CHORAL LIT I



University of Southern California

Thornton School of Music

MUCM 541: CHORAL LITERATURE I

Course Outline – Fall 2016

Tuesday, Thursday 9:30 – 10:50, in MUS 319 Dr. Strimple

Office Hours: Tuesdays, 4-5pm MUS 418; Wednesdays, 3-5; Thursdays 4-5pm MUS 418

(or by appointment via Woody in 416, woodygatewood@thornton.usc.edu)

email: strimple@usc.edu cell phone: (310) 867-4707 Office phone (213) 821-5756

Historical survey of choral literature, style and performance practice

from the late Middle Ages to 1792.

Texts: Cambridge Companion to Choral Music, edited by André de Quadros

Choral Literature I Course Reader (4 Volumes) - available at USC Bookstore

Repertoire for the Soul, by Nick Strimple (Available from Dr. Strimple)

Online Readings: found in Grove Online, unless otherwise specified

G. P. da Palestrina – Pope Marcellus Mass (Norton Critical Scores) -

at USC Bookstore

Claudio Monteverdi: Vespers (1610) (Oxford Performing Score, ed. J. Kurtzman)

J. S. Bach: Mass in B Minor (Edition Bärenreiter study score)

G. F. Handel: Messiah (Carus Verlag study score)

(These scores may be in the bookstore; if not, they can be ordered on Amazon or from the publishers. Make sure you order the Study Score - or the Full Score (Partitur), if you prefer - and NOT the vocal scores!)

The purposes of this course are to trace the development of choral literature and performance practice from the late Middle Ages to the death of W. A. Mozart, and to evaluate this literature in light of musical and cultural history.

The objectives are 1) to provide the student with a thorough knowledge of the standard repertoire from this period; 2) to introduce important, but unfamiliar repertoire; 3) to acquaint the student with the performance practices of the period; and 4) to demonstrate the continued (and in some cases, growing) relevance of this repertoire.

Assignments

1) Class participation not counting the class presentation (11% of grade)

2) Listening (and/or score ID) quizzes, each class; identify musical epoch and

national school. Required listening for the Midterm and Final Exams is listed below, after the Class Schedule.

3) Midterm Exam.

Exam in class will consist of a variety of listening, matching, short answer,

multiple-choice, score ID and/or essay questions. You will be responsible

for all the readings, whether or not they’ve been discussed in class, as well as the composers, compositions and other information listed on the syllabus as “Know” or included in Repertoire for the Soul, as well as additional works provided in the Readers and any other material provided as handouts or discussed in class (including the daily listening quizzes and materials provided by Suzi Digby).

Take-home portion: On 23 August you will be given pages from several

unidentified compositions (the exact number will be twice the number of

students in the class). You must identify each work and its composer.

You will be directly responsible for knowing two of these in detail, which will be chosen by drawing lots. You will write a paper (no more than five pages, not counting bibliography and examples) on one of them (double-spaced, twelve-point type), discussing the music and issues that confront anyone who conducts this work. If an example is an excerpt of a large work, you will report on the complete composition. Use Chicago Manuel of Style (16th Edition). The take-home portion is due before the beginning of class on 6 October. Please submit via email to Dr. Strimple as a Word.doc

Late papers will not be accepted.

4) You will present the other example (complete work) to the class towards the end

of the semester. You will have 25 minutes (including questions) for the presentation.

Also, be prepared for Dr. Strimple to interrupt your presentation with

comments and questions. Your object is to convince the class of the worth of the composition that you’re presenting.

5) Final Exam, which will consist of two parts.

Part I: Prepare a list of fifteen (15) compositions composed during the time

period covered in this class which seem particularly significant to you. Describe

each work’s significance in one or two sentences. Email this list (as a Word doc.

only to Dr. Strimple and the class assistant by noon on 1 December.

Part II will consist of a variety of listening, matching, short answer, multiple choice, score ID, and/or essay questions. You will be responsible

for all the readings, whether or not they’ve been discussed in class, as well as the composers, compositions and other information listed on the syllabus as “Know” or included in Repertoire for the Soul, as well as additional works provided in the Readers and any other material provided as handouts or discussed in class (including the daily listening quizzes).

This is a cumulative exam for the entire semester.

Statement for Students with Disabilities

Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to me (or to TA) as early in the semester as

possible. DSP is located in STU 301 and is open 8:30 a.m.-5:00p.m., Monday through Friday. The phone number for DSP is (213) 740-0776.

Statement on Academic Integrity

USC seeks to maintain an optimal learning environment. General principles of academic honesty include the concept of respect for the intellectual property of others, the expectation that individual work will be submitted unless otherwise allowed by an instructor, and the obligations both to protect one’s own academic work from misuse by others as well as to avoid using another’s work as one’s own. All students are expected to understand and abide by these principles. Scampus, the Student Guidebook, contains the Student Conduct Code in Section 11.00, while the recommended sanctions are located in Appendix A: . Students will be referred to the Office of Student Judicial Affairs and Community Standards for further review, should there be any suspicion of academic dishonesty. The Review process can be found at:

Statement on Disruptive Behavior

Behavior that persistently or grossly interferes with classroom activities is considered disruptive behavior and may be subject to disciplinary action. Such behavior inhibits other students’ ability to learn and an instructor’s ability to teach. A student responsible for disruptive behavior may be required to leave class pending discussion and resolution of the problem and may be reported to the Office of Student Judicial Affairs for disciplinary action.

CLASS SCHEDULE

23 August Introduction; resources, research tutorial.

Read prior to class:

Chapters 2 and 5 in Cambridge Companion

Class Reader, Volume I, pages 1-13

(Midterm exam materials will be distributed)

25 August English Renaissance – Suzi Digby

Read prior to class:

Class Reader, Volume I, page 14

About the English Reformation (online access)

About Tudor church music (online access)

Study: Class Reader, Volume II: pages 145-200; 215-216.

Know:

Ordinary of the mass

Proper of the mass

Motet

Morning Canticles: Te Deum and Jubilate Deo

Evening Canticles: Benedictus, Magnificat, Nunc dimittis

John Merbecke: Booke of Common Praier Noted

Some composers:

John Merbecke, Robert Parsons, John Sheppard,

John Taverner, Christopher Tye, Thomas Tallis

(continued)

30 August English Renaissance – Suzi Digby

Read prior to class:

About the English anthem (online access)

About Wm. Byrd (online access)

Study: Class Reader, Volume II, pages 16-89; 98-100; 103-115;

201-203; 208-214; 224-229.

Know:

Anthem types: full, verse (full w/ verses)

Some composers:

Thomas Tomkins, Thomas Weelkes,

Orlando Gibbons, William Byrd

1 September The English Madrigal – Suzi Digby

Read prior to class:

Class Reader, Volume II, pages 1-12

Study: Class Reader, Volume II, pages13-15; 90-97; 101-102;

116-144; 204-207; 217-223; 230-238.

Know:

Balletts, Catches, Glees

Nicholas Yonge: Musica Transalpina (1588)

Thomas Morley: A Plaine and Easie Introduction

To Practicall Musicke (1597)

Robert Johnson: It Was a Lover and His Lass

Some composers:

William Cornish, John Dowland, John Bennett,

John Farmer, Thomas Tomkins, Thomas Morley,

Thomas Weelkes, John Wilbye, Orlando Gibbons,

William Byrd, Henry Purcell (Baroque),

Robert Pearsall (19th century)

(continued)

6 September English Baroque – Suzy Digby

Read prior to class:

About the Restoration of the Monarchy (online access)

About Henry Purcell (online access)

Emailed material from Tim Brown (from Suzi Digby)

Class Reader, Volume III, pages 1-20

Study: Class Reader, Volume II, pages 239-288.

Know:

Extended forms: ode, masque, oratorio, cantata anthem

As much as you can about Henry Purcell and his music

Definition of West Gallery Tradition, c. 1700-1850

(It will be discussed in detail in MUCM 542)

Primary Composers:

Pelham Humphrey, John Blow, Henry Purcell

Others:

Matthew Locke, William Lawes

Primary Composer after Purcell:

Maurice Greene

Others:

William Boyce, Thomas Arne, William Croft

8 September English Baroque, continued – Suzi Digby

13 September Video of Suzi Digby’s Bach St. Matthew Passion

(continued)

15 September Medieval and Early Renaissance

Read prior to class:

Class Reader Vol. I, pages14-27

Handout on Solemnes performance of Gregorian Chant

(from Dr. Strimple)

Study: Class Reader, Volume I, pages 51-91; 98-128.

Know:

Ars nova

Organum

Faux bourdon

Conductus

Secular Cantus Firmus and Polytextuality

Mass types: Cantus Firmus (including Head-motive,

Paraphrase and Plainsong), Parody and

Freely Composed

Carol, Noel, Leisen, Laude, Villancico

Anonymous: Summer is acumen in

Gregorian Chant, later French Chant, Sarum Chant

Some composers:

Hildegard of Bingen, Leonin, John Dunstable, Guillaume Dufay, Josquin Desprez, Guillaume Machaut, Johannes Ockeghem, Jacob Obrecht

20 September Netherlandish/Italian/Spanish/French/German/Slavic Renaissance

Read prior to class:

Class Reader Volume I, pages 37-50

Study: Class Reader, Volume I, pages 92-97; 129-361

Know:

Italian madrigal (precursors and types)

French chanson (precursors and types)

German polyphonic lied (precursors and types)

The Reformation (Martin Luther and Jean Calvin)

Some Netherlandish composers:

J. Arcadelt, Nicolas Gombert, Orlandus Lassus,

Heinrich Isaac, Adrian Willeart

Some Italian composers:

A. Banchieri, Andrea Gabrieli, Giovanni Gastodli,

Carlo Gesualdo, Luca Marenzio, G.P. da Palestrina,

Salamone Rossi, Orazio Vecchi.

Some Spanish composers:

Hernando Franco (active mostly in America),

Juan Esquivel, Francisco Guerrero (music became very popular in Latin America), Tomas Luis da Victoria, Cristobal Morales

Some French composers:

Pierre Certon, Guillaume Costeley, Claude Goudimel (+St. Bartholomew’s Day, 1572), Clément Janequin (programmatic chanson), Claude Le Jeune (Parisian chanson: musique measurée/vers measurée), Jean Mouton,

Pierre Passereau, Claudin de Sermisy

Some German composers:

Georg Aichinger, Johannes Eccard, Melchior Franck,

Hans Leo Hassler, Ludwig Senfl, Thomas Stolzer, Johann Walther

Some Slavic composers:

Jacob Handl, Kryzstof Harant, Jan Campanus Vodnansky, Mikołaj Gomółka, Mikołaj Zieleński

(continued)

22 September Early Italian Baroque – Begin Monteverdi Vespers

Read prior to class:

Class Reader Volume III, pages 1-22.

Preface to Oxford edition of 1610 Vespers

Study: Vespers of 1610 (Oxford score)

Know:

Florentine Camerata

Cento Concerti Ecclesiastici a Una, a Due a Tre, & Quattro

Voci. Con il Basso continuo per Sonar nell’ Organo

Monteverdi/Artusi controversy

Prima prattica and Secunda prattica

Imbastardito

Gorgia prattica

Difference(s) between cantata and oratorio

Restrictions on performance of cantatas and oratoria

Some composers:

Giovanni Gabrieli, Alessandro Grandi, C. Monteverdi,

Salamone Rossi, Ludovico Grossi da Viadana

27 September Continue Monteverdi Vespers (continued)

Study: Vespers of 1610 (Oxford score)

29 September Conclude Monteverdi Vespers; other Italian Baroque composers

TAKE-HOME PORTION OF MID-TERM EXAM DUE

Read prior to class:

Class Reader Volume III, page 23.

Study: Class Reader, Volume III, pages 35-133.

Know: Composers mentioned in article above

Other composers:

G. Allegri, G. Carissimi, L. Saladin, Antonio Caldara, Antonio Lotti, G.B. Pergolesi, A. Scarlatti, Dominico Scarlatti, A. Vivaldi, Benedetto Marcello

(continued)

4 October Midterm Exam

6 October French and Netherlandish Baroque;

German Baroque before Pachelbel, Buxtehude and Zachow

Read prior to class:

About Marc-Antoine Charpentier (online access)

About Heinrich Schuetz (online access)

About the Thirty Years War (online access)

Study: Class Reader, Volume III, pages 134-181; 288-358.

Know:

As much as you can about Charpentier and his music

As much as you can about Schuetz and his music

Impact of Thirty Years War on music

Impact of the Lutheran Chorale and Choral Tune

The Lutheran “Principal Music”

Some French and Dutch composers:

Jean-Baptiste Lully, Michel-Richard de Lalande,

Marc-Antoine Charpentier, Jean-Phillipe Rameau,

André Campra, Saladin, J.P. Sweelinck.

Some German composers:

Heinrich Schuetz, Johann Schein, Samuel Scheidt,

Andreas Hammerschmidt, Michael Praetorius

(continued)

11 October Middle/Late German Baroque

Read prior to class:

About Dietrich Buxtehude (online access)

About Johann Pachelbel (online access)

About the development of the German oratorio passion

Class Reader, Volume III, page 24.

Study: Class Reader, Volume III, pages 218-236; 280-287.

Class Reader, Volume III, pages 359-386.

Know:

As much as you can about Dietrich Buxtehude and his music

Various terminologies for what has become known as the

“German Church Cantata”

The difference(s) between a “Passion Oratorio” and an

“Oratorio Passion”

Some other composers:

Johann Kaspar Kerll, D. Buxtehude, Heinrich Biber, Friedrich Wilhelm Zachow, Johann Kuhnau, Johann Ludwig Bach.

G.P. Telemann, Johann Joseph Fux (Gradus ad Parnassum)

13 October Introduction to J. S. Bach

Understanding his relationship with God and the church

Introduction to the cantatas, motets, oratorios and passions

Read prior to class:

About J. S. Bach (online access)

Study: Class Reader, Volume III, pages 182-217.

Know:

Stylistic and structural differences between early and late

cantatas

Function of Bach’s motets

Solomon Franck

Pikander

Paster Neumeister

Numerology in Bach

About the establishment of a Bach cantata chronology

(continued)

18 October J. S. Bach: b minor Mass

Read prior to class:

Preface, Bärenreiter study score

Class Reader Volume III, pages 25-34.

Study: J.S Bach: Mass in b minor (Kyrie and Gloria, complete)

20 October J. S. Bach: b minor Mass (continued)

Study: J.S. Bach: Mass in b minor (Credo, complete)

25 October J. S. Bach: b minor Mass (continued)

Study: J.S. Bach: Mass in b minor (Sanctus, Osanna, Agnus)

27 October Scandinavian and Slavic Baroque; Sons of Bach (and some of their

contemporaries); Choral music in the New World.

Introduction to Handel

Read prior to class:

About American Moravians (online access)

About Johan Helmich Roman (online)

About Jan Dismus Zelenka (online)

About Vasily Titov (online)

About G.F. Handel prior to 1714 (online)

About William Billings (online)

Study: Class Reader, Volume III, pages 237-275.

Class Reader, Volume IV, pages 279-295.

Know:

Scandinavian composer:

Johan Helmich Roman

Some Slavic composers:

Bohuslav M. Černahorský, František Xaver Brixi,

Jan Dismus Zelenka, Bartłomiej Pękiel,

Grzegorz G. Gorczyki, Polyphonic Partesny chant,

Vasily Titov

(continued)

Sons of Bach and some of their contemporaries:

C.P.E. Bach, Carl Heinrich Graun, František Tůma,

Christoph Willibald Gluck

Composers in the Americas:

Juan de Lienas, Juan Gutierrez de Padilla,

Manuel de Sumaya, Dominico Zipoli (Italian, active in

Argentina), Carl Theodore Pachelbel, American

Moravians (Christian Gregor, Johann Friedrich Peter,

David Moritz Michael, John Antes, Johannes Herbst),

James Lyon, Wm. Billings.

Handel: Roman Vespers (Carmelite Vespers)

1 November Handel

Read prior to class:

Class Reader Vol. 4, pages 123-161

About G.F. Handel after 1714 (online access)

About the English Ode (musical form) (online access)

About the English Masque (online access)

About Handelian oratorio (online access)

Preface and editorial notes to Messiah (Carus Edition)

Study: Class Reader, Volume III, pages 276-279.

Messiah, Part I

Know:

As much as you can about G.F. Handel

Others:

Alessandro Stradella, Francesco Urio, Dionigi Erba

George I, George II, Duke of Chandos

John Gay and Johann Christoph Peputsch

The Beggar’s Opera

Charles Jennens

Restrictions on oratorio in England

Typical structural layout of Handelian oratorio

Various editions of Messiah

3 November Handel, continued

Study: Messiah, Part II and Part III.

(continued)

8 November Early Haydn and others

Read prior to class:

Class Reader, Vol. 4, pages 1, 8-91; 93, 157-167.

About F.J. Haydn, through 1782 (online access)

Study:

Class Reader, Volume IV, pages 98-151; 168-202.

Know:

F.J. Haydn: Stabat Mater

Early Masses

Some other composers:

Michael Haydn, Carl Heinrich Graun, Johann Adolf Hasse,

Georg Christof Wagenseil, Niccolò Jommelli,

François Joseph Gossec

10 November W. A. Mozart

Read prior to class:

Class Reader, Vol. 4, pages 2-7; 92

About W.A. Mozart (online access)

Study: Class Reader, Volume IV, pages 94-118; 152-156,

203-278.

Know:

Giovanni Batista Martini (Padre Martini)

Johann Ernst Eberlin

Lorenzo da Ponte

Baron von Swieten

Orchestrations of Handel

Other composers:

Carl Ditters von Dittersdorf, Antonio Salieri,

Vincente Martin y Soler (Padre Soler)

(continued)

15 November W.A. Mozart (conclusion); Baldasare Galluppi and Giuseppe Sarti

Read prior to class:

About Galuppi, Sarti and the Russian connection

Know:

Mozart: Requiem, K. 626 (various editions)

17 November Class presentations

22 November Class presentations

24 November THANKSGIVING DAY – CLASS DOES NOT MEET

29 December Class Presentations – LIST OF 15 WORKS DUE

1 December Review

8 December FINAL EXAM – 11:00am-1:00pm (check for location)

(continued)

REQUIRED LISTENING FOR MIDTERM EXAM

Allegri Miserere

Banchieri Contrapunto bestiale alla mente

Byrd Agnus Dei, from Mass for Five Voices

Kyrie from Mass for Four Voices

Sanctus from Mass for Four Voices

Alleluia! Cognaverunt discipuli

Te Deum, from Great Service

Carissimi Jeptha

Chant Hodie Christus natus est

Victimae Paschali laudes

Pange lingua

Certon La, la, la, jene l’ose dire

Dowland What if I Never Speed?

Weep You No More, Sad Fountains

Gesualdo “Io parto” e non piu dissi

Moro, lasso, al mio duolo

Costeley Alon, gay, gay bergere

G. Gabrieli: Jubilate Deo

Gibbons: Almighty and Everlasting God

The Silver Swan

This is the Record of John

What is Our Life?

Harant Qui confidunt in Domino

Hassler Cantate Domino

Dixit Maria

Kyrie and Gloria from Missa super dixit Maria

Isaac Innsbruck, ich muss dich Lassen

(continued)

Lassus Jubilate Deo

Mon Coeur se recommande a vous

Ola! Oche bon echo!

Tristis est Anima Mea

Le Jeune Revecy venir du Printens

Jannequin Le chant de Oyseaux

Josquin Ave Maria

El Grillo

Mille regrets

Agnus Dei from Missa Pange lingua

Machaut Rondeau: Ma fin est mon commencement

Monteverdi Ecco mormorar l’onde

Lasciate mi morire

Vespers of 1610

Morley April is in My Mistress’ Face

It Was a Lover and His Lass

Now is the Month of Maying

Palestrina Missa Papae Marcelli

Stabat Mater

Super flumina Babylonis

Passereau Il est bel et bon

Pearsall Lay a Garland (please note this is a 19th century work)

Purcell If Music Be the Food of Love

In These Delightful Pleasant Groves

Thou Knowest, Lord, the Secrets of Our Hearts

Rejoice in the Lord Always

Rossi Cor mio, deh non languire

Hallelujah! Halleli nafshi

Sermisy Au joly bois

(continued)

Tallis If Ye Love Me, Keep My Commandments

O nata lux de lumine

Spem in aulium

Taverner Gloria and Agnus Dei from Westron Wynde Mass

Tomkins When David Heard

Vecchi Fa una canzone

Viadana Exsultate justi

Victoria Ave Maria

O magnum mysterium

O quam gloriosum

Kyrie and Agnus Dei from Missa O quam gloriosum

Vivaldi Gloria

Weelkes Hark! All Ye Lovely Saints Above

When David Heard

Wilbye Adieu, Sweet Amaryllis

Willaert Victimae paschali laudes

REQUIRED LISTENING FOR FINAL EXAM

All of the music listed above, plus the following:

J.S. Bach Cantata 196: Der Herr denket an uns

Magnificat

Mass in b minor

Motet 1: Singet dem Herrn

Billings Easter Anthem

A Virgin Unspotted

Chester

Buxtehude In dulci jubilo

Charpentier The Denial of St. Peter

(continued)

Handel Gloria Patri from Dixit Dominus

Messiah

Zadok the Priest (Coronation Anthem)

L’Allegro, Part I

Gossec Dies irae, Tuba mirum and Libera me from Requiem

F.J. Haydn Kyrie from Missa brevis in Honor of Saint John of God

Gloria (complete) from Missa Cellensis (1766; 1773)

Gloria (complete), from Missa Cellensis (1782)

Alles hat seine Zeit (part song)

Te Deum

Lully Plaude laetare Gallia

W.A. Mozart Ave verum corpus, K. 618

Credo from Missa breivs in F, K. 192

Kyrie, Gloria, Agnus Dei from Mass in C Major, K. 317 (“Coronation”)

Laudate pueri and Laudate Dominum from Solemn Vespers, K. 339

Thamos, King of Egypt, K. 345

J. Pachelbel Nun danket alle Gott

Singet dem Herrn ein neues Lied

Praetorius Est ist ein’ Ros’

In dulci juibilo

Saladin Cantata Hebraico

Schuetz Musikasche Exequien

Singet dem Herrn ein neues Lied

Weib, was weinest du?

Sweelinck Hodie Christus natus est

................
................

In order to avoid copyright disputes, this page is only a partial summary.

Google Online Preview   Download