The Norton/Grove Concise Encyclopedia of Music is in the
Reference Section of the Library, call number ML100 .N88 1994x.

The following materials are on reserve in the Helm-Cravens Library at
the Reserve area of the Circulation Desk.

Seaton     Douglass Seaton: Ideas and Styles in the Western
Musical Tradition, Personal Book [PB]

MWW     Weiss Taruskin, Music in the Western World, ML160 .M865
1984

NAWM     Norton Anthology of Music, 4th ed. Vols. 1 2, PB

Stolba     K. Marie Stolba, The Development of Western Music: an Anthology, Vols. 1
2, MT6.5 .D48 1994 v. 1 2

                Helm Luper: Words and Music, Form and Procedure, ML3797 .H49
1982

Reese          Gustave Reese, Music in the Renaissance ML171 .R42 1959

Bukofzer     Bukofzer, Music in the Baroque Era, From Monteverdi to Bach, ML193
.B8

Palisca     Palisca, Baroque Music, 2nd ed., ML193 .P34 1981

Pauly     Pauly, Music in the Classic Period, ML195 .P38, 1988

Price     Price: The Early Baroque Era, From the Late 16th Century to the
1660s, ML194 .E27x 1994

Buelow     Buelow, The Late Baroque Era, ML193 .L37x 1994

RosenCl     Rosen: The Classical Style: Haydn, Mozart, Beethoven, ML195 .R68
1972

RosenRom Rosen: The Romantic Generation, ML196 .R67 1995

Longyear     Longyear: Nineteenth-Century Romanticism in Music,
ML196 .L65

NAWM     Norton Recorded Anthology of Western Music, Vols. 1 and 2, 12 CDs, PB

Stolba     K. Marie Stolba, The Development of Western Music:
Recordings, CDs 30-1 and 30-2

Assignments in boldface (dark letters) are required reading and
listening. The
terms in boldface are required knowledge. Most are discussed in
Seaton and defined in the Norton/Grove
Concise Encyclopedia.
Assignments in normal type are supplementary and are contained in
books and files placed on reserve at the circulation desk.

Reading Assignments
Unit I: The Baroque Style
R 1/16: The Language of Early Baroque Style

Readings for background information:
Seaton pp. 151--169;
Terms: Baroque, Prima prattica, Seconda prattica, Continuo, Figured bass,
Passaggio, Trillo, Turn, Homophony, Concertato, Affections (Doctrine
of the), Stile rappresentativo, Bel canto,
Genres: Madrigal, Aria, Monody, Intermedio, Madrigal comedy, Pastorale,
Recitative, Ritornello, Opera,
Characters: Orpheus,
People: Camerata, Bardi (Giovanni de'), Mei (Girolamo),
Galilei (Vincenzo), Artusi (Giovanni
Maria),
Librettists: Rinuccini (Ottavio),
Compositions: Nuove musiche (Le),
Dafne, Rappresentazione di
Anima et di Corpo (La),
Composers: Cavalieri (Emilio de'), Caccini (Giulio), Peri
(Jacopo),
Monteverdi (Claudio),
Music for listening:

Italian polyphonic madrigal exhibiting elements of the ``second
practice:'' Monteverdi: Cruda amarilli, NAWM, vol. 1, p. 283,
CD 3/59--63 In this his 5th Book of Madrigals (publ. 1605), the last
six madrigals were provided with a continuo part. IDs: Language,
Subject, Medium, Dissonance Treatment, Text-Music Relationship.

Early Italian monody. For solo voice with basso continuo
(thoroughbass, figured bass).
In Caccini's monody the basso
continuo was probably meant to be played by a ``simple string
instrument,'' such as the bass lute ( chitarrone).
Giulio Caccini: Vedro 'l mio sol, NAWM I,
p. 267, CD 3/51--53. Monodic or continuo madrigal
(a madrigal because it is through-composed) from his Le nuove
musiche (publ. Florence, 1602). IDs: Language, Subject, Medium,
Form, Text-Music Relationship, Vocal Style.

Early opera: Peri: Le musiche sopra l'Euridice, excerpts
from scenes 1 and 2, NAWM I,
p. 273, CD 3/54--58
First performance 1600. The Prologue (or introduction), ``Io che
d'alti sospir vaga, e di pianti,'' sung by the
allegorical character Tragedy is a strophic aria.
A short instrumental ritornello separates the strophes. In scene 2, in a meadow,
Tirsi, a shepherd, sings a happy strophic canzonetta, ``Nel pur
ardor,'' invoking the goddess of
marriage. The strophes are introduced and ended by instrumental
ritornelli. Pure recitative follows when the messenger Dafne
describes, in ``Per quel vago boschetto,''
how Orfeo's wife Euridice was bitten by a snake and died. Orfeo sings a lament,
``Non piango e non sospiro.'' IDs for each: Language, Subject, Medium,
Form

Study questions:

Who belonged to the Florentine Camerata and what were their
beliefs?
According to Claudio Monteverdi's brother, what is the
difference between the First and Second Practices? How do these terms
relate to text and music and to the use of dissonance? Name composers
for each of the Practices.
According to Vincenzo Galilei,
which musical characteristics did not genuinely convey the sense of the poetry and the
meaning of the text?
What sort of musical style enhanced the sense of the
words?
Describe the performers of monody. What is the musical goal of
monody and how is it achieved?

Extra Readings:
Bukofzer p. 1--19, 25--35; Palisca
p. 1-27; Price p. 1--14, 23--31, 121--31; Reese p. 437--42
Bukofzer p. 55--64, 128--36; Palisca
p. 29--47, 127--40; Price p. 31--40, 66--72, 85--98, 131--8
Eye-witness reports:
MWW: pp. 169--74 (Caccini, Artusi, Monteverdi)
Extra listening:

Choral canzonetta in strophic form: Corsi; ``Bella ninfa
fuggitiva'' from the opera Dafne, Stolba I, p. 153, CD 6/2. (CD
30-1-6 on reserve.) From the first
opera, 1594.

Extra study questions:

What did Caccini think about passages of embellishments? (MWW)
Where is the unprepared dissonance that Artusi criticized in Monteverdi's
Cruda Amarilli? Give the measure
number and vocal parts involved. Can you find any others?

T 1/21: Early Baroque Opera

Readings for background information:
Seaton pp. 169--173;
Terms: Bel canto, Ritornello,
Genres: Opera,
Characters: Orpheus,
Librettists: Striggio (Alessandro),
Compositions: Orfeo (L'), Incoronazione di Poppea (L'),
Composers: Monteverdi (Claudio), Landi (Stefano), Cavalli (Francesco), Cesti
(Antonio)
Music for listening:

Early opera: Monteverdi: L'Orfeo, excerpts from prologue
and act II, NAWM I, p. 289, CD I 4/1--15 First performance 1607. In the Prologue, the
allegorical figure of Music sings an aria in the form of strophic
variations. Each strophe is separated by short instrumental
ritornelli. In act II, Orfeo sings a joyful strophic canzonetta,
framed by instrumental ritornelli played by the violin family with
continuo performed by a double bass viol (violone), two harpsichords
and three lutes. Suddenly in recitative, `` In un fiorito prato,''
the messenger Silvia appears and tells of Euridice's death. Orfeo
laments, likewise in recitative (``Tu se' morta''), accompanied now by
a wooden positive organ and bass lute (chitarone). The chorus comes
in with the words (although not the same music) first uttered by a
shepherd, ``Ahi caso acerbo.'' IDs for each: Language, Subject,
Medium, Form (especially of bass line in strophic variations), Vocal
style

Operatic scene: Monteverdi: L'incoronazione di Poppea, Act I, Scene 3,
NAWM I p. 306, CD 4/16--20 First performed 1643.
Poppea seduces the Emperor Nero in this scene. A series of
recitatives and strophic variations. IDs: Language, Subject, Medium,
Form (Bass line in strophic variations), Vocal Style
The sleep aria or lullaby: repeated notes, very long cadential
notes, harmonies rocking back and forth. Cesti: ``Intorno
all'idol mio'' from Orontea, NAWM I, p. 315, CD 4/21--22 Dated 1656.

Lyrical bel canto
singing style. Cesti excelled in lyrical arias and duets.
Orontea was highly popular, performed in Venice, Rome, Florence,
Milan, Naples, Innsbruck and elsewhere. This aria is in modified
strophic form with 2 obbligato violins that play throughout, not
merely when the singer is silent. IDs: Language, Subject, Medium,
Form, Vocal style

Study questions:

What is the dramatic turning point in Act II of L'Orfeo?

How does the general mood change? What causes this? How does the
composer use musical and vocal style to help create the drama?
How do the conventions of Venetian opera of the mid-century
compare with the earlier operatic recitatives and arias? What has happened
to operatic singing overall in the 30 to 40 years since Monteverdi's
L'Orfeo?

Extra Readings:
Bukofzer p. 1--19, 25--35; Palisca
p. 1-27; Price p. 1--14, 23--31, 121--31;
Bukofzer p. 55--64, 128--36; Palisca
p. 29--47, 127--40; Price p. 31--40, 66--72, 85--98, 131--8
Eye-witness reports:
MWW: pp. 174--8, 180--1 (Marco da Gagliano, Alessandro Striggio, Monteverdi)
Extra listening:

Solo aria in the form of strophic variations:
Monteverdi: ``Possente spirto'' from L'Orfeo, Stolba I, p. 157, CD 6/5. The strophes
are separated by instrumental ritornelli. Monteverdi published a plain and an
embellished version of the vocal line, printed one above the other in the score. In this
scene Orfeo is trying to charm Caronte into letting him into the underworld.
with instrumental ritornelli.

R 1/23: High Baroque Opera

Readings for background information:
Seaton pp. 183--188;
Genres: French overture, Ballet de cour,
Recit, Air, Tragedie lyrique, Comedie-ballet,
Techniques: Ground,
Institutions: Opera,
Compositions: Dido and Aeneas,
People: Lully (Jean-Baptiste), Louis XIV, Quinault (Philippe),
Moliere, Purcell (Henry)
Music for listening:

French comedie-ballet: Lully: Le bourgeois
gentilhomme: Ballet des nations, NAWM I p. 399, CD 4/49--50 First
performed 1670. The entree (allemande) and chaconne from the ballet.

French overture: An orchestral piece played at the beginning of
an opera. Bipartite, slow dotted section followed by a
fast section. Both sections are repeated. The slow dotted rhythm of
the French overture was universally adopted by baroque composers (such
as Purcell, Handel and J.S. Bach) for moments requiring
grandeur and pomposity. Performances of Lully's overtures displayed the
precision and discipline of his string orchestra.
Lully: Overture from Armide, NAWM I
p. 403, CD 5/1--3
Produced 1686. IDs: Medium, Rhythm, Form, Texture

Recit: French operatic recitative. Changing meters to
accomodate poetic verse meter. Through-composed, although sometimes
with refrains. Most recits were secco (voice and continuo
only), but some were accompanied by the orchestra for greater
emotional effect. This followed the Italian tradition, although
French recit tended to be slower, rhythmically squarer and more
leaping than Italian recitative. Lully: ``Enfin il est en ma
puissance'' from Armide, NAWM I p. 405, CD 5/4--5 (1686)
Consists of an instrumental prelude, followed by Armide's recit.
In this scene of Act 2, Armide, the magician, has used all her womanly
charms and her power over the underworld to capture almost all the
Crusader knights in Godefroy's camp. Only the knight Renaud is
indifferent to her charms. Armide sends demons to lull Renaud to
sleep. As she stands over the sleeping Renaud, dagger in hand, she
falls in love with him and cannot kill him.

Air: Short melodic operatic song. Some bipartite,
others da capo (like Italian), a few through-composed for special
emphasis. Operatic airs are often associated with duets or choruses.
Lully: ``Venez, venez, seconder mes desirs'' from Armide, NAWM
I, p. 409, CD 5/6 Consists of an instrumental section leading to an air
in AAB form in triple meter (like a minuet). After Armide sings this,
during the entr'acte demons disguised as zephyrs transport
Armide and Renaud to a faraway desert where Armide might hide her
shame.

In England during the Puritans' rule under the Commonwealth (1645--60),
courtly masques were abolished. However, smaller-scaled masques
continued to be performed clandestinely in private homes.
Afterwards, with the Restoration of the monarchy, public
theatre and musical entertainment returned. Nevertheless
the first English operas---John Blow's
Venus and Adonis (?1682) and Henry Purcell's Dido and
Aeneas (1689)--- belong to some degree to the private masque
tradition, since they call for much dancing, were performed only in
private during the composers' lifetimes and feature the contrast
between dignified and grotesque characters (masque vs. anti-masque).
However, unlike the masque they are set continously to music and borrow
from both the French and Italian operatic conventions. Purcell:
``Thy hand, Belinda''---``When I am laid in earth'' and ``With
drooping wings'' from Dido and
Aeneas, Act III, NAWM I p. 413, CD 5/7--10 (1689)

Study questions:

Why was King Louis XIV important for French baroque music?
Describe the function, form and rhythmic style of the French
overture.
Name and describe the two French singing styles used in the
tragedie lyrique.
In what sort of institution was Dido and Aeneas first
performed?
List three influences on English baroque opera. How are they
present in Dido and Aeneas?
What is a ground? Where and how does Purcell use a ground in Dido
and Aeneas?

Extra Reading: Bukofzer p. 141--61;
Palisca p. 179--80, 219--30; Price p. 218--28, 231--51
Bukofzer p. 180--218;
Palisca p. 155--57, 247--50; Price p. 270--323
Eye-witness reports: MWW p. 197--206 (Pierre
Rameau, St-Evremond, Jean de La Bruyere, Marin Mersenne,
Hubert Le Blanc) MWW pp. 208--9 (Roger North,
Henry Purcell),
Extra listening:

French overture:
Lully: Overture from Alceste, Stolba I p. 174, CD 6/7. (CD 30-1-6 on
reserve)(1674)
Motto aria with obbligato trumpet: Purcell: ``Hark: the
ech'ing air a triumph sings'' from The Fairy Queen, NAWM I
p. 421, CD 5/11 (1692)

Extra Study questions:

What were some French arguments for and against opera? (MWW)
Why were there French arguments for and against the violin?
(MWW)

T 1/28: Library Class. Meeting room to be announced.
R 1/30: Opera Seria and Handel

Readings for background information:
Seaton pp. 188--191, 203--206;
Genres: Sinfonia, Aria, Recitative, Arioso, Scena, Opera, Opera seria,
Terms: Ritornello, Da capo, Dal segno,
Performance: Coloratura, Castrato,
Compositons: Giulio Cesare,
Librettists: Zeno (Apostolo), Metastasio (Pietro),
Composers: Scarlatti (Alessandro), Handel (George Frideric),
Hasse (Johann Adolf)
Music for listening:

Opera seria (serious
opera) was a new style of opera developed in Naples in the late 17th
century, which became dominant in the early 18th century. Alessandro
Scarlatti was one of its leading composers. In opera seria the
emphasis is on beautiful singing (bel canto). Mostly this kind of opera
consisted of alternating recitatives and arias. It was a prime
vehicle for virtuoso singers, like the castrato known as Farinelli.
There was no comic relief, as there had been in Venetian, French and
English baroque opera. The chief agent of this dramatic reform was the
librettist Apostolo Zeno.

Da capo aria (actually it is dal segno) from an opera seria. In a da
capo aria the first section (with or without the opening
ritornello) is repeated after a contrasting middle section. It
was the most common type of aria in opera seria.
Alessandro Scarlatti: ``Mi rivedi'' from La Griselda, Act II, Scene 1,
NAWM vol. 1, p. 395, CD 4/46--48 (1721) IDs for
opera seria: Language, Subject, Aria type, Types of recitative

Da capo aria from an opera seria.
Handel: ``V'adoro pupille'' from Giulio
Cesare, Act II, Scene 2, NAWM vol. 1 p. 576, CD 6/20--24 (1724)

Study questions:

Define late-17th century opera seria. What were the
notable reforms that Apostolo Zeno made to it?
Describe each of the following types of music. In what
circumstances was each used: recitativo secco, recitativo
accompagnato, scena?

Extra Readings:
Bukofzer p. 239--44, 306--32; Palisca p. 236--45, 251--9; Buelow
94--124, 355--74; Pauly pp. 16--18
Eye-witness reports: MWW p. 225--29, 231--4, 240--2
(Burney, Samuel Sharp, Addison Steele)
Extra Listening:

Opera seria: Hasse: ``Digli ch'io son fedele'' of Cleofide,
Act II, Scene 9, NAWM vol. 2, p. 16, CD 7/7--11. (1731)

T 2/4: Instrumental Music and National Styles

Readings for background information:
Seaton pp. 176--180, 191--96;
Rhapsodic pieces,
improvisatory in style: Toccata, Prelude,
Fugal genres
derived from vocal models: Ricercare, Fantasia, Fugue
Genre made by
mixing ricercar, canzona, toccata: Sonata (17th century),
Variations: Variations (17th century), Partita, Chorale (see
chorale partita p. 162), Romanesca,
Ruggiero,
Dances: Suite, Partita, Ordre, Prelude, Allemande, Courante,
Sarabande, Gigue,
Terms: Agrements,
Forms: Binary form;
Instruments: Viol, Viola da gamba, Lute, Harpsichord, Organ,
Performance practice: Style brise,
Composers: Frescobaldi (Girolamo), Scheidt (Samuel), Praetorius (Michael),
Froberger (Johann Jacob), Schein
(Johann Hermann), Couperin (Franc{cois), Buxtehude (Dietrich)
Music for listening:

Ordre: Similar to a harpsichord suite.
Francois Couperin: Vingt-cinquieme Ordre (25th Order) NAWM I
p. 430, CD 5/20--25 From 1730. IDs: Medium, Forms and Styles of Movements

Toccata: Frescobaldi: Toccata No. 3, NAWM I p. 393, CD
4/45 For the harpsichord (1637), improvisatory in style. IDs: Medium,
Playing style, Form

Prelude: Dietrich Buxtehude:
Preludium in E Major, NAWM I p. 424, CD 5/12--16 From before
Buxtehude's death in 1707. Sections alternate in
free toccata and strict fugal styles. A solo virtuosic organ piece played
in church but not devotional in nature.

Study questions:

What is stil brise? In connection with which
instruments is it used?
What is the overall form of a baroque dance?
What elements distinguish one dance from another?
Discuss the differences between the toccata and dance styles of
keyboard music. Describe at least three
features that are characteristic of each.
How did Francois Couperin depict the reconciliation of
French and Italian styles in his 25th Order?

Extra Readings:
Bukofzer p. 108--117, 136--40, 164--74;
Palisca p. 143--51, 158--61, 180--98; Price p. 160, 228--31, 251--4
Bukofzer p. 247--53, 260--68; Palisca p. 175--9, 190--2, 199--206; Buelow p. 191--213
Eye-witness reports: MWW p. 212--19, 237--8 (Descartes,
Mattheson, Francois Couperin)
Extra Listening:

Gigue: Ennemond Gaultier: La Poste, NAWM I, p. 388, CD
4/42--43. The version for lute by Gaultier was later arranged for
harpsichord by D'Anglebert.
Tombeau: Froberger: Lamentation...NAWM I p. 390, CD 4/44. A
slow harpsichord piece in the style of the allemande. IDs: Medium,
Rhythm, Playing style, Form
Chorale variations: variations on a Lutheran chorale (German
hymn).
Buxtehude: Danket dem Herrn, BuxWV 181, NAWM I p. 428, CD 5/17--19.
These variations are for the organ (note the pedal part).
Toccata: Frescobaldi: Toccata Nona, Stolba I p. 202, CD 7/7. (CD
30-1-7 on reserve)
Ricercar: Frescobaldi: Ricercar dopo il Credo from Messa
della Madonna, Stolba I p. 206, CD 7/12.
Keyboard Canzona: Anonymous: Canzona per l'epistola, Stolba I
p. 200, CD 7/2.
Fantasia: Sweelinck: Fantasia chromatica, Stolba I, p. 197, CD
7/1.
Suite: Johann Froberger: Suite XXII in E minor, Stolba I p. 201, CD
7/3-6 An early example of a suite for harpsichord. Four dance movements,
each in binary form: Allemande, Courante, Sarabande, Gigue.
Chorale preludes:

Samuel Scheidt: Vater unser im Himmelreich, Stolba vol. I, p. 205, CD
7/9 (CD 30-1-7 on reserve)
Dietrich Buxtehude: Vater unser im Himmelreich, Stolba vol. 1,
p. 205, CD 7/10

Extra study questions:

According to Johann Mattheson (MWW) which emotions
(affections) correspond to the minuet and gigue dance types?

R 2/6: Italian Sonatas and Concertos

Readings for background information:
Seaton pp. 196--200;
Genres: Sonata (through Corelli),
Sonata da camera, Sonata da chiesa, Trio sonata, Allemande, Gigue, Sarabande,
Concerto, Concerto grosso,
Forms: Binary form,
Terms: Ritornello,
Performing Media: Orchestra, Concertino, Ripieno,
Tutti,
Instruments: Violin, Viola da gamba,
Composers: Corelli (Archangelo),
Torelli (Giuseppe), Vivaldi (Antonio),
Music for listening:

Trio sonata: Corelli: Sonata op. 3, no. 2, NAWM I p. 446,
CD 5/28--32 Published 1689. In four movements.
IDs: Medium, Forms and styles of movements of two types of sonata

Concerto Grosso: By Vivaldi's time, the solo concerto was an
orchestral composition in three movements (fast-slow-fast), with the
players divided between a soloist and the full orchestra (ripieno or
tutti). The first movement was usually in ritornello form, that is,
the main melody (ritornello) was played by the full orchestra. The
ritornello alternated with contrasting sections played by the soloist.
Vivaldi: Concerto Grosso in G Minor,
Op. 3, No. 2, mvts 1 and 2, NAWM I p. 453, CD 5/33--40 From his L'estro armonico,
1711. IDs: Medium, Number of movements, Form of First movement

Solo concerto: Vivaldi: Concerto for Violin, Op. 9, No. 2,
RV 345, 2nd mvt, NAWM I p. 487, 5/41 From La Cetra, 1728.

Study questions:

Survey all the movements in binary form of the Corelli sonata above.
Identify the dance type of each of those movements. Describe rhythm,
tempo and first beat (upbeat or downbeat).
What is the difference between a church and a chamber sonata?
In what sort of settings or locations were late baroque concertos
performed? Which Italian cities were famous for concerto
performances?
How many movements does a concerto by Giuseppe Torelli
usually have? What is meant by ritornello in a concerto? How
does it help create form in a concerto movement?
Analyze the second movement of Vivaldi's Concerto Grosso in G
Minor (NAWM I, p. 456), using the form below.

CD         Measure     Key         Formal
Track     numbers                     unit

34            14--16         g minor     Ritornello ``a''
                17--19                            Ritornello ``b''
                20--22                            Ritornello ``c''
35
36
37
38
39
40         70--73
            74--76
            77--83

Extra Readings:
Bukofzer p. 219--22, 232--235;
Palisca p. 152--55; Price p. 103--18; Buelow p. 47--53, 66--90
Bukofzer p. 219--232; Palisca p. 161--71; Price p. 110--114
Eye-witness reports: MWW p. 207--8 (Roger North)
MWW p. 222--4, 235--6 (Charles
Burney, J. F. A. von Uffenbach)
Extra listening:

Sonata: Legrenzi: La Raspona, NAWM I p. 436, CD 5/20 (CD 636 on
reserve) Published 1665. In two movements.
Trio sonata da camera: a sonata that includes movements in binary form
(AABB) that have dance titles and rhythms. Corelli: Sonata da
Camera, Op. 2, No. 4, Stolba I p. 219, CD 7/18--20. (CD 30-1-7 on
reserve) From 1685.
This piece is in four movements: a slow Prelude (Adagio),
a fast Allemanda (Presto), a slow
through-composed movement (Grave-Adagio), and a fast Giga
(Allegro).
Violin sonata: Corelli: Sonata,
Op. 5, No. 1, Stolba I p. 221, CD 8/1--5. (CD 30-1-8 on reserve) From 1700. In 5 movements.
A slow rhapsodic first movement
(Grave--Allegro--Adagio--Grave--Allegro) (the ``Allegros'' indicate
fast notes in the violin, but the bass line is mostly slow-moving), a
fast imitative movement (Allegro--Adagio), a fast movement with
perpetual motion in the violin (Allegro), a slow movement in triple
meter (Adagio) (in B minor, ends with an open cadence), a fast
movement in compound duple meter (Allegro).
Vivaldi: Concerto in A Major, Op. 9, No. 2, Stolba I, p. 228, CD
8/6. (CD 30-1-8 on reserve)

Extra Study questions:

What was the form of the late 17th-century chamber sonata
described by the Englishman Roger North (MWW pp. 234--5)?
Survey all the movements in binary form of the ``Extra
Listening'' sonatas above.
Identify the dance type of each of those movements. Describe rhythm,
tempo and first beat (upbeat or downbeat).

T 2/11: J.S. Bach and the Fusion of Styles

Readings for background information: Seaton pp. 194--5, 209--212,
214--216;
Genres: Toccata, Prelude, Fugue, Chorale,
Terms: Subject, Answer, Exposition, Stretto, Sequence, Episode,
Instruments: Clavier, Organ, Harpsichord, Clavichord,
Composers: Bach (Johann Sebastian),
Music for listening:

Prelude and Fugue: J.S. Bach: Prelude and Fugue in A Minor,
BWV 543, NAWM I p. 495, CD 5/43--44 From Weimar, 1708--17. Here the
toccata-like prelude forms a separate movement before the enormous fugue.
Written for organ. (IDs: usual medium, form (5 components))

Chorale Prelude: Organ composition which presents the melody of
a Lutheran chorale embedded within itself. Can be played
before the singing of the chorale during the service.
J.S. Bach: Durch Adams Fall, BWV 637, NAWM I p. 502, CD
5/45 This chorale prelude belongs to his Orgelbuchlein
( Little Organ Book) of c. 1713--17. Bach intended
this collection to provide pieces for teaching organ-playing and
composing.

Study questions:

Where did Bach work and when? What were his duties in each
position? How did his employment affect the music he composed?
Where does the chorale melody appear in Bach's Durch Adams
Fall? How does Bach employ musical imagery to convey the images in
the chorale text?
Finish the following diagram of J. S. Bach's Fugue in A
Minor (Burkholder p. 493).
Indicate the measure numbers in which the subject and episodes begin,
the keys in which the subject appears and the voice (soprano, alto,
tenor or bass)
in which the subject appears. I have diagrammed the fugal exposition below.

Beginning     Subject or     Voice         Key         Relation of key to
measure         episode                                             tonic (a minor)

1                     subject         soprano     a minor     i
6                     answer         alto             e minor     v
11                    episode
15                 subject         tenor             a minor     i
20                 episode
26                 answer         bass             e minor     v
                    episode
                    subject
                    fragment
                    episode
                    subject
                    episode
                    subject
                    episode
                    subject
                    episode
                    fragment
                    subject
                    episode
                    fragment
                    fragment
                    episodic
                    subject
                    episodic
                    toccata

Extra readings:
Bukofzer p. 270--91, 300--305; Palisca p. 207--17; Buelow p. 243--51
Eye-witness reports: MWW p. 248--53 (C.P.E. Bach
and J.F. Agricola)
Extra Listening:

J.S. Bach: Vater unser im Himmelreich BWV 636, Stolba vol. 1, p. 206, CD
7/11 (CD 30-1-7 on reserve). From the Orgelbuchlein.
Prelude and fugue: J.S. Bach: Prelude and Fugue in C Minor (BWV 847),
Stolba vol. 1, p. 257, CD 8/17--18 (CD 30-1-8 on reserve). From Book I of
The Well-Tempered Clavier: a collection of preludes and
fugues for harpsichord or clavichord. The two volumes (ca. 1722 and
ca. 1740, respectively) contain two cycles of 24 preludes and fugues in
all 12 major and minor keys in rising chromatic order from C to B.
Both sets demonstrate the usability of all keys with equal or
near-equal tuning temperament. Book I is a teaching manual with
various technical challenges to the player, numerous genres and forms
in the preludes and many different contrapuntal techniques in the
fugues. Book II contains pieces from many different periods in Bach's
life.

R 2/13: Sacred Music of the Baroque

Background reading: Seaton p. 148--150, 173--176; Norton/Grove
Concise:
Terms: Cori spezzati, Stile antico, Concertato,
Genres: Canzona, Sonata (p. 758), Motet (of G. Gabrieli),
Motet (see baroque), Oratorio,
Composers: Gabrieli (Andrea), Gabrieli (Giovanni), Viadana
(Lodovico), Monteverdi (Claudio, see 1610 Vespers), Grandi
(Alessandro), Schutz (Heinrich), Carissimi
(Giacomo),
Places: St Mark's Venice
Music for listening:

Polychoral motet: Latin motet for two or more choruses.
Gabrieli
called this genre for voices and instruments a ``sacred symphony.'' Giovanni Gabrieli: In
ecclesiis, NAWM I, p. 330, CD 4/28. From his Symphoniae sacrae II,
publ. 1615 posthumously. Note that this motet has three
choruses: one of solo singers, another of choral singers and another
of instruments (cornettos [not modern cornets!], violins and
trombones).

Sacred concerto (or called concertato motet) for one voice and basso continuo:
Viadana: O Domine Jesu Christe,
NAWM I, p. 356, CD 4/34. From Cento concerti
ecclesiastici opera duodecima (publ. Venice, 1602). IDs: Language,
Subject, Medium, Vocal style
Grandi: O quam tu es pulchra, NAWM, I,
p. 359, CD 4/35 Similar to Caccini's style of monody.
From Ghirlanda sacra, Libro primo (publ. Venice, 1625).
Alternates recitative and aria styles. IDs: Language, Subject, Medium,
Vocal style

Polychoral motet/ Many-voiced sacred concerto (also called sacred symphonia or
grand concertato motet):
Schutz: Saul, was verfolgst du mich, NAWM
I, p. 376, CD 4/40 From Symphoniarum sacrarum teria pars
(1650). German sacred symphonia or concerto. Influenced by Italian
sacred concertos. IDs: Language, Subject, Medium

Oratorio: Sacred drama, but without scenery and acting. Often based
on Bible stories. Uses recitative, arioso, aria, ensemble and chorus.
There is usually a narrator ( testo or historicus). Invented by
the Jesuits as
an alternative to opera. It was named for the meeting place of the
Congregazione dell' Oratorio in Rome. The Church of San Marcello in
Rome was a center of later oratorios. High-brow Latin oratorios were
written by Giacomo Carissimi and Luigi Rossi. Carissimi: Historia di Jephte,
Filia: Plorate colles, Chorus: Plorate filii Israel, NAWM I, p. 363, CD 4/38--39
(c. 1650) IDs: Languages, Subject, Medium, Vocal styles

Study questions:

The piece above displays musical features that become
common in the 17th century baroque period, but are exceptional in
renaissance style. Describe those features.
Is the use of instruments with voices in church entirely new in
Gabrieli's music? If not, cite earlier references to this practice in
church.
Why was the figured bass useful for church organists in the
17th century?
What do we call the renaissance style of music that persisted
into the 17th century?
Who was Heinrich Schutz's first important music teacher?
Where did Schutz work for most of his career?
How was the Italian style manifested in Schutz's works?
What role does the chorus have in the excerpt of
Jephte above?
How is the Filia's song ``Plorate, plorate colles'' in
Jephte like an early baroque continuo madrigal? How is
it different in terms of vocal style?

Extra Readings:
Bukofzer p. 20--25, 26--7, 64--70, 78--97, 123--8; Palisca p. 57--79,
99--127; Price p. 49--66,
75--85, 164--81;
Eye-witness reports: MWW pp. 139--40 (Thomas Coryat on San
Marco) 178--9, 181--9, 194--7 (Agazzari, Monteverdi, Heinrich
Schutz, Christoph Bernhard, Andre Maugars)
Extra Music for listening:

Renaissance sonata: general term for an instrumental work.
Giovanni Gabrieli: Sonata pian' e forte,
Stolba, Anthology, Vol. 1, p.
126, CD 30-1-5/Track 5 on reserve.
This
piece is one of the first ensemble works to designate specific
instruments and to indicate dynamic contrasts. Notice the two choirs
of instruments.
Schutz: O quam tu pulchra es, Stolba I, p. 190,
CD 6/12. (CD 30-1-6 on reserve) A concertato motet for 2 solo voices, 2 violins and
continuo. Published in his Symphoniae sacrae I (1629). It was
a ``votive gift'' to the heir of Schutz's employer, Johann Georg
I, Elector of Saxony. Schutz wrote the music after his second trip
to Venice. This piece illustrates the new ``theory of composing
melodies'' and ``fresh devices'' in the modern Italian manner.
Oratorio: sacred dramatic work featuring instrumental and
choral movements, recitatives and vocal ensembles. Presents and
dramatizes a story from the Bible.
Schutz: ``Da Jesus an dem Kreuze stund'' from
Die sieben Wortte unsers lieben Erlosers und Seeligmachers Jesu
Christi am Kreuz, Stolba I, p. 195, CD 6/13. Dated 1645 for 5
soloists, chorus, strings and continuo. This movement is like a motet.
It uses the text only of the first stanza of the Lutheran chorale
Da Jesus an dem Kreuze stund. (Chorales are German Lutheran sacred songs created in
the 16th century.)

Extra Study questions:

In 1639 the French viol player Andre Maugars described
the music he heard in Roman churches. Can you tell from his
descriptions what musical genres he heard? (MWW p. 194--7)

T 2/18: Vocal Music of J.S. Bach

Readings for background information:
Seaton p. 212--214;
Genres: Cantata, Chorale,
Institutions: Thomaskirche,
Composer: Bach (Johann Sebastian);
Music for listening:

Cantata: J.S. Bach: Wachet auf, ruft uns die Stimme, BWV
140, NAWM I, p. 504, CD 6/1--12 From 1731. (IDs: Language, medium,
subject matter, forms and genres of movements)

Study questions:

What were Bach's duties as cantor of St. Thomas's and music
director of Leipzig?
Compare Bach's Wachet auf to the Italian cantata, like
that of Barbara Strozzi. Does Bach's cantata resemble any other
genres besides the cantata?

Extra readings:
Bukofzer p. 291--300; Palisca p. 263--81; Buelow 254--91
Eye-witness reports: p. 246--8 (J.S. Bach)
Extra Listening:

Mass: J.S. Bach: excerpts from the Credo of Mass in B Minor, BWV
232, NAWM I p. 549,
CD 6/13--19. From 1747--49, towards the end of his life. The Credo is
one of five movements from the ordinary of the Roman Catholic mass.
The others are the Kyrie, Gloria, Sanctus and Agnus Dei, all of which
Bach set to music as well.
Motet:
J.S. Bach: Jesu, meine Freude (BWV 227), 2nd mvt, Stolba vol. 1, p. 245, CD
8/10--11 (CD 30-1-8 on reserve).
Possibly written for a memorial service for Johanna Maria Kees in
1723. This 2nd movement takes its text from the Bible in German,
Romans 8:1. The text is sung twice, forming two sections of music. The
first section begins in E Minor and ends in B Minor. The second
section goes from B Minor to E Minor. In each section the last half
of the Bible verse is treated fugally. The tenor introduces the
subject while the other four voices are singing. At two-measure
intervals the subject is assumed by each of the other voices. There
is also text painting.
Passion: J.S. Bach:
St. Matthew Passion, excerpts, Stolba vol. 1, p. 250, CD 8/12--14. Bach's two
famous passions are the St. John
Passion (1724) and the St. Matthew Passion (1727).
All the texts of the recorded excerpts (recitatives, aria and chorus)
were written by Picander (real name C.F. Henrici, 1700--64). Elsewhere in
the passion, chorales and the book of St. Matthew provide the text.
A passion is a setting of the Passion story from the gospels,
performed during Good Friday services. As in the oratorio, the Bible story
is narrated by
a tenor soloist, with the other characters sung by soloists. The
chorus can represent the crowd. Chorales, recitatives and arias comment
on the action throughout.

R 2/20: Exam I Covers Unit I except Vocal Music of J.S. Bach