MH 201/211

History and Literature of Music I

CFA 165 (F 2015)

Victor Coelho, Professor of Music. Office, 808 Commonwealth Ave., Rm.

286 <blues@bu.edu> http://people.bu.edu/blues; office hours W10-12 and
by appt. Teaching assistants Rachel Kurihara <rocarpen@gmail.com> and
Emily Howe <emilylhowe@gmail.com>

This course will trace in exciting and vivid detail the history, performance
practices, cultural significance, and musical styles of Western music from
the Middle Ages to approximately 1750. That much of this music not only
remains familiar to us but continues to be vibrant in the musical life of
today, is testimony to both the remarkable endurance of Medieval,
Renaissance, and Baroque music, and the efforts of modern-day scholars
and performers who have provided us with a close lookin history and in
soundto the past. The course will touch on many issuessound, score,
performance, and historyand it will also give you a chance to have a
significant research experience. Our course is organized flexibly, some
weeks centered in a particular region or locale (Paris, Notre Dame), others
to a certain composer or genre (Josquin, opera), and still others to a
particular historical development (Renaissance) or school of performers
(Troubadours). Think of the course as both wide-angled and narrowly
focused. Sometimes we will dwell on a close-up of 10-15 years (as in our
coverage of the late sixteenth century); at other times we will take a wider
panoramic look a period. In either case, this course moves fast, and it is
important to be current in your reading and not fall behind in your active
listeningthe main activity around which the course is based.

Course texts and recordings

1) P. Burkholder, C. Palisca & D. Grout, A History of Western Music, 9th ed.
2) P. Burkholder & C. Palisca, ed., Norton Anthology of Western Music, 7th
ed. (2005), Volume 1, Antiquity to Baroque = N, always bring to class
3) Norton Recorded Anthology of Music (works streamed from Norton
website)
4) Supplemental readings and recordings on Blackboard site

All of the items are required and are available at Barnes & Noble, Kenmore
Square, or on the Blackboard site. The anthology and supplemental list
contain all of the music required for the course, and the Anthology is
essential to purchase and bring to class every day. For background and
when you run into questions that can be answered quickly, you are
encouraged to use the library and to seek out such standard reference
books as The New Grove Dictionary of Music and Musicians, available
online through Mugar as grovemusic for accurate definitions and
summaries of any of the material that we cover. The Blackboard site for this
course contains course materials, all of the supplemental listening and the
reading and visual material shown in class. It will be updated weekly.
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Grading
1) Three in-class listening/short answer tests: 25% each
2) One take-home exam / paper: 20% (handed out 15 October, due 29
October)
3) Attendance at Cappella Pratensis concert on November 6 (Marsh
Chapel) with one-page summary: 5%; other listings to be posted on
the Blackboard site
(No makeups for the tests or late papers will be permitted without a valid
medical excuse)
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I. 3 September: Musical Philosophy and Theory in Antiquity; Music

and Liturgy in Church and Monastery
Listening: N3a, b, c, d, e, i: Excerpts from the Mass for Christmas Day (ca.
800)
N5: Wipo of Burgundy, Victimae paschali laudes (end of first
century)

Reading: Burkholder, 4-45.

II. 8/10 September: The Medieval World Expands: Gregorian Chant;

Courtly Music of the Troubadours; Early Polyphony

Listening: N6: Tropes on Puer natus est (late 10th)

N7: Hildegard of Bingen, Ordo virtutem excerpts (ca. 1151)
N8: Bernart de Ventadorn, Can vei la lauzeta mover (1170-80)
N9: Comtesse de Dia, A chantar (late 12th-early 13th)
N12: Cantigas de Santa Maria, Non sofre Santa Maria (1270-0)
N13: La quarte estampie royal (late 13th)
N14: Organa from the Musica Enchiriadis (850-90)
N15: Alleluia Justus ut palma from Ad organum faciendum
(1100)
N16: Jubilemus (Aquitanian polyphony, 1100)

Reading: Burkholder, 46-90.

III. 15/17 September: Notre Dame Organum and the Motet

Listening: N17: Leonin, Viderunt omnes (mid-12th century)
N18: Clausulae on Dominus (late 12th/13th)
N19: Perotin, Viderunt omnes (ca. 1198)
N 20: Conductus, Ave virgo virginum (late 12th-13th)
N21: Motets on the tenor Dominus (13th)
N 23: Petrus de Cruce, Motet, Aucun ont trouv / Lonc tans /
Annuntiantes (mid-13/14th)

Reading: Burkholder, 91-110.

IV. 22/24 September: Music and Literature in 14th-Century France

and Italy; isorhythm
Listening: N25: Philippe de Vitry, motet, Cum statua/Hugo, Hugo/Magister
invidie (1320)
N26: Guillaume de Machaut, Kyrie from La Messe de Nostre
Dame (1364)
N27: Machaut, Douce dame jolie (virelai, mid-14th)
N28: Machaut, Rose liz (rondeau, mid-14th)
N30: Jacopo da Bologna, madrigal, Non al suo amante (ca. 1350)
N30: Francesco Landini, Non avr ma piet (ballata, late 14th)

Reading: Burkholder, 111-142.

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*** 24 September: Test 1 ***

V. 29 September / October 1: The Early Renaissance: Music in

Fifteenth-Century England and Burgundy
Listening: N24: Sumer is icumen in (ca. 1250)
N34: John Dunstable, motet, Quam pulchra es (before 1430)
N35: Gilles Binchois, De plus en plus (rondeau, 1425)
N36: Guillaume Dufay, Resvellies vous (ballade, 1423)
N38: Dufay, Ballade, Se la face ay pale (1430) /Gloria from the
Missa se la face ay pale (ca. 1453)
N39: Antoine Busnoys, Je ne puis vivre (virelai, 1460)

Reading: Burkholder, 144-187.

VI. 6/8 October: Music of the High Renaissance: The Age of Josquin
des Prez
Listening: N42: Josquin, Faulte dargent, chanson (ca. 1500)
N43: Josquin, Mille regretz, chanson (ca. 1520)
N68a: Luys de Narvaez, Mille regres (intabulation, 1538)
N44: Josquin, motet, Ave Maria (1480-85)
N45: Josquin, Kyrie and Credo (excerpts) from the Missa Pange
Lingua (ca. 1515)

Reading: Burkholder, 188-212.

Tuesday, 13 October = Monday schedule (no class)

VII. 15 October: Reformation and Counter-Reformation in the

Sixteenth Century
Listening: N46c-d: Martin Luther / Johann Walter, settings of Ein feste
Burg (1529/1524)
N48: Thomas Tallis, If ye love me, anthem (1546-49)
N49: William Byrd, Sing joyfully unto God (1580-90)
N51: Giovanni Pierluigi da Palestrina, Credo from the Pope
Marcellus Mass (1567)
N52a-b: Toms Luis de Victoria, Motet (1570) and Mass O
magnum mysterium (1580)

Reading: Burkholder, 213-240.

VIII. 20/22 October: Madrigals and Song in the Sixteenth Century

Listening: N55: Marco Cara, Mal un muta per effecto (frottola, ca 1500)
N56: Jacques Arcadelt, madrigal Il bianco e dolce cigno (1538)
N58: Luca Marenzio, madrigal Solo e pensoso (1590s)
N59: Carlo Gesualdo, madrigal Io parto e non pi dissi (ca. 1600)
N60: Claudin de Sermisy, chanson Tant que vivray (ca. 1527)
N61: Orlando di Lasso, chanson La nuict froide et somber (1570s)
N65: John Dowland, lute song, Flow my tears (1600)
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Reading: Burkholder, 241-263.

*** Take-home project due Monday, 29 October ***

IX. 27/29 October: Renaissance Instruments and Instrumental Music

Listening: N66: Tielman Susato, Danserye (excerpts): a. Basse danse; b.
Pavane; c. Galliard ((1551)
N67: Anthony Holborne, The Night Watch (almain) & The Fairie
Round (galliard) 1599
N68b: Narvaez, Quarto diferencias sobre Guardame las vacas
(1538)
N69: William Byrd, Variations on John Come Kiss me Now (ca.
1600)
N70: Giovanni Gabrieli, Canzon septimi toni (1597)
N78: Gabrieli, In ecclesiis (

Reading: Burkholder, 264-286.

X. 3/5 November: Opera and Instrumental Styles in the Seventeenth

Century
Listening: N71: Claudio Monteverdi, madrigal Cruda Amarilli (1590s)
N72: Giulio Caccini, solo madrigal Vedr l mio sol (ca. 1590)
N73a-b: Jacopo Peri, selections from LEuridice (1600)
N74a-e: Monteverdi, selections from LOrfeo (1607)
N75a-d: Monteverdi, selections from lIncoronazione di Poppea
(1642)
N82: Girolamo Frescobaldi, Toccata 3 (1615)

Reading: Burkholder, 287-327; 342-350.

XI. 10 November: Church, Chamber, and Court in the Early

Seventeenth Century
Listening:
N77: Barbara Strozzi, Lagrime mie (cantata, 1659)
N80b: Giacomo Carissimi, Chorus Plorate filii Israel from Jephte
(oratorio, ca. 1648)
N81: Heinrich Schtz, Saul, was verfolgst du mich (oratorio,
1650)

Reading: Burkholder, 328-341.

*** 12 November: Test 2 ***

XII. 17/19 November: Instrumental, Dance, and Vocal Music of the

High Baroque
Listening: N84: Biagio Marini, Sonata IV per il violin (1626)
N85a,c: Jean-Baptiste Lully, Overture & Act II/5 to Armide (1686)
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N87: Denis Gaultier, La coquette virtuose (courante, ca. 1650)

N88: Elisabeth Jacquet de la Guerre, Suite in A-minor. Pices de
clavecin (ca. 1687)
N94: Arcangelo Corelli, Trio Sonata in D-major, Op. 3/2 (1689)
N95: Dietrich Buxtehude, Praeludium in E major (ca. 1690)
N97: Franois Couperin, Vingt-cinquime ordre from Pices de
clavecin, La visionaire & La muse victorieuse (1730)

Reading: Burkholder, 352-406.

XIII. 24 November/1 December: Baroque in the Early Eighteenth

Century: Vivaldi and Handel
Listening: N96: Antonio Vivaldi, Concerto for Violin and Orchestra in A-
Minor (1710)
N99: Georg Philip Telemann, Paris Quartet no. 1 in G-major,
mvmnts 3-5 (1730)
N105: George Frideric Handel, Opera seria, Giulio Cesare, Act II,
sc. 1-2 (1724)
N92: Oratorio, Saul, act II, sc. 10, nos. 66-68 (1738)

Reading: Burkholder, 407-431.

XIV. 3/8 December: Baroque Synthesis: Johann Sebastian Bach

Listening: N100: Prelude and Fugue in A Minor BWV 543 (ca. 1717)
N102: Prelude in E- minor & Fugue in D#-minor: The Well-
Tempered Clavier, I (1722)
N101: Chorale Prelude, Durch Adams Fall BWV 637 (1716)
Brandenburg Concerto no. 5, first mvmnt. (1720) (mp3 on
website)
N103: Cantata, Nun komm der Heiden Heiland BWV 62 (1724)

Reading: Burkholder, 432-461.

*** December 10: Test 3 ***