) Giovanni Gabrieli and music in the Basilica of S. Marco
Cori spezzati. Gabrieli's music for brass
Preamble to the Baroque and the rise of a new style: Florentine Camerata; Peri, Cavalieri, etc. (early monody)
Basso Continuo
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| 21 |
Monteverdi (1567-1642) before and in Venice |
(PDF) |
| 22 |
Opera in Venice after Monteverdi
Barbara Strozzi
Venice's influence: Heinrich Schütz
Instrumental music in Venice
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| Conclusion: Other baroque music / music towards the end of the seventeenth century |
| 23 |
Non-Venetian developments: Oratorio: Carissimi, Jephte
Jewish music published in Venice
Church music towards the end of the century
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| 24 |
Music in the 1680s |
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