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Butler University MH305 (Spring 2014)

Music History and Literature I (Medieval and Renaissance) Section 1: TH 10:00-10:50 am, LH 141 Section 2: TH 11:00-11:50 am, LH 141

Instructor Dr. Nicholas Johnson Email: ndjohns1@butler.edu Office: LH 214 Office Phone: 317-940-9256 Office Hours: Monday and Wednesday 10:00-11:0, and by appointment Teaching Assistant Rachel Gerwig Email: rgerwig@butler.edu Office: LH 273 Course Description

MH305 is an introductory survey of the Western European traditions of art music from the Medieval Period to the Renaissance. It is the second semester of the four-semester music history sequence, consisting of MH305, 306, 307, and 308.

Course Goals and Objectives

In studying music history, we will focus on the activities of three (possibly overlapping) groups of people: composers, performers, and listeners. We will study compositional techniques and musical styles to see how surviving musical works were made by composers. We will consider what is known about performance practices, to understand what performers added to the notes that have come down to us. And we will discuss what the original audiences might have gotten out of their experiences with music.

• You will be able to identify specific works of music by listening • You will become familiar with a large number of musical styles and genres • You will understand how changes in performance and compositional style have

occurred over time • You will learn about European history in the Medieval and Renaissance periods

as it affects music • You will learn to write about specific works of music descriptively and

historically • You will learn the basics of Renaissance music notation

You will also learn about the nature of historical evidence, and become aware of issues that will be significant throughout your study of music history. The questions and approaches to studying music that will be useful include:

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• How have musicologists discovered what we know about the music of the past? • How have these materials been deciphered and interpreted? • What information is lost and can only be imagined?

Course Materials

Required texts and recordings are available through the Butler University bookstore, or you may wish to purchase used copies online. You will use these materials again in MH 306.

Required Textbooks and Recordings

Barbara Hanning, Concise History of Western Music, 4th edition Peter Burkholder and Claude Palisca, Norton Anthology of Music, Vol. 1 6th edition The Norton Recorded Anthology of Western Music, concise version, 6th edition

Suggested Resources for Further Reading Source Readings 1. Oliver Strunk, ed., Source Readings in Music History, rev. edn. by Leo Treitler (New

York: Norton, 1998).

2. Piero Weiss and Richard Taruskin, eds., Music in the Western World: A History in Documents (New York: Schirmer, 1984). Standard Histories 1. Richard Taruskin, The Oxford History of Western Music (Oxford and New York: Oxford University Press, 2005), 6 vols. 2. Sarah Fuller. The European Musical Heritage, 800-1750 (New York: Alfred A. Knopf, 1987). Music-Related Research 1. Laurie Sampsel, Music Research: A Handbook (Oxford: Oxford University Press, 2008). 2. Phillip Crabtree and Donald H. Foster, Sourcebook for Research in Music (Bloomington and Indianapolis: Indiana University Press, 2005). 3. Vincent Duckles and Michael A. Keller, Music Reference and Research Materials: An Annotated Bibliography (New York: Schirmer Books, 1996). Writing About Music 1. Jonathan Bellman, A Short Guide to Writing About Music, second edition (New York: Pearson Longman, 2007). 2. D. K. Holoman, Writing About Music: A Style Sheet, second edition (Berkeley: University of California Press, 2008).

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3. Kate Turabian, A Manual for Writers of Term Papers, Theses, and Dissertations, seventh edition (Chicago: University of Chicago Press, 2007) 4. William Strunk, Jr. and E. B. White, The Elements of Style (New York: Penguin, 2007).

Electronic Resources Course Website Student grades, powerpoints, supplementary materials, recordings, and course announcements will be posted through the Moodle site for this course. To login, you will need the username associated with your BUmail account and password. Then, proceed to http://moodle.butler.edu/. MH 306 should be listed as one of your enrolled courses once you submit your login information. I will send course announcements to your Butler e-mail address through the Moodle system. You are required to register for a university e-mail account in order to receive these e-mails. Norton Study Space The publisher of your textbook, W.W. Norton, maintains an online study space for this textbook. You can access the study space at: http://www.wwnorton.com/college/music/ concise-historywestern-music4/. The Norton study space contains chapter outlines, listening quizzes, flashcards, and a glossary of terms, and is a very useful aid for learning or reviewing the material presented in the textbook, anthology and recordings. The listening portions of the website are password protected, because of copyright laws, so you will need to enter the access code that comes with your textbook. You will find the code on a card at the front of your book. Music LibGuide Our music librarian, Sheri Stormes, has posted a very helpful guide to music resources available to you as a Butler student on the library website: libguides.butler.edu/music. Please use this website as a starting point for your research this semester, and create a bookmark for the “libguide” in your web browser. Spotify Additional listening assignments will be given using the website Spotify.com. Spotify offers free or paid streaming services of a vast catalogue of music. Students are also free to create their own playlists to share with classmates. A link to our course playlist can be found on Moodle.

Student Requirements

• Attendance • Complete reading and listening assignments before each class period • Complete several small writing assignments • Transcribe in a group of piece of Renaissance music and perform the transcription in

class

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• Prepare for and take a Midterm and Final Exam. Both exams will include aural and written components

Assessment and Grading

• Attendance Policy: Attendance is mandatory. Students are allowed two free absences. After these absences each additional absence will result in a lowering of the final grade by 1%.

• Class Participation (15%): Students are expected to come to class having read the course material and ready to discuss. Participation is also required during writing seminars and exam reviews.

• In-Class Listening Reflection Papers (15%): The student will listen to an example in class that has been lectured on in either that class session or the previous session. The student will write a short reflection paper on the piece, commenting on composer, style, genre, and other pertinent information.

• Midterm (20%): Two exams will be given covering specified chapters. Reviews will be

conducted during class the session prior. The exam will consist of two parts – one given in class, and an essay to be submitted online.

• Final Exam (30%): The Final Exam will cover all course material and the exam date will be determined soon.

• Notation Assignment (20%): In place of a large writing project, students will work in groups to transcribe an assigned piece of music in Renaissance notation into modern notation. Groups will then perform their transcriptions in class and share their experiences.

Grading Scale

A 93-100 A- 90-92 B+ 87-89 B 83-86 B- 80-82 C+ 77-79 C 73-76 C- 70-72 D+ 67-69 D 63-66 D- 60-62 F 59 and below

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Communication Policy

My office hours are Monday and Wednesday, 10:00 – 11:00, or by appointment. Please feel free to stop by my office during these times. In addition, I will be in my office quite frequently, so feel free to drop in if I am around. I will try my best to answer all emails within a 24 hour period, though at times this will prove difficult because of conferences and personal obligations. All emails must be properly written, with a greeting, correct spelling and punctuation, and salutation. Email is not text messaging, and I am not your fraternity brother (unless you’re in Phi Mu Alpha, but even then I’m the professor). It is highly important to learn how to write polite, professional emails, as they are often your first communication with potential employers, so practice now.

STUDENT DISABILITY SERVICES COURSE SYLLABUS STATEMENT:

It is the policy and practice of Butler University to make reasonable accommodations for students with properly documented disabilities. Written notification from Student Disability Services is required. If you are eligible to receive an accommodation and would like to request it for this course, please discuss it with me and allow one week advance notice. Otherwise, it is not guaranteed that the accommodation can be received on a timely basis. Students who have questions about Student Disability Services or who have, or think they may have, a disability (psychiatric, attentional, learning, vision, hearing, physical, medical, etc.) are invited to contact Student Disability Services for a confidential discussion in Jordan Hall 136 or by phone at extension 9308.

Turnitin Statement

Students agree that by taking this course all assignments may be subject to submission for textual similarity review to Turnitin.com for the detection of plagiarism. All papers submitted to Turnitin become source documents in the Turnitin.com reference database, which is used solely for the purpose of detecting plagiarism of such papers. Additional notifications are found on the Moodle site used in this and other Butler courses. Additional information is also available on the Usage Policy posted on the Turnitin.com site.

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Class Schedule

Readings are from Hanning, Concise History of Western Music, Listening exercises from Norton Anthology of Western Music, Vol. 1. Some examples are found on Spotify as noted below. The course Spotify link may be found on Moodle. Please come to class having already read and listened to the material as scheduled.

Jan. 14 Course Introduction Jan. 16 Ancient Greek and Christian Rome Reading: 3-21 Listening: NAWM #1, Epitaph of Seikilos Jan. 21 Ancient Greek and Christian Rome

Reading: 21-27

Jan. 23 Chant and Secular Song in the Middle Ages Reading: 28-34

Jan. 28 Chant and Secular Song in the Middle Ages Reading: 34-42 Listening: NAWM #3, Mass for Christmas Day, Gregorian chant mass

NAWM #5, Victimae paschali laudes

Jan. 30 Chant and Secular Song in the Middle Ages Reading: 42-50 Listening: NAWM #7, Hildegard of Bingen, Ordo virtutum

Feb. 4 Polyphony Through the 13th Century Reading: 51-56 Listening: NAWM #14, Organa from Musica enchiriadis

Feb. 6 Polyphony Through the 13th Century Reading: 56-61 Listening: NAWM #17, Leoninus, Viderunt omnes

NAWM #19, Perotinus, Viderunt omnes

Feb. 11 Polyphony Through the 13th Century Reading: 61-67 Listening: NAWM #21, Motets on Tenor Dominus (a-b)

Feb. 13 French and Italian Music in the 14th Century Reading: 68-72 Listening: NAWM #24, Philippe de Vitry: In arboris NAWM #25, Guillaume de Machaut, La Messe de Nostre Dame, Kyrie

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Feb. 18 French and Italian Music in the 14th Century Reading: 73-77 Listening: NAWM #26, Guillaume de Machaut, Foy porter

Feb. 20 French and Italian Music in the 14th Century Reading: 78-85 Listening: NAWM #31, Francesco Landini, Non avrà ma’ pietà

Feb. 25 Midterm Review Feb. 27 Midterm Exam Mar. 4 The Age of the Renaissance

Reading: 87-94

Mar. 6 England and Burgundy, 14th-15th Century Reading: 95-99 Listening: NAWM #33, John Dunstable, Quam pulchra es

Mar. 11 Spring Break Mar. 13 Spring Break Mar. 18 Renaissance Notation Mar. 20 England and Burgundy, 14th-15th Century

Reading: 100-107 Listening: NAWM #37, Guillaume Du Fay, Se la face ay pale and Missa se la face ay pale, Gloria

Mar. 25 Music of Franco-Flemish Composers, 1450-1520 Reading: 108-114 Listening: NAWM #39, Jean de Ockeghem, Missa prolationum, Kyrie

Mar. 27 Music of Franco-Flemish Composers, 1450-1520 Reading: 115-118 Listening: NAWM #40, Henricus Isaac, Innsbruch, ich muss dich lassen

Apr. 1 Music of Franco-Flemish Composers, 1450-1520 Reading: 115-127 Listening: NAWM #42, Josquin des Prez, Missa Pange lingua, Kyrie and Credo

Apr. 3 Secular Song, National Styles, and Instrumental Music Reading: 125-138 Listening: NAWM #53, Cipriano de Rore, Da la belle contrade d’oriente

NAWM #57, Orlande de Lassus, La nuict froide et sombre

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Apr. 8 Secular Song, National Styles, and Instrumental Music

Reading: 138-151 Listening: NAWM #61, John Dowland, Flow my tears

Apr. 10 Sacred Music in the Era of Reformation Reading: 152-158 Listening: NAWM #44, Martin Luther, Nun komm, der Heiden Heiland, Ein feste Burg

Apr. 15 Sacred Music in the Era of Reformation Reading: 158-167 Listening: NAWM # 47, Giovanni Pierluigi da Palestrina, Pope Marcellus Mass NAWM #48, Tomás Luis de Victoria, O magnum mysterium NAWM #49, Orlande de Lassus, Cum essem parvulus

Apr. 17: Notation Performances Apr. 22: High Renaissance Symbolism, Magic, and Mysticism Apr. 24: Final Review Final Exam To Be Determined