Dr. Marianne R. Pfau Fall
2009
Camino 173B, x4101, m
T/Th 1:15-2:30, W 1:30-4:00pm
or by appointment
Mus 331
Music
History II:
1600-1830
(Monteverdi-Beethoven)
T/Th 9:15-10:35
Camino 153
F09
A historical survey of music from the Baroque through the Viennese Classical Era, presented in a cultural context. We will study composers of Western music and learn how to distinguish their works according to changing style characteristics, shifting esthetic and philosophical perspectives, and changing historical circumstances. Historical study, informed listening and criticism, writing based on library research, analytical writing are central aspects of the course. Music 130 or equivalent are suggested as preparation for this course.
MATERIALS
Text: Craig Wright and Brian Simms. Music in Western Civilization, Vol. II, Schirmer 2005.
Notated Listening Examples/Translations: Anthology, Vol. II
Listening Selections: CD set, vol. II.
Review CD (choose one)
♫ Telemann: Der getreue
♫ J.M. Muller: 12 Sonates pour un
Hautbois de concert…,
♫
Sebastian Bodinus. 6 Trios for Two
Hautbois and BC,
All CDs available at the USD bookstore
REQUIREMENTS
As a study routine for this course, it is best to do the assigned readings/listenings once before each class so that you can participate actively in discussions, and to do your in-depth reviewing of the same material right again after class, or on the next day. Delays in listening and reading will not work well for most students.
You should plan on listening to each work we study at least 8 times, in order to be able to recognize and identify each in the tests and exams.
Please bring the anthology to every class session, and be prepared to annotate it as we go through the listening examples in class.
Please give me advance notice of any absences. More than three absences will lower your final grade.
No make-up exams will be given. If you miss an exam for any reason but a documented medical emergency, you loose the points.
There will be two Tests, a Mid-term and a Final Exam. All involve listening, analysis, and essays. One live concert visit (Oct. 9 Angelus Concert Series: Andrea Anderson (LA) offers a Baroque Organ Recital, 8pm, Founders Chapel) and one CD review round out the grade.
CD Review due on Dec 3 (no class) by email:
Please name you document: your last name.02.CDrev.doc
Ex: “pfau.02.CDrev.doc”
and send
to mpfau@sandiego.edu
GRADES
2 Tests 30% 100-93 = A, 92-90 = A-
Mid-term 15% 89‑87 = B+, 86‑83 = B, 82‑80 = B‑
Final 15% 79‑77 = C+, 76‑73 = C, 72‑70 = C‑
Concert Attendance 10% 69-67 = D+, 66-63 = D, 62-60 = D-
CD Review 20% below 59 = F
Participation 10%
Total 100%
COURSE OUTLINE (subject to change)
Part
I: BAROQUE MUSIC
Week
1 Sept. 3 Introduction
Week 2 Spet. 8 amd 10
1 The
Birth of Opera:
Early Opera in
Jacopo Peri, Euridice, “Funeste piagge”
Giulio Caccini,
Le nuove musiche, Filli, mirando il
cielo
Early Opera in
Early Opera in
Claudio Monteverdi, L’incoronazione di Poppea, Duet,
“Pur ti miro”
2 The
Concerted Style in
Giovanni Gabrieli and the Concerted
Motet
Giovanni Gabrieli, In ecclesiis
Claudio Monteverdi and the Concerted Madrigal
Claudio Monteverdi, Hor che ‘l ciel et la terra
Barbara Strozzi and the Early Baroque
Cantata
Barbara Strozzi, L’Amante Segreto: Voglio
morire
The Concerted Style Moves North: Heinrich Schütz
in
Heinrich Schütz, Symphoniae sacrae, Saul, Saul, was verfolgst
du
Week
3 Sept. 15 and 17
3 Religious Music in Baroque
The Cappella Pontificia
and the Stile Antico
Gregorio Allegri, Miserere mei, Deus
St. Peter’s Basilica and the Colossal Baroque
Anonymous, Kyrie of the Missa Salisburgensis
Organ Music by Girolamo Frescobaldi
Girolamo Frescobaldi, Fiori musicali, Mass for Sundays
Toccata , Kyrie , Ricercar
Sacred Opera and Oratorio: Giacomo Carissimi’s Jephte
Giacomo Carissimi,
Jephte
“Plorate, filii
“Plorate, filii
The Chamber Cantata: A Christmas Cantata by Alessandro Scarlatti
Alessandro Scarlatti, Cantata Oh
di Betlemme
Recitative,
“Oh di Betlemme”
Aria,
“Dal bel seno d’una stella”
4 Instrumental Music in
The Violin Family
Formation of the Baroque Orchestra
Church and Chamber Music
Salomone Rossi and the Early
Baroque Sonata
Salomone Rossi, Sonata sopra l’aria
di Ruggiero
Arcangelo Corelli: Solo Sonata
and Trio Sonata
Arcangelo Corelli, Opus 4, No.
1
Preludio, Corrente, Adagio, Allemanda
Trumpet Music by Giuseppe Torelli: The
Beginnings of the Solo Concerto
Giuseppe Torelli, Trumpet Sinfonia in D major
Antonio Vivaldi: Solo Concerto and Concerto Grosso
Antonio Vivaldi, Opus 3, L’estro armonico, Concerto Grosso, No. 8,
1st movement
Week
4 Sept. 22 and 24
Exam
on materials from weeks 1-3
5 Instrumental Music in
Johann Froberger and the Baroque Dance
Johann Froberger, Suite No. 6 in C major
Lamento (Allemande),
Courante, Saraband , Gigue
Biber and Kuhnau:
The Programmatic Sonata
Heinrich Biber, “Mystery” Sonatas, The Resurrection
The Doctrine of the Affections
Dietrich Buxtehude and the North German Organ Tradition
Dieterich Buxtehude, Wie schön leuchtet der Morgenstern
Johann Pachelbel and the South German
Tradition
Johann Pachelbel, Wie schön leuchtet der Morgenstern
Johann Pachelbel, Canon in D major
6 Music in
Ballet de cour
Jean-Baptiste Lully and Tragédie lyrique
Jean-Baptiste Lully, Armide
Overture
“Enfin il
est en ma puissance”
Religious Music
Elizabeth Jacquet de La Guerre and the Cantate française
Elizabeth Jacquet de La Guerre, Jephté
Aria,
“Jephté revient”, Recitative,
“La Fille de Jephté”
Week
5 Sept. 29 and Oct 1
7 Music in
The Gaultiers: French Lute Music
Denis Gaultier, La Rhétorique des dieux, Tombeau de
Madamoiselle Gaultier
The Couperins: French Harpsichord Music
François Couperin, Pièces de clavecin . . . premier livre, La
Favorite
The Eighteenth-Century French Harpsichord
François Couperin, Pièces de clavecin . . . quatrième livre, L’Arlequine
From
Ancient to Modern: Aspects of Baroque Music Theory
Modality Yields to Tonality
Chord Inversion, Functional Harmony, and the Circle of Fifths:
A Closed Musical Universe
8 Music in
Henry Purcell and Theater Music
Henry Purcell, Dido and Aeneas
Recitative,
“Thy hand Belinda”
Aria,
“When I am laid in earth”
Art Music Displaced by Folk Music
Purcell’s Odes and Funeral Music for Queen Mary
Henry Purcell, Come, ye sons of
art
Chorus,
“Come, ye sons of art”
Duet,
“Sound the trumpet”
Chorus,
“Come, ye sons of art”
Henry Purcell, Funeral Music for Queen Mary,
March and Canzona
Week
6 Oct
6 and 8
9 Music in
George
Frideric Handel
Handel and the Dance
George Frideric Handel, Water Music
Minuet
and Trio
Hornpipe
Handel and Opera
The Castrato in Handel’s Operas
George Frideric Handel, Giulio Cesare, Aria, “V’adoro, pupille”
Opera Then and Now
Handel and Oratorio
George Frideric Handel, Messiah
Aria,
“He shall feed his flock” , “Hallelujah” chorus
10
Johann Sebastian Bach, Part I:
Instrumental
Music in
Bach in
• The Organ in Bach’s Day
Johann Sebastian Bach, Orgelbüchlein, “In dulci jubilo”
Johann Sebastian Bach, Orgelbüchlein, “Durch Adams Fall ist ganz
verderbt”
Bach in Cöthen: Chamber and Orchestral
Music
Johann Sebastian Bach, The Well-Tempered
Clavier,
Prelude and Fugue in C minor
Pitch and Tuning in Bach’s Day
Johann Sebastian Bach,
Week
7 Oct
13 and 15
11 Johann
Sebastian Bach, Part II:
Vocal
Music in
The Lutheran Chorale Cantata
Bach’s Choir and Orchestra: Where Were the Ladies?
Johann Sebastian Bach, Cantata, Wachet auf, ruft uns die Stimme
Bach’s Four-Part Chorale Harmonizations
and Teaching Music Theory Today
Bach’s Later Musical Projects
B-Minor Mass
Johann Sebastian Bach, B-Minor Mass, Credo: “Crucifixus”,
“Et resurrexit”
Midterm
Exam
Part
II: THE ENLIGHTENMENT AND THE CLASSICAL ERA
Week
8 Oct.
20 and
12 Music in the Age of Enlightenment: Opera
Music of the Establishment: Enlightenment Opera Seria
Johann Adolf Hasse, Cleofide, Aria, “Digli ch’io son fedele”
Music and Social Change: Comic Opera
John Gay, The Beggar’s Opera,
Dialogue and Songs from Act I
Giovanni Battista Pergolesi, La
serva padrona, Duet, “Lo conosco a quegl’occhieti”
Jean-Jacques Rousseau, Le
Devin du village, Duet, “À jamais
Colin”
The Reform Operas of Gluck
Christoph Willibald Gluck, Orfeo ed Euridice
Aria, “Deh placatevi”
Chorus, “Misero
giovane” Obbligato
recitative, “Ahimè!
Dove trascorsi?”
Aria,
“Che faro senza Euridice”
13 Music in the Age of Enlightenment:
Orchestral
Music
Public Concerts
The Early Symphony: Giovanni Battista Sammartini
in
Giovanni Battista Sammartini, Symphony
No. 3 in D major, 1st movement
Playing in an Eighteenth-Century Orchestra
The Rise of Orchestral Discipline: Johann Stamitz
in
Johann Stamitz, La Melodia Germanica,
Symphony in E-major, 1st movement
Week
9 Oct
27 and 29
14 Music
in the Age of Enlightenment:Keyboard
Music
Domestic Keyboard Music for Women
The Advent of the Piano
Domenico Scarlatti in
Domenico Scarlatti, Sonata No. 26 in A
major from Essercizi
C. P. E. Bach in
C. P. E. Bach, Fantasia in C minor
Pianos in
J. C. Bach, Piano Sonata in D major, Opus 5, No. 2, 1st movement
The Piano Comes to
15 Classical Music in
Classical Style
Classical Forms
Classical Genres
The Classical Orchestra
Classical Composers
Week
10 Nov
3 and 5
16 Joseph
Haydn: Instrumental Music
The Life of Joseph Haydn (1732–1809)
Haydn’s Early and Middle Symphonies
Joseph Haydn, Symphony No. 6 in D major, Le Matin, 1st movement
Haydn’s String Quartets
Joseph Haydn, Opus 33, No. 3, The “Bird” Quartet, 1st movement
Haydn’s Sonatas and Concertos
17 Joseph
Haydn: Late Symphonies and Vocal Music
The
The
Joseph Haydn, Symphony No. 94, The “Surprise,” 2nd movement
Joseph Haydn, Symphony No. 99 in E_ major, 1st movement
The Late Vocal Music
Joseph Haydn, The Creation, “The Heavens Are Telling”
Week
11 Nov
10 and 12
Exam
on materials from Weeks 8-10
18 Wolfgang
Amadeus Mozart:
Instrumental
Music
The Life of Wolfgang Amadeus Mozart (1756–1791)
Symphonies
Wolfgang Amadeus Mozart, Symphony No. 40 in G minor, 1st movement
Wolfgang Amadeus Mozart, Symphony No. 41 in C major, The
“Jupiter,” 4th movement
Chamber Music
Piano and Violin Sonatas
Concertos
Wolfgang Amadeus Mozart, Piano Concerto in A major, 1st movement
Week
12 Nov
17 and 19
19 Wolfgang
Amadeus Mozart: Vocal Music
Lorenzo da Ponte: Librettist to Mozart
Wolfgang Amadeus Mozart, Le nozze di Figaro Aria,
“Se vuol ballare”
Aria,
“Porgi, amor” Aria, “Voi, che sapete” Ensemble, “Vostre dunque”
Requiem Mass
Wolfgang Amadeus Mozart, Requiem Mass “Confutatis”
“Lacrimosa”
Week 13 Nov 24
20 The
Early Music of Beethoven
Years of Apprenticeship: 1770–1792
Beethoven’s World in 1792
Carl Czerny Meets Beethoven
Piano Music and the Pathétique Sonata
Ludwig van Beethoven, Piano Sonata in C minor (Pathétique), 1st movement
Piano Concerto in C major
Ludwig van Beethoven, Piano Concerto No. 1 in C major, 3rd
movement
The Onset of Deafness
Week
14 Dec
1 (no class on Dec 3)
CD Review due on Dec 3 (no class) by email:
Please name you document: your last name.331.CDrev.doc
Ex: “pfau.331.CDrev.doc”
and send to mpfau@sandiego.edu
21 Beethoven’s
Middle Period: 1802–1814
Beethoven’s Life and Music during the Middle Period
Beethoven’s Symphonies: New Paths
The Heiligenstadt Testament (excerpt)
Ludwig van Beethoven, Symphony No. 3 (Eroica), 2nd movement (Funeral March)
The Opera Fidelio
Affairs of the Heart: The Immortal Beloved
Week 15: Dec 8
and 10
22 After
the Congress of
Music at the Congress of
Beethoven’s Life and Works in His Late Period
String Quartet in B_ major
Ludwig van Beethoven, String Quartet in B-major, 5th movement (Cavatina)
Ludwig van Beethoven, Missa Solemnis, Kyrie
Beethoven’s Death and Funeral
Review
Final ExamThursday Dec 17, 8-10am