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Lecture Notes



Lecture Notes

SES #TOPICSLECTURE NOTES
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

(PDF)
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

(PDF)
3

Types of chants (cont.)

Office review

Chant manuscripts and notation

Syllabic, neumatic, and melismatic chants

Hexachords and the Guidonian hand

(PDF)
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

(PDF)
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

(PDF)
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

(PDF)
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


(PDF)
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

(PDF)
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

(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

(PDF)
11

Simplicity and complexity

Keyboard music

Cantus Planus Binatim

Ars Subtilior

(PDF)

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

(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"

(PDF)
14

Other innovations in continental music, 1460-1550

Palestrina and Lasso

Dance and keyboard music

Instrumental forms

French song

Protestantism and music

(PDF)
Unit 3: Elizabethan London
15

From Dunstaple to Elizabeth: Tudor England

The Elizabethan Madrigal (Weelkes, Gibbons, etc.) and its Italian predecessors

Music printing

(PDF)
16

Chapel Royal

Catholicism and Anglicanism in England (William Byrd)

Music education, instruction, and theory (Thomas Morley)

(PDF)
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"

(PDF)
18

Music in society: The cries of London

More secular music in England

More keyboard music

In Nomine music



Listening quiz 2


(PDF)
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

(PDF)
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

(PDF)
21Monteverdi (1567-1642) before and in Venice(PDF)
22

Opera in Venice after Monteverdi

Barbara Strozzi

Venice's influence: Heinrich Schütz

Instrumental music in Venice

(PDF)
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

(PDF)
24Music in the 1680s(PDF)

 








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